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In Shillong, Janice Pariat and her books are finally home. We discuss her writer’s shed, precarious book towers and Vincent, her beloved cat who patrols the bookshelves and how, over time, a library records and remembers a life
One of the pleasures of reading, and one I think we don't talk about enough, is furnishing a room with what little the writer has to offer. A sentence puts a window above the bed, another gives away the nicotine yellow of the walls. The writer says there is a blue chair, but not whether it is ugly or comfortable, maybe squishy; you decide. Soon enough you move through this house assembled from fragments. Sometimes you remember it more than the story itself, like this story by poet and author Janice Pariat, I read years ago, about a woman making a room of her own, alone in a big city. The plot escapes me but the room is still stubbornly furnished in my mind with blue fairy lights, a frangipani tree outside, and a little bookshelf. The books however are a blur and I suppose that is partly why I was curious about the homes Janice has made for herself, and the books that have come to fill them.
Janice Pariat: I grew up in Shillong and Assam around storytellers. The Khasis carry an oral history lineage and they are the most marvellous of storytellers. At home, there were always people telling stories—family stories, stories about places and people, stories that had been passed down and embellished and remembered differently each time. I think that shaped my imagination far more deeply than books did at first.
The books came later. Enid Blyton, Nancy Drew, children's classics—those were some of my first great literary loves. And looking back, I realise how little local or Indigenous literature I encountered as a child. The stories around me were told, while the books on our shelves came from elsewhere. Perhaps that is why I've always loved the idea of a home filled with both kinds of storytelling: books, certainly, but also people, voices, memory and conversation.
JP: I think my books and I have finally found a place to settle. They've lived on so many bookshelves across the world—various apartments in South Delhi, London, temporary homes, boxes in storage—that there is something quite wonderful about having them all around me here in Shillong again. Perhaps they enjoy it as much as I do.
The books haven't necessarily changed, but I have. And, so, the act of reading them here can feel different. A book about rain, a forest, a particular kind of light or a landscape can suddenly become more intimate when those things are outside the window. I'm not sure I would've enjoyed Robert Macfarlane's The Old Ways in the same way I did after walking trails here at home. There's also a quiet steadiness to being surrounded by the landscape that formed me. I think both the books and I have become less restless here. It feels like we've all, finally, come home.
JP: I'm very much a read-anywhere person. Bed, sofa, dining table, airport, train, a café, waiting for someone to arrive. I can read almost anywhere. But there is something particularly lovely about reading in my writing shed in Shillong. It is surrounded by trees and feels slightly removed from the rest of the house. The light changes through the day, and sometimes you can hear rain, 'slap praw praw as we call it in Khasi, beginning on the roof before it reaches anywhere else.
JP: Rain helps. A large pot of tea, nowhere I need to be, a book I am completely absorbed in, and ideally several hours in which I don't look at my phone. Perhaps a kitty nearby, though mine is usually more interested in deciding whether I'm occupying one of his favourite spots. The perfect reading afternoon is really an afternoon in which time becomes slightly unimportant.
JP: Vincent would very much like to climb all the bookshelves, especially because they reach almost to the ceiling. From up there he can survey the entire room—and, presumably, the world—with the serene superiority only a cat can possess.
JP: Constantly. I find books I have completely forgotten buying, books I remember loving but cannot remember the circumstances in which I acquired them, books I apparently intended to read fifteen years ago and still haven't. Books gifted by friends, students, loved ones. Sometimes I'll pull one down because its spine catches my eye and discover an old note, a piece of paper, or simply a sentence I had underlined years before. Those encounters can feel almost like messages from an earlier self. I think that's one of the pleasures of having a physical library: it remembers things for you, it becomes memory.
JP: In no order at all—which means I’m always finding books I wasn’t looking for while looking for something else. I rather enjoy the unpredictability.
JP: Their presence. I like the fact that books make a room feel inhabited by other minds, other lives. You don't have to be reading them for them to be part of your life. They contain the possibility of another world, another way of thinking, another person's attention. And I like the traces they acquire. Bent corners, inscriptions, old tickets tucked between pages, the particular wear of a book that has been loved. A library is partly a collection of books and partly a record of a life.
JP: I don't really keep books no longer like. There's too little shelf space for that luxury. Although I do have one dilemma: I own all seven of the original-edition Harry Potter books, and while I have complicated feelings about the author, I'm rather attached to the books themselves and the particular time in my life they belong to. So, they remain. For now.
JP: I think there are several. Robin Kimmerer's Braiding Sweetgrass, which contains familiarity and something new each time I open it. Similar with Pranay Lal's Indica. I also love Nigal Jenkins' Gwalia in Khasia, which is about the Khasi hills, and his travelogue/historical adventure always brings me home. The books that make me feel most at home are the ones that return me to a particular landscape or way of seeing. Ruth Allen's Weathering, Rebecca Solnit's A Field Guide to Getting Lost, Raja Shehaden's Palestinian Walks. Sometimes it's not even the "story" that does it. It might be a description of rain, a particular kind of light, a tree, the smell of wet earth.
I've come to realise that "home" for me is often about recognition—the sudden feeling that someone else has noticed something you thought only you had seen.
JP: That I have a terrible weakness for buying books faster than I can read them.
Also, that my reading life is far less orderly than my shelves might suggest. There are books on there that I bought because of one beautiful sentence on the back cover, books I haven't yet opened, books I've outgrown but can't quite bring myself to give away, and books I keep because they belonged to a particular version of myself, a particular point in my life. Perhaps the embarrassing secret is that I still believe I will eventually get around to all of them.
All images by Janice Pariat
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