Moth Smoke Quotes

“When the uncertain future becomes the past, the past in turn becomes uncertain.”
― Mohsin Hamid, Moth Smoke

“I commit her to memory. When I'm alone, I feel a strange yearning, the hunger of a man fasting not because he believes but because he's ashamed. Not the cleansing hunger of the devout, but the feverish hunger of the hypocrite. I let her go every evening only because there's nothing I can do to stop her.”
― Mohsin Hamid, Moth Smoke

“The poets say some moths will do anything out of love for a flame
[...]
The moth takes off again, and we both step back, because he's circling at eye level now and seems to have lost rudder control, smacking into the wall on each round. He circles lower and lower, spinning around the candle in tighter revolutions, like a soap sud over an open drain. A few times he seems to touch the flame, but dances off unhurt.
Then he ignites like a ball of hair, curling into an oily puff of fumes with a hiss. The candle flame flickers and dims for a moment, then burns as bright as before.
Moth Smoke Lingers.”
― Mohsin Hamid, Moth Smoke

“And I ask myself what it is about me that makes this wonderful, beautiful woman return. Is it because I'm pathetic, helpless in my current state, completely dependent on her? Or is it my sense of humour, my willingness to tease her, to joke my way into painful, secret places? Do I help her understand herself? Do I make her happy? Do I do something for her that her husband and son can't do? Has she fallen in love with me?

As the days pass and I continue to heal, my body knitting itself back together, I begin to allow myself to think that she has.”
― Mohsin Hamid, Moth Smoke

“But you can always justify killing animals on the grounds that you want to eat them, or wear them, or that they smell bad, look funny, bother you, threaten you, and have the bad luck of being in your way. What about killing humans? Well aside from a few die-hard individualists on the fringe, the general consensus among people these days seems to be that eating and wearing other people is just not on. Wearing a suit which costs as much as a farmer will make in his lifetime is acceptable, but actually putting his eyeballs on a string and letting them dangle above tastefully exposed cleavage is bad form.”
― Mohsin Hamid, Moth Smoke

“And with a last stardrop, a last circle, I arrive, and she's there, chemical wonder in her eyes.”
― Mohsin Hamid, Moth Smoke

“Secrets make life more interesting. You can be in a crowded room with someone and touch them without touching, just with a look, because they know a part of you no one else knows. And whenever you're with them, the two of you are alone, because the you they see no one else can.”
― Mohsin Hamid, Moth Smoke

“What else is belief but direction?”
― Mohsin Hamid, Moth Smoke

“There are two social classes in Pakistan," Professor Superb said to his unsuspecting audience, gripping the podium with both hands as he spoke. "The first group, large and sweaty, contains those referred to as the masses. The second group is much smaller, but its members exercise vastly greater control over their immediate environment and are collectively termed the elite. The distinction between members of these two groups is made on the basis of control of an important resource:air-conditioning. You see, the elite have managed to re-create for themselves the living standards of say, Sweden without leaving the dusty plains of the subcontinent. They're a mixed lot - Punjabi and Pathans, Sindhis and Baluchis, smugglers , mullahs, soldiers, industrialists - united by their residence in an artificially cooled world. They wake up in air-conditioned houses, drive air-conditioned cars to air-conditioned offices, grab lunch in air-conditioned restaurants (rights of admission reserved), and at the end of the day go home to an air-conditioned lounges to relax in front of their wide-screen TVs. And if they should think about the rest of the people, the great uncooled, and become uneasy as they lie under their blankets in the middle of the summer, there is always prayer, five times a day, which they hope will gain them admittance to an air-conditioned heaven, or at the very least, a long, cool drink during a fiery day in hell.”
― Mohsin Hamid, Moth Smoke

“Slowly, even though I thought it would never happen, New York lost its charm for me. I remember arriving in the city for the first time, passing with my parents through the First World's Club bouncers at Immigration, getting into a massive cab that didn't have a moment to waste, and falling in love as soon as we shot onto the bridge and I saw Manhattan rise up through the looks of parental terror reflected in the window. I lost my virginity in New York, twice (the second one wanted to believe he was the first so badly). I had my mind blown open by the combination of a liberal arts education and a drug-popping international crowd. I became tough. I had fun. I learned so much.

But now New York was starting to feel empty, a great party that had gone on too long and was showing no sign of ending soon. I had a headache, and I was tired. I'd danced enough. I wanted a quiet conversation with someone who knew what load-shedding was.”
― Mohsin Hamid, Moth Smoke

“Many boys, probably most boys, have a first love before they fall in love with a woman. It begins the moment two boys realize they'd die for one another, that each cares more for the other than he does for himself, and it lasts usually until a second love comes on the scene, because most hearts aren't big enough to love more than one person like that.”
― Mohsin Hamid, Moth Smoke

“Secrets make life more interesting. You can be in a crowded room with someone and touch them without touching, just with a look, because they know a part of you no one else knows. And whenever you’re with them, the two of you are alone, because the you they see no one else can see.”
― Mohsin Hamid, Moth Smoke

“The mountain trembled like an earthquake. Dust flew into the sky. And the rock turned dark red, like the color of blood'.

'How would you know?' Asks Sindhi cap. 'You only have a black and white television'.

'But it's a very good one. You can almost see colours.”
― Mohsin Hamid, Moth Smoke

“I'm interested in things women do that aren't spoken about. Manto's stories let me breathe. They make me feel like less of a monster.”
― Mohsin Hamid, Moth Smoke

“I have this thing about friends and secrets. Sometimes when I meet a person I like, I tell them a secret they don't know me well enough to be told. It lets me judge their potential as a friend.”
― Mohsin Hamid, Moth Smoke

“If differences can be hidden, perhaps they aren't differences at all.”
― Mohsin Hamid, Moth Smoke

“The gun of the father is always the undoing of the son.”
― Mohsin Hamid, Moth Smoke

“I push against the tree and run away, stumbling, the unreal night playing with me, gravity pulling from below, behind, above, making me fall. And I run through a world that is rotating, conscious of the earth's spin, of our planet twirling as it careens through nothingness, of the stars spiraling above, of the uncertainty of everything, even ground, even sky. Mumtaz never calls out, although a thousand and one voices scream in my mind, sing, whisper, taunt me with madness.”
― Mohsin Hamid, Moth Smoke

“Fat" is a small word which belies its size in the girth of its connotations. Fat implies a certain ungainliness, an inefficiency, a sense of immobility, a lack of industry, an unpleasant, unaesthetic quality; unmotivated, unloved, unnatural, unusual, uninspired, unhappy, unlikely to go places or to fit, under the ground with a heart attack at fifty-five. In short, fat somewhat paradoxically involves the lack of many attributes which, you must concede, are generally held to be good.”
― Mohsin Hamid, Moth Smoke

“You see, it is my passionately held belief that the right to possess property is at best a contingent one. When disparities become too great, a superior right, that to life, outweighs the right to property. Ergo, the very poor have the right to steal from the very rich.”
― Mohsin Hamid, Moth Smoke

“Some men drink the blood of other men, all I drink is wine.”
― Mohsin Hamid, Moth Smoke

“I walk in the direction she tells me. I feel my pores opening, sweat and heat radiating out of my body. A firefly dances in the distance, leaving tracers, and if I turn my head from side to side, I see long yellow-green streaks that cut through my vision and burn in front of my retinas even after the light that sparked them has gone.

I emerge from the mango grove into a field. In the distance unseen trucks pass with a sound like the ocean licking the sand. A tracery of darkness curls into a starry sky, a solitary pipal tree making itself known by an absence of light, like a flame caught in a photographer's negative, frozen, calling me.”
― Mohsin Hamid, Moth Smoke

“But it wasn't the right season to lift off. Not yet. I sat in my apartment and looked out over the city, and I just didn't feel any passion to write about the place. I didn't give a damn about local politics; I wasn't moved by the issues. I missed home. And I was frustrated by people who actually thought the world was a centre and that centre was here. ‘The world's a sphere, everyone,’ I wanted to say. ‘The centre of a sphere doesn't lie on its surface. Look up the word 'superficial', when you have a chance.”
― Mohsin Hamid, Moth Smoke

“Didn't you tell me smoking ruined your stamina as a boxer?
...
Ruined is a strong word, I'd say.
...
It helps fight boredom. It gives you more to do and less time to do it in.”
― Mohsin Hamid, Moth Smoke

“Darashikoh was inside, for all the world a tastefully dressed patron of the shop, but he carried death in his undershorts and hunger in his heart.”
― Mohsin Hamid, Moth Smoke

“I’m best in small doses, believe me.”
― Mohsin Hamid, Moth Smoke

“(A revolver is) just a tool, really, like stapler. A stapler that punch through a person. Pin them. Drive blunt metal through flesh and bone.”
― Mohsin Hamid, Moth Smoke

“Language lacks the power to describe Faith.”
― Mohsin Hamid, Moth Smoke

“She’s drawn to me just as I’m drawn to her. She can’t keep away. She circles, forced to keep her distance, afraid of abandoning her husband and, even more, her son for too long. But she keeps coming, like a moth to my candle, staying longer than she should, leaving late for dinners and birthday parties, singeing her wings. She’s risking her marriage for me, her family, her reputation.
And I, the moth circling her candle, realize that she’s not just a candle. She’s a moth as well, circling me. I look at her and see myself reflected, my feelings, my desires. And she, looking at me, must see herself. And which of us is moth and which is candle hardly seems to matter. We’re both the same.
That’s the secret.
What moths never tell us as they whirl in their dances.
What Manucci learned at Pak Tea House.
What sufis veil in verse.
I turn her around and look into her eyes and see the wonder in them that must be in mine as well, the wonder I first saw on our night of ecstasy, and I feel myself explode, expand, fill the universe, then collapse, implode like a detonation under water, become tiny, disappear.
I’m hardly aware of myself, of her, when I open my mouth. There is just us, and I speak for us when I speak, and I must be trembling and crying, but I don’t even know if I am or what I’m doing.
I just say it.
“I love you.”
And I lose myself in her eyes and we kiss and I feel myself becoming part of something new, something larger, something I never knew could be.
Union.
There are no words.”
― Mohsin Hamid, Moth Smoke

“My father liked to wonder aloud whether the phoenix was re-created by the fire of its funeral pyre or transformed so that what emerged was a soulless shadow of its former being, identical in appearance but without the joy in life its predecessor had had. He wondered alternatively whether the fire might be purificatory, a redemptive, rejuvenating blaze that destroyed the withered shell of the old phoenix and allowed the creature’s essence to emerge stronger than it was before in a young, new body. Or, he would ask, was the fire a manifestation of entropy, slowly sapping the life-energy of the phoenix over the eons, a little death in a life that could know no beginning and no end but which could nonetheless be subject to an ever-decreasing magnitude? He asked me once if I thought the fires in our lives, the traumas, increased our fulfillment by setting up contrasts that illuminated more clearly our everyday joys; or perhaps I viewed them instead as tests that made us stronger by teaching us to endure; or did I believe, rather, that they simply amplified what we already were, in the end making the strong stronger, the weak weaker, and the dangerous deadly?”
― Mohsin Hamid, Moth Smoke