How not to write about books and their authors

Vikram Seth. His bearing was elegant and cosmopolitan even as he walked barefoot across the centuries-old stone floor of the family courtyard. 

I had just arrived from an 8-hour road trip. I was groggy from the Bonamine. His manners and speech were refined. I was smitten. I allowed myself the harmless attraction because: I could blame the Bonamine, I knew nothing about him, the attraction was one-way, I was leaving the city the next day, and I would never see him again. 

He shook my hand firmly, checked the haveli logbook and complimented my penmanship. I had only written my name and “Udaipur,” but perhaps the combination of the letters with my handwriting looks slightly elvish. 

I had booked a smaller room, but because the haveli was not fully-booked, he assigned me a more spacious room — the room he had as a boy. Of course, it had dreamy windows overlooking the courtyard and the sky. 

He introduced himself as Vikram Seth. I squealed inside, “Like the author?” I immediately checked if they were one and the same person. Because of his air of profundity, I wouldn’t have been surprised had he turned out to be the writer. But Google came up with a different face. The author will have to forgive me: This Vikram Seth was younger and more good-looking.

When I had freshened up and settled down, he asked if I had tried Kingfisher beer. I indulged in a mug and a conversation. Theirs was the only garden in a radius of several kilometers, he mentioned. Friends thought it laughable, he said, to keep it when building a modern hotel extension on that garden can be more lucrative.

“I’m glad you kept the garden,” I said. “It’s proof that you treasure things that are more valuable than money.”

He nodded thoughtfully and smiled. I left for Udaipur early the next day and never saw that smile again.

But I did not feel wistful. It was not love. It couldn’t have been. And it’s easy to practice anasakti, non-attachment, whilst traveling (and groggy on Bonamine). But now I’m wishing that I were a better practitioner of anasakti and traveller of life than I am in and of India.

So forgive me if the only thing I can tell you about this book that I got from the Jaipur Sunday Book Market for 200INR/140PHP is that it has some poignant lines that accompanied me on days when I waited indoors for the sun to soften, and that British composer Jonathan Dove set the poems to music in a song cycle of the same name. And forgive me, if all you learned from this post is this: How not to write about books and their authors.

September 11, 2023 – To Ithaka

I could have trespassed. Cavafy’s house was temporarily closed for refurbishment, but the workers were away for their noontime break, and someone left the front door ajar. Too bad I wasn’t well-versed in Egypt’s laws on property transgression and had to decide against the risk of spending time inside an Egyptian jail.

I do, however, admit to these things: Sticking my head in and taking a peek through the marble staircase, and summoning Sean Connery’s reading of Cavafy’s Ithaka in my head as I walked down the street where the poet lived…

“As you set out for Ithaka / hope your road is a long one / full of adventure, full of discovery. / Laistrygonians, Cyclops, / angry Poseidon—don’t be afraid of them / you’ll never find things like that on your way / as long as you keep your thoughts raised high, / as long as a rare excitement / stirs your spirit and your body. / Laistrygonians, Cyclops, / wild Poseidon—you won’t encounter them / unless you bring them along inside your soul, / unless your soul sets them up in front of you…”

Unless you bring them along inside your soul. One of my favorite lines from this favorite poem. Almost everyone who learned of my upcoming trip immediately expressed concern about the dangers of a woman traveling solo to Egypt. What I carried in my soul was my mom’s prayers, and I left no room for angry Poseidon, Cyclops, Laistrygonians, and Fear. And true enough, I encountered none of them.

And I hoped for my road to be a long one, with many summer mornings when, with what pleasure, what joy, I entered harbors I was seeing for the first time! And I visited many Egyptian cities to learn, and to go on learning…

I keep Ithaka always in my mind. Arriving there is what I’m destined for. I do not hurry the journey at all. Better if it lasts for years, so I’m old by the time I reach the island, wealthy with all I’ve gained on the way, not expecting Ithaka to make me rich… And if I find her poor, Ithaka won’t have fooled me. Wise as I will have become, so full of experience, I’ll have understood by then what these Ithakas mean.

Sait Faik: A Useless Man & Ferit Edgü: The Wounded Age and Eastern Tales

“Would Chekhov have suffered writer’s block?” Maria wondered, as the hull of the sunflower seed snapped open between her lightly clamped teeth.

Had it not been for gravity and absentmindedness, it might have appeared like a final attempt of helpless rebellion as the kernel fled in its nakedness, first escaping through Maria’s lips and slipping straight into the narrow entrance of a cowl-necked blouse, lapsing between two mounds of mysterious bosomy matter, and finally shelving itself in the black hole of the navel.

There, cradled in the darkness was the sunflower seed, and it knew not what parallel or different fate it would have encountered had it slipped inside – on the other side, of that warm, heaving skin. At that moment, it knew not time nor space, it only knew of warmth, suspension, and a false feeling of relief.

Maria’s eyes swept the floor but found no trace of the seed, so she picked up another one when suddenly, an idea! A writing idea after weeks of creative standstill! She mock-kissed the second sunflower seed with glee and tossed it back on the table. “If Chekhov could eye an ashtray and tomorrow furnish a story called ‘The Ashtray,’ what tales I could conjure from a sunflower seed!”

With confident strokes of her pen she inked ‘The Sunflower Seed’ on the top of a blank sheet, and Maria wrote:

“Would Chekhov have suffered writer’s block?” Alejandra wondered, just as the sunflower seed snapped open between her semi-clenched teeth.

Of what seemed as a definitive act of impetuous rebellion, the seed fled in its nakedness, first escaping through Alejandra’s lips and slipping straight into the abyss of a cowl-necked blouse, lapsing between two mounds of mysterious bosomy matter, and at last shelved itself in a black hole which was the navel. There, cradled in the darkness was the sunflower kernel, and it knew not what parallel or different fate it would have encountered had it slipped inside – on the other side, of that warm, heaving skin. At that moment, it knew not time nor space, it only knew of warmth, suspension, and an ersatz feeling that resembled belongingness.

Maria continued to write vigorously and narrated how Alejandra’s husband discovered the mutinous seed in her bellybutton later that night and punished it by plopping it into his mouth with a teasing gleam in his eyes.

Pleased with the South American tone of absurdity in her story despite aiming for a Russian shade, and unaware that her tale was half fiction-half accidental truth, she put her pen down with a satisfying staccato. “Ah, the sound of a period!” she exclaimed. As she stood up, the sunflower seed fell to the floor, later to be identified as midnight snack by the little mouse that lived in between Maria’s walls.


The above story is not from the two books featured here. I wrote this in 2009 when reading a volume of Chekhov, who happens to be one of the most handsome of authors, ignited a spark of creative inspiration. Since then, I’ve found that the best short story compendiums do not inspire me to write reviews; they nudge me to pay more attention to the details of everyday life and to write my own short stories however inferior mine may be.

Ferit Edgü is more minimalist than Sait Faik but I find both their stories to be of a distinctive hue. There is something almost monochromatic about them: But akin to the most masterful black and white photographs, this quality does not reduce them to something less but raises and intensifies their expressiveness.

My best attempt to describe them would be to ask one to look into photographer Ara Guler’s black and white images; or better yet, grab that photo book, Ara Guler’s Istanbul with a foreword by Orhan Pamuk. Each photograph a story, each story an evocative photograph.

It is said that every Turk knows a Sait Faik line or story by heart. He is, after all, considered the Turkish counterpart of Anton Chekhov. Turkey’s most prestigious short story award, the Sait Faik Prize, is named after him — which Ferit Edgü received in 1979.

Needless to say, last month’s release of this Ferit Edgü collection resulted in yet another NYRB | Archipelago book-pairing at my end.

Now, excuse me as I attempt to write another short story. If that doesn’t work, I’ll be content with seeking beauty in the ordinary.

“And so the role of literature on this earth: It is that thing seeking beauty.” — Sait Faik