Months later, in the city, when a deadline dragged late and his apartment felt too small, Arun would take the brass lamp out and hold it. The flame wouldn't burn there, but under his palm he could feel the warmth of having been seen. He wrote emails to the people he'd repaired things for. He sent photographs. Sometimes, on a Sunday that had nothing to do with anything, he would call the fisherman and ask how the child who'd been saved was doing.

The negatives showed the landscape perfectly—the emerald tea bushes, the solitary silver oak trees—but in the foreground of every shot, there was a figure. A woman in a white saree, standing with her back to the camera.

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