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“You have to learn a few things, which you do along the way, but basically, poetry is a matter of the ear. Iambic pentameters or what constitutes a stanza comes naturally - your ears will know.”

— Vikram Seth

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“You have to learn a few things, which you do along the way, but basically, poetry is a matter of the ear. Iambic pentameters or what constitutes a stanza comes naturally - your ears will know.”
— Vikram Seth

“Why do writers, say, give up a job in economics and decide to write poetry? Or, why do they give up a job in a bank and decide to paint, like Krishan Khanna? They want to convey something.”

— Vikram Seth

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“Why do writers, say, give up a job in economics and decide to write poetry? Or, why do they give up a job in a bank and decide to paint, like Krishan Khanna? They want to convey something.”
— Vikram Seth

“Everyone sort of sees his own life and times as being ephemeral. One thinks that everything good or important that happened, happened in the past. But I think that seeing scenes that you are used to, but with the heightening effects of poetry, perhaps makes you value your life and times more than you might otherwise do.”

— Vikram Seth

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“Everyone sort of sees his own life and times as being ephemeral. One thinks that everything good or important that happened, happened in the past. But I think that seeing scenes that you are used to, but with the heightening effects of poetry, perhaps makes you value your life and times more than you might otherwise do.”
— Vikram Seth

“Those books of mine that are remunerative - I'm not talking about poetry here - take years to write, and I am never sure they'll be successful. So writing is a risk in more senses than one.”

— Vikram Seth

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“Those books of mine that are remunerative - I'm not talking about poetry here - take years to write, and I am never sure they'll be successful. So writing is a risk in more senses than one.”
— Vikram Seth

“You know, I can imagine not writing a novel and writing poetry only.”

— Vikram Seth

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“You know, I can imagine not writing a novel and writing poetry only.”
— Vikram Seth

“I spent many years of my life as an economist and demographer. I was finally distracted by writing my novels and poetry. I'm enormously happy that was the case. I feel that with writing I have found my metier.”

— Vikram Seth

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“I spent many years of my life as an economist and demographer. I was finally distracted by writing my novels and poetry. I'm enormously happy that was the case. I feel that with writing I have found my metier.”
— Vikram Seth

“I just love music - by no stretch of the imagination am I professionally competent.”

— Vikram Seth

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“I just love music - by no stretch of the imagination am I professionally competent.”
— Vikram Seth

“In general, questions are fine; you can always seize upon the parts of them that interest you and concentrate on answering those. And one has to remember when answering questions that asking questions isn't easy either, and for someone who's quite shy to stand up in an audience to speak takes some courage.”

— Vikram Seth

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“In general, questions are fine; you can always seize upon the parts of them that interest you and concentrate on answering those. And one has to remember when answering questions that asking questions isn't easy either, and for someone who's quite shy to stand up in an audience to speak takes some courage.”
— Vikram Seth

“Poetry, I think, intensifies the reader's experience. If it's a humorous facet of the story, poetry makes it more exuberant. If it's a sad facet, poetry can make it more poignant.”

— Vikram Seth

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“Poetry, I think, intensifies the reader's experience. If it's a humorous facet of the story, poetry makes it more exuberant. If it's a sad facet, poetry can make it more poignant.”
— Vikram Seth

“There was a few seconds' pause. Then Amit said: I meant, what were you thinking just now.When? said Lata.When you were looking at Pran and Savita. Over the pudding.Oh.Well, what?I can't remember, said Lata with a smile.Amit laughed.Why are you laughing? asked LataI like making you feel uncomfortable, I suppose.Oh. Why?--Or happy--or puzzled--just to see your change of mood. It's such fun. I pity you!Why? said Lata, startled.Because you'll never know what a pleasure it is to be in your company. Do stop talking like that, said Lata. Ma will come in any minute.You're quite right. In that case: Will you marry me?Lata dropped her cup. It fell to the floor and broke. She looked at the broken pieces--luckily, it has been empty--and then at Amit.Quick! said Amit. Before they come running to see what's happened. Say yes.Lata had knelt down; she was gathering he bits of the cup together and placing them on the delicately patterned blue-and-gold saucer.Amit joined her on the floor. Her face was only a few inches away from his, but her mind appeared to be somewhere else. he wanted to kiss her but he sensed that there was no question of it. One by one she picked up the shards of china.Was it a family heirloom? asked Amit.What? I'm sorry--said Lata, snapped out of her trance by the words. Well, I suppose I'll have to wait. I was hoping that by springing it on you like that I'd surprise you into agreeing......Do stop being idotic, Amit, said Lata. You're so brilliant, do you have to be so stupid as well? I should only take you seriously in black and white.And in sickness and health.Lata laughed: For better and for worse, she added.”

— Vikram Seth

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“There was a few seconds' pause. Then Amit said: I meant, what were you thinking just now.When? said Lata.When you were looking at Pran and Savita. Over the pudding.Oh.Well, what?I can't remember, said Lata with a smile.Amit laughed.Why are you laughing? asked LataI like making you feel uncomfortable, I suppose.Oh. Why?--Or happy--or puzzled--just to see your change of mood. It's such fun. I pity you!Why? said Lata, startled.Because you'll never know what a pleasure it is to be in your company. Do stop talking like that, said Lata. Ma will come in any minute.You're quite right. In that case: Will you marry me?Lata dropped her cup. It fell to the floor and broke. She looked at the broken pieces--luckily, it has been empty--and then at Amit.Quick! said Amit. Before they come running to see what's happened. Say yes.Lata had knelt down; she was gathering he bits of the cup together and placing them on the delicately patterned blue-and-gold saucer.Amit joined her on the floor. Her face was only a few inches away from his, but her mind appeared to be somewhere else. he wanted to kiss her but he sensed that there was no question of it. One by one she picked up the shards of china.Was it a family heirloom? asked Amit.What? I'm sorry--said Lata, snapped out of her trance by the words. Well, I suppose I'll have to wait. I was hoping that by springing it on you like that I'd surprise you into agreeing......Do stop being idotic, Amit, said Lata. You're so brilliant, do you have to be so stupid as well? I should only take you seriously in black and white.And in sickness and health.Lata laughed: For better and for worse, she added.”
— Vikram Seth

“There was just enough room for the tonga to get through among the bullock-carts, rickshaws, cycles and pedestrians who thronged both the road and the pavement--which they shared with barbers plying their trade out of doors, fortune-tellers, flimsy tea-stalls, vegetable-stands, monkey-trainers, ear-cleaners, pickpockets, stray cattle, the odd sleepy policeman sauntering along in faded khaki, sweat-soaked men carrying impossible loads of copper, steel rods, glass or scrap paper on their backs as they yelled 'Look out! Look out!' in voices that somehow pierced though the din, shops of brassware and cloth (the owners attempting with shouts and gestures to entice uncertain shoppers in), the small carved stone entrance of the Tinny Tots (English Medium) School which opened out onto the courtyard of the reconverted haveli of a bankrupt aristocrat, and beggars--young and old, aggressive and meek, leprous, maimed or blinded--who would quietly invade Nabiganj as evening fell, attempting to avoid the police as they worked the queues in front of the cinema-halls. Crows cawed, small boys in rags rushed around on errands (one balancing six small dirty glasses of tea on a cheap tin tray as he weaved through the crowd) monkeys chattered in and bounded about a great shivering-leafed pipal tree and tried to raid unwary customers as they left the well-guarded fruit-stand, women shuffled along in anonymous burqas or bright saris, with or without their menfolk, a few students from the university lounging around a chaat-stand shouted at each other from a foot away either out of habit or in order to be heard, mangy dogs snapped and were kicked, skeletal cats mewed and were stoned, and flies settled everywhere: on heaps of foetid, rotting rubbish, on the uncovered sweets at the sweetseller's in whose huge curved pans of ghee sizzled delicioius jalebis, on the faces of the sari-clad but not the burqa-clad women, and on the horse's nostrils as he shook his blinkered head and tried to forge his way through Old Brahmpur in the direction of the Barsaat Mahal.”

— Vikram Seth

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“There was just enough room for the tonga to get through among the bullock-carts, rickshaws, cycles and pedestrians who thronged both the road and the pavement--which they shared with barbers plying their trade out of doors, fortune-tellers, flimsy tea-stalls, vegetable-stands, monkey-trainers, ear-cleaners, pickpockets, stray cattle, the odd sleepy policeman sauntering along in faded khaki, sweat-soaked men carrying impossible loads of copper, steel rods, glass or scrap paper on their backs as they yelled 'Look out! Look out!' in voices that somehow pierced though the din, shops of brassware and cloth (the owners attempting with shouts and gestures to entice uncertain shoppers in), the small carved stone entrance of the Tinny Tots (English Medium) School which opened out onto the courtyard of the reconverted haveli of a bankrupt aristocrat, and beggars--young and old, aggressive and meek, leprous, maimed or blinded--who would quietly invade Nabiganj as evening fell, attempting to avoid the police as they worked the queues in front of the cinema-halls. Crows cawed, small boys in rags rushed around on errands (one balancing six small dirty glasses of tea on a cheap tin tray as he weaved through the crowd) monkeys chattered in and bounded about a great shivering-leafed pipal tree and tried to raid unwary customers as they left the well-guarded fruit-stand, women shuffled along in anonymous burqas or bright saris, with or without their menfolk, a few students from the university lounging around a chaat-stand shouted at each other from a foot away either out of habit or in order to be heard, mangy dogs snapped and were kicked, skeletal cats mewed and were stoned, and flies settled everywhere: on heaps of foetid, rotting rubbish, on the uncovered sweets at the sweetseller's in whose huge curved pans of ghee sizzled delicioius jalebis, on the faces of the sari-clad but not the burqa-clad women, and on the horse's nostrils as he shook his blinkered head and tried to forge his way through Old Brahmpur in the direction of the Barsaat Mahal.”
— Vikram Seth

“You can't blame her,' said Amit. 'After a life so full of tragedy anyone would become hard.''What tragedy?' asked Mrs. Chatterji.'Well, when she was four,' said Amit, 'her mother slapped her--it was quite traumatic--and then things went on in that vein. When she was twelve she came in second in an exam...It hardens you.”

— Vikram Seth

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“You can't blame her,' said Amit. 'After a life so full of tragedy anyone would become hard.''What tragedy?' asked Mrs. Chatterji.'Well, when she was four,' said Amit, 'her mother slapped her--it was quite traumatic--and then things went on in that vein. When she was twelve she came in second in an exam...It hardens you.”
— Vikram Seth