Pragya Tiwari talks to Teju Cole about cinema, the influence of Satyajit Ray and Federico Fellini on his novel Open City, and what Hindi film music he likes to listen to.
Pragya Tiwari: You spoke about your narrative in terms of Satyajit Ray's film narratives, but you didn't explain that really.
Teju Cole: With regards to Ray, I'm thinking more in terms of pacing and the buildup of incident. So that it's working on you, on the most obvious level, on an aesthetic level. His camera work is fantastic. Think of something like Jalsaghar, where there's these amazingly lucid, wonderfully lit scenes, like up on the roof, or inside the music room itself—there's one scene where elephants just go by—but he's not making a big deal about it. So it's working on that level, and it's only with time that you realize he's evoking a vanished and vanishing world, a somewhat oppressive world, but it's fading away, and a sadness comes in that.
So I like this idea of working in a way that's very patient, because I want to insist that if you're making a work of art for someone and you're going to take a certain amount of their time... I want to make it memorable. And so Ray is an example of someone who trusts you enough to slow down. And this is also true of Charulata and this is also true of Pather Panchali. He is going not for the impact but for the resonance, to have it echo in your being long after you've experienced it.