“Lambajan said nothing, and his silence spread outwards from him, muffling the hooting of taxis, the cigarette-vendor’s cries, the shrieks of street-urchins as they played fighting-kite and hoop and dodge-the-traffic, and the loud playback music emerging from the ‘Sorryno’ Irani restaurant up the hill (so called because of the huge blackboard at the entrance reading Sorry, No Liquor, No Answer Given Regarding Addresses in Locality, No Combing of Hair, No Beef, No Haggle, No Water Unless Food Taken, No News or Movie magazine, no Sharing of Liquid Sustenances, No Taking Smoke, No Match, No Feletone Calls, No Incoming with Own Comestible, No Speaking of Horses, No Sigret, No Taking of Long Time on Premises, No Raising of Voice, No Change, and a crucial last pair, No Turning Down of Volume—It Is How We Like, and No Musical Request—All Melodies Selected Are To Taste of Prop).”

—Salman Rushdie, The Moor’s Last Sigh, 1995.