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Amit Chaudhuri ist ein indischer Schriftsteller und Musiker. Er schreibt in englischer Sprache und wurde mit mehreren internationalen Preisen ausgezeichnet. Wikipedia  

✵ 15. Mai 1962
Amit Chaudhuri Foto
Amit Chaudhuri: 94 Zitate0 Gefällt mir

Amit Chaudhuri: Zitate auf Englisch

“There was a difference between his parents with regard to appliances; his father distrusted them as he would a rival; his mother had no confidence in using them, but none the less desired them.”

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Amit Chaudhuri buch A New World

A New World (2000)

“Internationalism’ is a way of reading, and not a demography of readership …”

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Amit Chaudhuri

Clearing a Space (2008)

“I … take a selfie with him; two, to be safe. My lips are parted, as if I'm poking a dead thing to see if it'll come to life; it's the phone I'm attempting to keep at a distance. He's smiling faintly, as if amuse by some exotic piece of wildlife.”

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Amit Chaudhuri

Friend of My Youth (2017)

“The armchairs, with their flat, sedentary cushions, were designed for society, but the bed was made for solitude. It had a straitened and measured narrowness, an austere frame made to contain the curves of a single body, to circumscribe it, carry it, give it a place, and when I slept at night, I possessed it entirely.”

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Amit Chaudhuri

Afternoon Raag (1993)

“As the sun came up, we/saw the leaves peer out, shivering.’ ( Letter from the Hills )”

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Amit Chaudhuri

St Cyril Road and Other Poems (2005)

“‘… the history of the “secular” as a cultural, humane, interstitial space in the midst of logos itself, has lost out to the idea of the “secular” as a fundamental manifestation of the rationality of the nation-state, just as the histories of modernity and cosmopolitanism in India have been subsumed, in our time, and for a variety of reasons, by a history of the nation.’”

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Amit Chaudhuri

Clearing a Space (2008)

“Calcutta, for me, was a particular idea of the modern city, and I found it in many forms, works, and genres. … by ‘modernity’ I have in mind something that was never new. True modernity was born with the aura of inherited decay and life. … if you look at paintings and photographs, and see old films of the city, you notice that these walls and buildings were never new – that Calcutta was born to look more or less as I saw it as a child. I’m not referring here to an air of timelessness; the patina that gave to Calcutta’s alleys, doorways, and houses their continuity and disposition is very different from the eternity that defines mausoleums and monuments. It’s this quality I’m trying to get at when I speak of modernity. … modernity in the nineteenth century is indistinguishable from nature; perhaps it is nature – in some ways, the culvert, which has emerged from the rock, seems more of its place than the mountain itself.”

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Amit Chaudhuri

citation needed
On Modernity

“Afternoon’s the most dreamless and introspective time of day, a sort of midnight of the daytime …”

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Amit Chaudhuri

Calcutta: Two Years in The City (2013)

“The Roman Catholic portrait at the reception of the Indian YMCA displayed the generic Christ, the timorous, blonde-haired, blue-eyed face upturned to the heavens, a lost middle-class student searching for guidance in an inhospitable world.”

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Amit Chaudhuri

Odysseus Abroad (2014)

“Its (the Left’s) intensity derives from the fact that it’s a family largely composed of, in a manner of speaking, orphans of bhadralok history (for we hardly hear of the mothers and fathers of party members), brought together not by accident but by idealism and its cousin, ideology. Bonds of orphanhood and kinship are particularly charged (as Kipling showed us in The Jungle Book) when they are self-created, and each party member is probably a bit of everything – mother, father, sibling, friend – to every other member.”

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Amit Chaudhuri

Calcutta: Two Years in The City (2013)

“The intention (of the puja pandals) is not so much to entertain as to disorient and astonish; to tap into the Bengali’s appetite for the bizarre, the uncanny.”

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Amit Chaudhuri

Calcutta: Two Years in The City (2013)

“On the big bed, Mamima and Sandeep’s mother began to dream, sprawled in vivid crab-like postures. His aunt lay on her stomach, her arms bent as if she were swimming to the edge of a lake; his mother lay on her back, her feet (one of which had a scar on it) arranged in the joyous pose of a dancer.”

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Amit Chaudhuri

A Strange and Sublime Address (1991)

“When afternoon came to Vidyasagar Road, wet clothes … hung from a clothesline which stretched from one side to another on the veranda of the first floor. The line, which had not been tightly drawn anyway, sagged with the pressure of the heavy wet clothes that dripped, from sleeves and trouser-ends, a curious grey water on to the floor, and, especially in the middle, one noticed the line curved downwards, as if a smile were forming.”

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Amit Chaudhuri

Freedom Song (1998)

“The city was still …. Soon the machinery would start working again, not out of any sense of purpose, but like a watch that is wound daily by someone’s hand. Almost without any choice in the matter, people would embark upon the minute frustrations and satisfactions of their daily lives. It was in this moment of postponement that the azaan was heard, neither announcing the day nor keeping it a secret.”

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Amit Chaudhuri

Freedom Song (1998)

“Class was what formed you, but didn’t travel to other cultures – it became invisible abroad. In foreign places, you were singled out by religion and race, but not class, which was more indecipherable than any other mother tongue. He’d learnt that not only were light, language, and weather contingent – class was too.”

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Amit Chaudhuri

Odysseus Abroad (2014)

“All foreign food is doomed to be consumed in India not so much by Indians as by a voracious Indian sensibility, which demands infinite versions of Indian food, and is unmoved by difference.”

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Amit Chaudhuri

Calcutta: Two Years in The City (2013)

“And the old homelovingness/of light falling and touching the black/utensils …”

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Amit Chaudhuri

Kitchen
St Cyril Road and Other Poems (2005)

“Trenches and mounds of dust everywhere give the city a strange bombed-out look.”

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Amit Chaudhuri

A Strange and Sublime Address (1991)

“Water begins to boil in the kettle; it starts as a private, secluded sound, pure as rain, and grows to a steady, solipsistic bubbling.”

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Amit Chaudhuri

Afternoon Raag (1993)

“This is a little parable about cities and genres; how, while some of them lose their imaginative centrality, others take their place.”

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Amit Chaudhuri

Calcutta: Two Years in The City (2013)

“Tinkling sounds came from outside, of hammering and chiselling, as labourers worked like bees, and seven- or eight-storeyed buildings rose in the place of ancestral mansions that had been razed cruelly to the ground, climbing up like ladders through screens of dust. An old mansion opposite the veranda had been repainted white, to its last banister and pillar, so that it looked like a set of new teeth. … In another sphere altogether, birds took off from a tree or parapet, or the roof of some rich Marwari’s house, startling and speckling the neutral sky. Not a moment was still or like another moment. In a window in a servants’ outhouse attached to a mansion – both the master’s house and the servants’ lost in a bond now anachronistic and buried – a light shone even at this time of the day, beacon of winter.”

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Amit Chaudhuri

Freedom Song (1998)

“This is what's beautiful about staying in a club or hotel: you're invisible, as is your neighbour.”

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Amit Chaudhuri

Friend of My Youth (2017)

“There was a gulmohar tree in the lane, the flaming orange flowers erupting from within, and banyan trees, private and removed as ancient pilgrims.”

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Amit Chaudhuri buch A New World

A New World (2000)

“It never became so dark in the room in Claremont; some light, inquisitive and worldly, always entered through the curtains”

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Amit Chaudhuri buch A New World

A New World (2000)

“… the floor was a stone slab of coolness, an expanse of warm ice that would not melt.”

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Amit Chaudhuri

A Strange and Sublime Address (1991)

“… invisibility was one of Bengali modernity’s prerequisites and cardinal achievements.”

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Amit Chaudhuri

citation needed
On Modernity

“Never to have lived is best. And the second best/is to grow old with the morning into/afternoon, and then to evening, when sundry shadows and gestures marry/like the vanished divisions of a shut fan.”

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Amit Chaudhuri

St Cyril Road Sequence
St Cyril Road and Other Poems (2005)

“Tagore claims that the first time he experienced the thrill of poetry was when he encountered the children’s rhyme ‘Jal pare/pata nare’ (‘Rain falls / The leaf trembles') in Iswarchandra Vidyasagar’s Bengali primer Barna Parichay (Introducing the Alphabet). There are at least two revealing things about this citation. The first is that, as Bengali scholars have remarked, Tagore’s memory, and predilection, lead him to misquote and rewrite the lines. The actual rhyme is in sadhu bhasha, or ‘high’ Bengali: ‘Jal paritechhe / pata naritechhe’ (‘Rain falleth / the leaf trembleth’). This is precisely the sort of diction that Tagore chose for the English Gitanjali, which, with its thees and thous, has so tried our patience. Yet, as a Bengali poet, Tagore’s instinct was to simplify, and to draw language closer to speech. The other reason the lines of the rhyme are noteworthy, especially with regard to Tagore, is – despite their deceptively logical progression – their non-consecutive character. ‘Rain falls’ and ‘the leaf trembles’ are two independent, stand-alone observations: they don’t necessarily have to follow each other. It’s a feature of poetry commented upon by William Empson in Some Versions of Pastoral: that it’s a genre that can get away with seamlessly joining two lines which are linked, otherwise, tenuously.”

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Amit Chaudhuri

On Tagore: Reading the Poet Today (2012)

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