Subhash Jaireth

And I use in the essay a term like a pointer on a road, which tells you the way which I had arrow pointing backwards, telling me what I have traveled and traversed, and the forward arrow where I will go and where the book will take me.

And that's what happened to me.

And I realized that Bulgakov and his wife had realized that this is the book Bulgakov, and to a certain extent, I considered his wife to be a co-author of the book because without her help, this book would not have been written.

and that this is the book he has to write before he dies.

He felt morally and ethically compelled to write that book.

And that's the biggest lesson I learned from this book, that if you really want to write, you have to write

on a topic, on a subject, on a question that really morally compels you.

That is, without writing about it, you'll feel crippled, you'll feel dead.

So moral and ethical compulsion for me is an important ingredient for any writing.

And most of the writers and poets who I describe in my essays follow that pattern.

That is, take, for instance, Simin Behabhani, the Persian poet, Iranian poet.

She wrote wonderful poetry.

and very critical poetry of the regime in Iran without leaving Iran.

But she wrote because she felt morally compelled to write about those things.

Perhaps it's my naive or silly idea that visiting a place where perhaps a poem or a book was written might open up new insights for me.

I am not sure this is true, but it does happen.

It makes you travel to places.

It makes you look at things a bit differently.

For instance, there is an essay about Svitayava's poem Saad, that is the garden.

And when I visited the house where Svitayava lived,