ABSTRACT In the poem ‘The Caves of Ajanta,’ Urdu poet Miraji (1912–49) presents a sensuous experience of imagination as a type of terrain, the features of which are formed from time itself. Underlying this impersonal geography is an understanding of permeable personhood that is central to Miraji’s creative and critical practices. Miraji’s poem describes imagination as having a texture, a speed, and a disposition. By drawing on Buddhist technologies of the self and conceptions of temporality, he complicates the inherited sense of a coherent and continuous individual, along with the geography of Ajanta itself, through the medium of imagination. This article situates this movement towards impersonal imagination within Miraji’s larger poetic and critical oeuvre, including how it contributes to a larger project of reimagining the categories of life and creativity.