As a young man he had shared a room with a painter whose paintings had grown larger and larger as he tried to get the whole of life into his art. “Look at me,” he said before he killed himself, “I wanted to be a miniaturist and I’ve got elephantiasis instead!” The swollen events of the night of the crescent knives reminded Nadi Khan of his room-mate, because life had once again, perversely, refused to remain lifesized. It had turned melodramatic: and that embarrassed him.
How did Nadir Khan run across the night town without being noticed? I put it down to his being a bad poet, and as such, a born survivor. As he ran, there was a self-consciousness about him, his body appearing to apologize for behaving as if it were in a cheap thriller, of the sort hawkers sell on railway stations, or give away free with bottles of green medicine that can cure colds, typhoid, impotence, homesickness and poverty…On Cornwallis Road, it was a warm night. A coal-brazier stood empty by the deserted rickshaw rank. The paan-shop was closed and the old men were asleep on the roof, dreaming of tomorrow’s game. An insomniac cow, idly chewing a Red and White cigarette packet, strolled by a bundled street-sleeper, which meant he would wake in the morning, because a cow will ignore a sleeping man unless he’s about to die. Then it nuzzles at him thoughtfully. Sacred cows eat anything.


--Midnight's Children, Salman Rushdie (1981)

Mignight's Children

The house was opulent but badly lit. Ghani was a widower and the servants clearly took advantage. There were cobwebs in corners and layers of dust on ledges. They walked down a long corridor; one of the doors was ajar and through it Aziz saw a room in a state of violent disorder. This glimpse, connected with a glint of light in Ghani's dark glasses, suddenly informed Aziz that the landowner was blind. This aggravated his sense of unease: a blind man who claimed to appreciate European paintings? He was, also, impressed, because Ghani hadn't bumped into anything. They halted outside a thick teak door. Ghani said, "Wait here two moments," and went into the room behind the door.
In the later years, Doctor Aadam Aziz swore that during those two moments of solitude in the gloomy spidery corridors of the landowner's mansion he was gripped by an almost uncontrollable desire to turn and run away as fast as his legs would carry him. Unnerved by the enigma of the blind art-lover, his insides filled with tiny scrabbling insects as a result of the insidious venom of Tai's mutterings, his nostrils itching to the point of convincing him that he had somehow contracted venereal disease, he felt his feet begin slowly, as though encased in boots of lead, to turn; felt blood pounding in his temples; and was seized by so powerful a sensation of standing upon a point of no return that he very nearly wet his German woollen trousers. He began, without knowing it, to blush furiously; and at this point his mother appeared before him, seated on the floor before a low desk, a rash spreading like a blush across her face as she held a turquoise up to the light. His mother's face had acquired all the scorn of the boatman Tai. "Go, go, run," she told him in Tai's voice, "Don't worry about your poor old mother." Doctor Aziz found himself stammering, "What a useless son you've got, Amma; can't you see there's a hole in the middle of me the size of a melon?" His mother smiled a pained smile. "You always were a heartless boy," she sighed, and then turned into a lizard on the wall of the corridor and stuck her tongue out at him. Doctor Aziz stopped feeling dizzy, became unsure that he'd actually spoken aloud, wondered what he'd meant by that business about the hole, found that his feet were no longer trying to escape, and realized that he was being watched. A woman with the biceps of a wrestler was staring at him, beckoning him to follow her into the room. The state of her sari told him that she was a servant; but she was not servile. "You look green as a fish," she said. "You young doctors. You come into a strange house and your liver turns to jelly. Come, doctor Sahib, they are waiting for you." Clutching his bag a fraction too tightly, he followed her through the dark teak door.
....Into a spacious bedchamber that was as ill-lit as the rest of the house; although here there were shafts of dusty sunlight seeping in through a fanlight high on one wall.

--Midnight's Children, Salman Rushdie (1981)

I turned seventy on New Year's Day...

I turned seventy on New Year's Day 1992, at the age of thirty-five. Always an ominous landmark, the passing of the Biblical span, all the more so in a country where life-expectancy is markedly lower than the Old Testament allows; and in the case of yrs. truly, to whom six months consistently did a full year's damage, the moment had a special, extra piquancy. How easily the human mind 'normalises' the abnormal, with what rapidity the unthinkable becomes not only thinkable but humdrum, not worth thinking about! —Thus my 'condition', once it had been diagnosed as 'incurable', 'inevitable', and many other 'in's' that I can no longer call to mind, speedily became so dull a thing that not even I could bring myself to give it very much thought. The nightmare of my halved life was simply a Fact, and there is nothing to be said of a Fact except that it is so. —For may one negotiate with a Fact, sir? —In no wise! —May one stretch it, shrink it, condemn it, beg its pardon? No; or, it would be folly indeed to seek to do so. —How then are we to approach so intransigent, so absolute an Entity? —Sir, it cares not if you approach it or leave it alone; best, then, to accept it and go your ways. —And do Facts never change? Are old Facts never to be replaced by new ones, like lamps; like shoes and ships and every other blessed thing? —So: if they are, then it shows us only this—that they were never Facts to begin with, but mere Poses, Attitudes, and Shams. The true Fact is not your burning Candle, to subside limply in a stiff pool of wax; nor yet your Electric Bulb, so tender of filament, and short-lived as the Moth that seeks it out. Neither is it made of your common shoe-leather, nor should it spring any leaks. It shines! It walks! It floats! —Yes! —For every and a day.

-- The Moor's Last Sigh (1995), Salman Rushdie

In such a city there could be no gray areas...

In such a city there could be no gray areas, or so it seemed. Things were what they were and nothing else, unambiguous, lacking the subtleties of drizzle, shade and chill. Under the scrutiny of such a sun there was no place to hide. People were everywhere on display, their bodies shining in the sunlight, scantily clothes, reminding her of advertisements. No mysteries here or depths; only surfaces and revelations. Yet to learn the city was to discover that this banal clarity was an illusion. The city was all treachery, all deception, a quick-change quicksand metropolis, hiding its nature, guarded and secret in spite of all its apparent nakedness. In such a place even the forces of destruction no longer needed the shelter of the dark. They burned out of the morning's brightness, dazzling the eye, and stabbed at you with sharp and fatal light. -Shalimar the Clown by Salman Rushdie