Subhash Jaireth

I was shattered because that house looked so neat and clean, all whitewashed with the trees, green trees.

And I said, oh, this doesn't fit with the whole mood of the poem, the sad melancholic note of the poem.

So what happened?

And then I discovered the 1936, 1937 or mid-1930s images of the same house.

And you could see the house was very, very different.

And suddenly I felt a sense of relief.

Oh, yes, now I know why...

This poem was written there.

But it's just an illusion, perhaps.

It's just a thing which you look for.

Sometimes it works, sometimes it doesn't work.

But it gives you an excuse to travel.

Kafka, for me, is one of the most tragic and a comic writer at the same time.

And I both laugh and cry when I read his stories.

One of the most, people know his The Metamorphoses and it has, it's almost a cult, you can say literature.

I mean, there is such a big following, but he has got other wonderful stories.

Like for instance, there is a story called In the Penal Colony and that story is so

And so now you can call it Kafkaesque that I use that story in one of my novel length narrative of about the famous Russian Jewish German musician, composer Alfred Schnittke.

In this penal colony, I don't know if the readers remember it, this story is about a prison officer who invents a machine which is like a stencil machine where the body of the prisoner is put and the stencil machine stencils phrases on their body with nails like tattoos, like work is good, like don't steal.

And then that when the prisoner is, you could say, tattooed like this, he dies and the body is thrown in the ditch.