This paper seeks to examine the ambiguities inherent in the ways in which the notion of Indian modernity is etched out in our social imaginery, especially in urban middle class-centric ways. To do so, it examines the novel Chowringhee (1962) by Shankar and its 1968 film adaptation (directed by Satyajit Ray). This paper argues-following Partha Chatterjee's theory of andar-bahir and Dipesh Chakrabarty's theory of two histories-that the plural, hybrid, modern Indian subject can perhaps be better accessed by examining the interstices between the subject positions one is simultaneously occupying. Examining subjectivity, as performed in intersectional, liminal spaces, rather than exclusive binaries-allows for a more comprehensive representation of the hybrid space and time inhabited by the modern Indian subject and addresses the anxieties inherent in this hybridity.