With Naushad on harmonium
with Geeta Dutt and O P Nayyar
Launched on Nov 29 2006, now 2,100+ posts...This bilingual blog - 'आन्याची फाटकी पासोडी' in Marathi- is largely a celebration of visual and/or comic ...तुकाराम: "ढेकणासी बाज गड,उतरचढ केवढी"...George Santayana: " Everything in nature is lyrical in its ideal essence, tragic in its fate, and comic in its existence"...William Hazlitt: "Pictures are scattered like stray gifts through the world; and while they remain, earth has yet a little gilding."
मेघदूत: "नीचैर्गच्छत्युपरि च दशा चक्रनेमिक्रमेण"
समर्थ शिष्या अक्का : "स्वामीच्या कृपाप्रसादे हे सर्व नश्वर आहे असे समजले. पण या नश्वरात तमाशा बहुत आहे."
G C Lichtenberg: “It is as if our languages were confounded: when we want a thought, they bring us a word; when we ask for a word, they give us a dash; and when we expect a dash, there comes a piece of bawdy.”
C. P. Cavafy: "I’d rather look at things than speak about them."
Martin Amis: “Gogol is funny, Tolstoy in his merciless clarity is funny, and Dostoyevsky, funnily enough, is very funny indeed; moreover, the final generation of Russian literature, before it was destroyed by Lenin and Stalin, remained emphatically comic — Bunin, Bely, Bulgakov, Zamyatin. The novel is comic because life is comic (until the inevitable tragedy of the fifth act);...”
सदानंद रेगे: "... पण तुकारामाची गाथा ज्या धुंदीनं आजपर्यंत वाचली जात होती ती धुंदी माझ्याकडे नाहीय. ती मला येऊच शकत नाही याचं कारण स्वभावतःच मी नास्तिक आहे."
".. त्यामुळं आपण त्या दारिद्र्याच्या अनुभवापलीकडे जाऊच शकत नाही. तुम्ही जर अलीकडची सगळी पुस्तके पाहिलीत...तर त्यांच्यामध्ये त्याच्याखेरीज दुसरं काही नाहीच आहे. म्हणजे माणसांच्या नात्यानात्यांतील जी सूक्ष्मता आहे ती क्वचित चितारलेली तुम्हाला दिसेल. कारण हा जो अनुभव आहे... आपले जे अनुभव आहेत ते ढोबळ प्रकारचे आहेत....."
Kenneth Goldsmith: "In 1969 the conceptual artist Douglas Huebler wrote, “The world is full of objects, more or less interesting; I do not wish to add any more.”1 I’ve come to embrace Huebler’s ideas, though it might be retooled as “The world is full of texts, more or less interesting; I do not wish to add any more.” It seems an appropriate response to a new condition in writing today: faced with an unprecedented amount of available text, the problem is not needing to write more of it; instead, we must learn to negotiate the vast quantity that exists. How I make my way through this thicket of information—how I manage it, how I parse it, how I organize and distribute it—is what distinguishes my writing from yours."
Tom Wolfe: "The first line of the doctors’ Hippocratic oath is ‘First, do no harm.’ And I think for the writers it would be: ‘First, entertain.’"
विलास सारंग: "… इ. स. 1000 नंतर ज्या प्रकारची संस्कृती रुढ झाली , त्यामध्ये साधारणत्व व विश्वात्मकता हे गुण प्राय: लुप्त झाले...आपली संस्कृती अकाली विश्वात्मक साधारणतेला मुकली आहे."
Amitav Ghosh, 'The Hungry Tide', 2004:
"...“In Kolkata tens of thousands of dwellings fell instantly to the ground — Englishmen’s palaces as well as houses and huts. The steeple of the English church toppled over and came crashing down. They say there was not a building in the city left with four walls intact. Bridges were blown away, wharves were carried off by the surging waters, godowns were emptied of their rice, and gunpowder in the armories was scattered by the wind. On the river were many ships at anchor, large and small, from many nations. Among them there were two English ships of five hundred tons each. The wind picked them up and carried them over the tops of trees and houses; it threw them down a quarter of a mile from the river. People saw huge barges fluttering in the air like paper kites. They say that over twenty thousand vessels were lost that day, including boats, barges, dinghies and the like. And even among those that remained, many strange things happened.”
“A French ship was driven on shore with some of its cargo intact. The day after the storm, the remaining members of the crew went out into the fields to try to salvage what they could from the wreckage. A crewman was sent down into one of the holds to see what had been spared. After he had been gone a while, his mates shouted to ask him what was taking him so long. There was no answer, so they sent another man. He too fell quickly silent, as did the man who followed him. Now panic set in and no one else would agree to go until a fire had been lit to see what was going on. When the flame was kindled they saw that the hold was filled with water, and swimming in this tank was an enormous crocodile — it had killed those three men. “And this, my friend and comrade, is a true story, recorded in documents stored in the British Museum, the very place where Marx wrote Das Kapital.”
Eighty-year-old Dr R Mahadevan, from the first batch of
IIT-Madras was interviewed by Indian Express in September 2023. Read it here.
This is a wonderful interview. I did not know so much about IITM but a part of this statement what saddened me:
"We didn’t have any placement cells in 1964. We just concentrated on our studies and once we graduated, we started applying for jobs. However, most batchmates went abroad for higher studies. I worked at the Hindustan Steel in Rourkela and then pursued MTech from IIT Kharagpur,”
..."most batchmates went abroad for higher studies"....and probably never returned....
राज कपूर यांचे आमच्या घरात अग्रणी स्थान होते ... माझे वडील आम्हाला त्यांचे सिनेमा बघायला प्रवृत्त करायचे ... बाकीच्यांना नाके मुरडायांचे ... (नंतर मी त्याची कसर भरून काढली!)... त्यांचे फार कमी सिनेमे मला खूप आवडले - जागते राहो, श्री ४२०, बूट पॉलीश , चोरी चोरी , मेरा नाम जोकर, बॉबी ...
माझ्या आई बरोबर वडिलांचे जे प्रेमप्रकरण १९५०च्या दशकात पुण्यातील पंतगोटात सुरु होते , त्यावेळी त्या दोघांना राज कपूर नर्गिस म्हटले जात असे मी नंतर ऐकले आहे ...
दोन्ही प्रेमप्रकरणे फार यशस्वी झाली असे आज २०२४ साली म्हणवत नाही ..
राज कपूर आणि माझे वडील यांच्या बद्दल खूप लिहता येईल पण ते करायला मन धजावत नाही ... बऱ्याचदा त्त्यांचे सद्गुणच आठवतात ... त्यांचे माझ्यावरचे उपकार आठवतात ...
आणि आज तर कपूर यांची जन्मशताब्दी..
Rishi Kapoor:
"...I have seen my father lament about the lack of talent in his own time. He would get exasperated and say, ‘Thank God Mehboob and Shantaram are not around. If they’d seen the kind of films we’re making, they’d have committed suicide.’ I think my father may have wanted to do the same today. Towards the end of his life, he was horrified by how busy actors had become and how wages had shot up, and how little actors were involved in a film as a whole..."
Sham Lal reviewed Kosambi's 'An Introduction to the Study of Indian History' for the Times of India May-June 1957.
"...History is "the presentation, in chronological order, of successive developments in the means and relations of production". This defines his creed as well as his method.
The lack of disguise puts off many readers. Yet it in no way excuses the bad manners of the critic who after reading the book said: "time marxes on." Marx is not dismissed by a schoolboy joke. Perhaps more than Kosambi's method what gets on the reader's nerves is the cramp in the professor's personality. He is too cold and stern. Not for a second does he warm up to his subject. He is too proud and perpendicular. He never stoops to shake hands with anyone who differs from him. Invariably, he turns his face away. He will not let the sleeping dogs lie and gives them a kick whenever he can.
May be there is a touch of malice in all this..."
"...Who spoke of the "golden age" of the Guptas? Not Kosambi. It is true, he tells us, that we have more gold coins from the Gupta period than from any other, but gold coins don't make an age golden
What about Kalidasa? we mumble. And Arya Bhatta and Varahamihira? And those who painted the murals in caves 1 and 2 and 16 and 17 at Ajanta and carved the face of the Sarnath Buddha? Kosambi dismisses these questions with a shrug of the shoulder. "I know all that and much more," he says in effect. "But bejeweled Avalokitesvaras and faintly smiling Buddhas don't make an age golden either. Look at the languishing cities, a more hidebound caste system and the idiocy of life in the stagnating villages." We are not convinced. There must be something more to it than the idiocy of village life, we say to ourselves. How could so much idiocy sustain so much sophistication in both art and thought?..."
"...So we take leave of the learned professor. We don't feel relaxed. But then history is not fiction, he reminds us in his voice, sour and stern. It is all the more so where the relevant facts are so patchy and can be manipulated easily to suit the conscience of a historian who also happens to be a staunch ideologue as insensitive to symbolic language as to transcendental reflections prompted by the human condition which preoccupies some of the best poets and thinkers even in this hi-tech age."
डी डी कोसंबी, शाम लाल, आणि सेतु माधवराव पगडी
य दि फडके: "... ब्रॅडलॉ आणि बेझंट यांच्या कार्यामुळे महाराष्ट्रातील नेत्यांचे लक्ष संततिनियमनाकडे वळले असावे..." (पृष्ठ ५०, 'र. धों. कर्वे', १९८१). आगरकर संततिनियमनाच्या बाजूने पूर्णपणे होते आणि त्यांचा 'स्त्रीदास्य विमोचन' निबंध- ज्यात संततिनियमन येते- प्रसिद्ध आहे.
अजूनही ॲनी बेझंट भारतात कीर्तिरूपे 'जिवंत' आहेत. चेन्नई चे उच्चभ्रू वस्ती असलेले बेसंट नगर त्यांच्या नावाची आठवण करून देत असते.
२०२४ च्या सुरवातीला, Michael Meyer यांचे "A Dirty, Filthy Book: Sex, Scandal, and One Woman’s Fight in the Victorian Trial of the Century" हे पुस्तक प्रसिद्ध झाले.
हे ॲनी
बेझंट यांच्यावर झालेल्या १८७७ मधील प्रसिद्ध खटल्यावर
आहे.लेखकाचे ह्या पुस्तकाबाबत मनोगत ऐकायचे असेल तर History Extra चा हा पॉडकास्ट ऐका.
In 1877 she was involved in one of the trials of the century when she was arrested for publishing an “obscene” pamphlet about sexual education and birth control. Fruits of Philosophy: or the Private Companion of Young Married People was the Lady Chatterley of its time, except that it was written by a reputable American physician, Charles Knowlton. He explained the physiology of conception and methods to treat infertility and impotence, and briefly described a method of avoiding pregnancy by using a sponge to wash the vagina after intercourse.
Victorian society was scandalised when Besant republished the book from her private printing press. She had insisted that the reprint should have a low price of sixpence to reach the working-class population who could most benefit from effective birth control."
बेझंट ह्यांना बहुतेक भारतीय अगदी वेगळ्या कारणांसाठी ओळखतात. मी ही त्यातलाच आणि मला ह्या पुस्तकाची परीक्षणे वाचून असे वाटले की मी त्यांना ओळखलेच नाही.
य दि फडके त्या खटल्याचा उल्लेख वरील पुस्तकात करतात पण त्यातून बेझंट बाईंना झालेला त्रास, त्याग आणि त्यांचे व्यक्तिमत्व समजत नाही. त्या र धों कर्व्यांइतक्या किंवा जास्तच लढाऊ होत्या, बंडखोर होत्या.
ह्या तर र. धों. कर्वे ह्यांच्या 'पूर्वज' निघाल्या.
भारतात त्यांनी इतर कार्ये (होमरुल चळवळ, थिऑसॉफिकल सोसायटी वगैरे) न करता संततिनियमन, कुटुंब नियोजना वरती काम केले असते तरी त्या आज तेवढ्याच , किंचित जास्तच लक्षात राह्ल्या असत्या.
"... The lighting comes from different sources: from the moon, through a hole in the clouds, from the glow of a gas lamp and, in the distance, from a window without curtains. Furthermore, the light of the moon reflects both on the water to the left of the painting and on the muddy puddles in the foreground. These different sources of light, together with the leafless trees, help to create a mysterious and romantic play of shadows in the painting..."
"John Atkinson Grimshaw (1836- 1893) is considered, today, one of the great painters of the Victorian era and one of the best and most skilled nocturnal and landscape artists of all time. His love for realism was born from a passion for photography. Influenced by the Pre-Raphaelite style, he created landscapes with accurate light and color, vivid detail and realism. His works often represent, in various seasons and with different climatic situations, city streets, suburban streets and the docks of London, Hull, Liverpool and Glasgow.
In his paintings with a poetic moonlight, with vague
atmospheres, from the misty, humid and dark streets, lonely houses, luminous
shop windows, gas lights, puddles, solitary figures, still or moving, emerge in
contemplation of the landscape."