Kunal Sen > Kunal's Quotes

“self-annihilation is necessary for high art”
― Kunal Sen

“I love short stories because I believe they are the way we live. They are what our friends tell us, in their pain and joy, their passion and rage, their yearning and their cry against injustice.”
― Andre Dubus

“But think of me fondly right till the end. Think of me always as your brother's friend. Think of me whenever you see an Amrood tree. Think of me on cold winter nights.’
('Left from Dhakeshwari')”
― Kunal Sen

“She taught me how to wear a Tangail saree, she taught me Julius Caesar. She taught me how to deal with the pain of a broken heart.’
('Left from Dhakeshwari')”
― Kunal Sen

“That was our first home. Before I felt like an island in an ocean, before Calcutta, before everything that followed. You know it wasn’t a home at first but just a shell. Nothing ostentatious but just a rented two-room affair, an unneeded corridor that ran alongside them, second hand cane furniture, cheap crockery, two leaking faucets, a dysfunctional doorbell, and a flight of stairs that led to, but ended just before the roof (one of the many idiosyncrasies of the house), secured by a sixteen garrison lock, and a balcony into which a mango tree’s branch had strayed. The house was in a building at least a hundred years old and looked out on a street and a tenement block across it. The colony, if you were to call it a colony, had no name. The house itself was seedy, decrepit, as though a safe-keeper of secrets and scandals. It had many entries and exits and it was possible to get lost in it. And in a particularly inspired stroke of whimsy architectural genius, it was almost invisible from the main road like H.G. Wells’ ‘Magic Shop’. As a result, we had great difficulty when we had to explain our address to people back home. It went somewhat like this, ‘... take the second one from the main road….and then right after turning left from Dhakeshwari, you will see a bird shop (unspecific like that, for it had no name either)… walk straight in and take the stairs at the end to go to the first floor, that’s where we dwell… but don’t press the bell, knock… and don't walk too close to the cages unless you want bird-hickeys…’’
('Left from Dhakeshwari')”
― Kunal Sen

“Back then, come July, and the blazers would again make their way out of the steel trunks and evenings would be spent looking at snow-capped mountains from our terrace and spotting the first few lights on the hills above. It was the time for radishes and mulberries in the garden and violets on the slopes. The wind carried with it the comforting fragrance of eucalyptus. It was in fact all about the fragrances, like you know, in a Sherlock Holmes story. Even if you walked with your eyes closed, you could tell at a whiff, when you had arrived at the place, deduce it just by its scent. So, the oranges denoted the start of the fruit-bazaar near Prakash ji’s book shop, and the smell of freshly baked plum cake meant you had arrived opposite Air Force school and the burnt lingering aroma of coffee connoted Mayfair. But when they carved a new state out of the land and Dehra was made its capital, we watched besotted as that little town sprouted new buildings, high-rise apartments, restaurant chains, shopping malls and traffic jams, and eventually it spilled over here. I can’t help noticing now that the fragrances have changed; the Mogra is tinged with a hint of smoke and will be on the market tomorrow. The Church has remained and so has everything old that was cast in brick and stone, but they seem so much more alien that I almost wish they had been ruined.’
('Left from Dhakeshwari')”
― Kunal Sen

“I shall remain thankful to you for the tenderness of your arms that held me when I wept onto your shoulder, and that held me throughout that winter, after every bicycle accident and every B minus. I discovered Bulbul that you could make everything all right, by blowing softly over scraped knees… but one such winter day, by which time our childhood heroes had become older men with ordinary problems, I might’ve confessed to being in love with you and you, in a moment of ruthless propriety, had pretended not to hear.’
('Left from Dhakeshwari')”
― Kunal Sen

“She had been hesitant the first night, right before she had launched into him like a wild animal. The imprint of her violence had lasted on him well until the morning and while he had been hurt, he had loved the fact that she was into him, that she lusted after him fanatically, that she scratched him, wept on him, bit him and he was grateful that she let him see her like that: unhinged, throbbing and warm-skinned. She was powerful and thus ironically all the more defenceless in surrender. At times he felt as though she truly hated him, hated him for making her feel like this, for having to condescend herself just by wanting him. He felt as though she was warning him constantly through her seething, hurtling silence; to not let her down after she had disclosed so much of her soul to him. Her insecurities, her memories, her fetishes, her scent, her limbs; they had all been laid-bare in front of him and as he lay there next to the girl whose chest heaved and fell like the meter of a ghazal, he fell in love with that girl and her bundle of contradictions.’
('Left from Dhakeshwari')”
― Kunal Sen

“Most of what we got was crockery: from exotic crystal bowls to ceramic anomalies. Then, a cross-section of rugs- from a beautiful Kashmiri original to a memorable one with printed dragons and utterly incomprehensible hieroglyphics. Dibyendu (typically) gave us a scrabble set and Runai Maashi: that rocking chair. Yuppie work friends, trying to be unique and aesthetically offbeat, went for wind-chimes but there were really far too many of them by the end. We also got a fantastic number of white and off-white kurtas, jamdani sarees with complementary blouses, no less than nine suitcases, suit pieces, imported condoms, bed-sheets, bed-covers, coffee makers, coffee tables, coffee-table books, poetry books, used gifts (paintings of sunsets and other disasters), three nights and four days in Darjeeling, along with several variations of Durga, Ganesh and all the usual suspects in ivory, china, terracotta, papier-mâché, and what have you. Someone gave us a calendar that looking back, I think, was laudably sardonic. Others gave us money, in various denominations: from eleven to five hundred and one. And in one envelope, came a letter for her that she read in tears in the bathroom.’
('Left from Dhakeshwari')”
― Kunal Sen

“Why weren’t you beautiful? That would’ve solved everything.’
('Left from Dhakeshwari')”
― Kunal Sen

“In your rare embrace, sometimes I am lost nowadays. In these years, you have changed. I have changed. Every single day, we’re fighting our feuds silently; inventing devious ways to hurt one another. Our gazes keep to our feet: wavering, pirouetting and crisscrossing, so as to not stumble, even inadvertently, upon each other. Our windows look out at other windows looking in at us. Mynahs no longer come by in our balconies. Branches, not of a mango tree, but of a conglomerate, surround them instead. The silhouettes of concrete buildings sometimes shine in the rain's aftermath, but remain concrete. Today, as the Ganga rises and rages all over the city, people run for their lives, but I let it wash over my soul and flood my tears.’
('Left from Dhakeshwari')”
― Kunal Sen

“Whenever the sadness got too much, I would hire a rickshaw and go to the Upper Bazaar. Those little rickshaw trips to the market and back, shopping for lipsticks and imitation Gucci bags and wind-chimes and what not, are some of my happiest memories today. You know, one day, during one of those trips, I sold all my well-thumbed copies of ‘Inside Outside’ to the Tibetan guy who ran the old book store on Netaji Road for seventy rupees, six Tintins and a disarming smile. And all of a sudden, that moment, standing at the corner of Netaji road, I found out who I was.’
('Left from Dhakeshwari')”
― Kunal Sen

“I want to kiss your forehead; my love now is so evolved. I want to hold your hand and see all the little marks and nicks and find out how they happened. I want to assimilate myself in your identity, to have my existence intertwined with yours. I want to know what all stories still lie hidden in you.'
('Left from Dhakeshwari')”
― Kunal Sen

“There would remain no sign of you ever having played in this house. Your childhood is going to be swept under a camel-skin rug and elevators are going to be built over the lake we once swam in. This address, as we know it, would be lost forever and we’ll wake up in a box-sized room: cramped, trampled and sensationally unhappy.'
('Left from Dhakeshwari')”
― Kunal Sen

“Baby, I bear remnants of you on my body, on my soul. I always have, I always will, gladly. I just want you to know that.’
('Left from Dhakeshwari')”
― Kunal Sen

“When we were children, Bapi used to dress us up in the same clothes, going to Apsara for ‘Titanic’ or reruns of ‘Dadar Kirti’ and we used to be so embarrassed by that, even at six. Day before yesterday when I saw Neev and you wearing matching purple shirts, I encountered envy for the first time. You had taken on his colors, as though you were in his house already. I felt as though that moment you had stopped needing me to make you feel whole and nothing was ever going to remain the same.’
('Left from Dhakeshwari')”
― Kunal Sen

“I had wanted to hate you that day. Believe me, I had. And then suddenly, staring at me incredulously, your extra half-tooth had blurted out aloud, ‘You get dimples on both cheeks!’ your immaculate lisp intact, on both the ‘s’es. I remember that second, the way your hair fell, the nankhatais on my tongue and the strains of Akhtar’s melody in the air. I had fallen in love with you then. I miss that second.’
('Left from Dhakeshwari')”
― Kunal Sen

“For feverish mornings after he left, she lay awake in that guest room in their house, in the rumples of the sheet he had slept in. She would get him on every turn: his aftershave lingering on the sides of the pillow that sometimes caught her, waking up from her dreams of him, in nuclear nights, his gaze: drenching her like water drops on burning rocks. She herself didn’t have any smell. He had to really lean in the first time to make out the attar amidst the freckles on her neck. And then there would be at least two, never only one: Jasmine and that other thing that he could never place- a smell that was between imitation pearls and the insides of a Durga Puja afternoon. On some days even in Simla, this she, would waft in by his collars nonchalantly.’
('Left from Dhakeshwari')”
― Kunal Sen

“I remember being in the mood for love at the slightest provocation- your nubile body feeling undeniably illicit, under mine, rhyming, heaving, breathing together, each other, squirrel hands, down and across and stolen kisses, on and not on the lips. Then leaving scorching beds the color of the red desert sun and strawberry flavored. Your mysterious skin, salt lips: touching, each other. My libido, your mascara- getting all messed up in those rains, realizing for the first time that lust gnaws had no language, race, religion or brotherhood.’
('Left from Dhakeshwari')”
― Kunal Sen

“At eighteen, she already looks like a woman of sorrows and as her breaths start becoming shorter, tired of looking over her shoulder, she only wants to get away from this city where no one can fathom her love- boundless and profane and real, like her skin and her lips and the insides of her thighs. She knows she can smile, smell like the others. Her skin would bleed too if pricked and yet this reality does not belong to the ones sleeping on the platform floor; this reality is hers and her alone. Thus when she puts the mirror back, she rummages in her handbag, searching for that thing called identity: some of it lost somewhere in the railway colony she had just left behind, some in Sudhanshu’s left jacket pocket, the rest of it scattered here around broken teacups on railings, totally aberrant and arbitrary.”
― Kunal Sen

“In those hours when the night is still dark and cold, we see Alokananda waking up to the faint sound of stifled sobs. The sheets besides her are creaseless, sleepless. She gets up silently, her body: blank, a patchwork of frugal impulses. She gathers the warmth of her Pashmina shawl around her, the shawl that she knows still hides threads from a shirt or two of his: remnants of embraces, once feisty and long forgotten.’
('Left from Dhakeshwari')”
― Kunal Sen

“The last thing Farinoush did on several nights just before she went to bed was to rummage through her cardboard box of old things looking for him. And there he invariably remained, nestled forever between a copy of ‘Jana Aranya’ and ‘The Hours’. She read about thirty pages of his still incomprehensible stage-directions before passing out from exhaustion and hoping that the morning would bring him back to her; yearning to be yanked out of bed by him, devoured by him again. But he never returned.”
― Kunal Sen, Left from Dhakeshwari

“She had thought, instinctively, that Victoria had a remarkably beautiful face. The face showed an alert awareness of life: her lips- full, overblown like clown-lips liable to laugh at the slightest provocation. She thought that her features were not chiseled but almost rugged, handsome, like a colloquial swear-word or a Vermeer peasant-girl, and a knock out at that. An overdone face, like one having two chins, two noses, that was big and abundantly cheerful but at the same time, there was a peculiarly puffy look about those eyes.’
('Left from Dhakeshwari')”
― Kunal Sen

“I had no eyelashes left. So when I cried, the tears rolled down, unabated to my mouth. My saliva tasted those days, like a salt lake. Or so he said.'
('Left from Dhakeshwari')”
― Kunal Sen