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 Subhash’s left jacket pocket, the rest of it scattered here around broken teacups on railings, totally aberrant and arbitrary.

— 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 I’s bookshop, 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 Debra 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 Moira 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 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

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 nanokatals on my tongue and the strains of Akhtar’s melody in the air. I had fallen in love with you then. Furthermore, I miss that second.’('Left from Dhakeshwari')

— 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 Jasmina 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

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

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

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

The last thing Various 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 Alanya’ 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

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