मराठीतील एक मोठा कवी पब्लिक डोमेन मध्ये आला....So What!

जानेवारी २ २०१९ रोजी, मी गार्डियन मध्ये 'The drought is over': mass US copyright expiry brings floodof works into public domain' या नावाचा लेख वाचला. केवढी excitement आहे त्या लेखात:

"... “The public domain has been frozen in time for 20 years, and we’re reaching the 20-year thaw,” the center’s director Jennifer Jenkins told the Smithsonian. The magazine predicted that the release’s impact on culture and creativity could be huge, because “we have never seen such a mass entry into the public domain in the digital age”. Brewster Kahle, founder of the Internet Archive, told the Smithsonian: “We have shortchanged a generation. The 20th century is largely missing from the internet.”

The expiration means anyone can publish an edition, to take one example, of Agatha Christie’s The Murder on the Links. That novel, alongside thousands of other books, will become part of the repository of texts on sites such as the Internet Archive and Google Books. Writers will be able to use it as inspiration, creating new works or sequels based on it. Students will be able to quote freely from it; theatre producers will be able to adapt it.

“We can’t predict what uses people are going to make of the work we make available,” Mike Furlough, executive director of HathiTrust, told the magazine. “And that’s what makes it so exciting.”..."

बा सी मर्ढेकर आज २० मार्चला ६३वर्षांपूर्वी, १९५६ साली,  वारले.

Copyright law of India प्रमाणे त्यांच्या साहित्यावरील copyright , माझ्या हिशेबाने, जानेवारी १ २०१७ ला संपला ("lifetime of the author + sixty years from the beginning of the calendar year next following the year in which the author dies" )

तसे असून सुद्धा गेल्या २६ महिन्यात, मी अजून एकही मर्ढेकरांच्या कवितेचे मुद्रण (मौज सोडून) कोणी केल्याचे पाहिले नाही.. त्यांच्या कादंबऱ्यांचे , समीक्षेचे , नाटिकांचे तर सोडाच... 

मराठीतील एक मोठा कवी पब्लिक डोमेन  मध्ये आला ही गोष्ट महत्वाची आहे असे कुणाला वाटल्याचे दिसत नाही.

आता कोणीतरी विलास सारंगांनी केलेला त्यांच्या अनेक कवितांचा इंग्लिश मधील अनुवाद प्रसिद्ध केला पाहिजे

ते असो , पण मर्ढेकर मात्र आता, ज्या पब्लिक डोमेन वर्गात तुकारामाचा नंबर फार मोठ्या फरकाने (साहित्यिक गुणवत्ता) पहिला आहे, अशा वर्गात, मागच्या बाकावर का असेना, जाऊन बसले!

मला त्यात फक्त दोनच मराठी कवी सापडले...The Oxford Companion to Twentieth Century Poetry in English

Robert Nye यांनी लिटररी रिव्यू , मे १९९४ साठी 'The Oxford Companion to Twentieth Century Poetry in English' By Ian Hamilton (ed) चे परिक्षण लिहले. 
"... Looking about the Cheshire Cheese public house at the assembled members of the Rhymers’ Club, Yeats is reported to have said, ‘We are too many.’ The same thought occurred to me on first looking into The Oxford Companion to Twentieth-Century Poetry in English. Here are 1500 writers of all sorts of verse, from 1900 to the present, ranked in alphabetical order, plus 100 entries on topics such as Rhyme, Traditional Forms, Verse Drama, Syllabics, Concrete Poetry, and so forth. The result is at once a reference book and a sort of map of critical opinion regarding the current verse trade. It should prove useful to public libraries, and the odd individual reader might get pleasure or instruction from the odd individual entry..."

मी ह्या पुस्तकाची २००३ची एडिशन पहिली. मला त्यात फक्त दोनच मराठी कवी सापडले.

KOLATKAR, Arun Balkrishna
(1932– ),
was born in Kolhapur and works as a graphic artist in a Bombay advertising agency. He is one of the few genuinely bilingual poets of contemporary India, writing in both English and Marathi. Although his poems have appeared in a number of anthologies and journals in India, Britain, and the United States, his only two published collections to date are Arun Kolatkarchya Kavita (a selection of his Marathi verse) and a collection of thirty-one linked poems in English, Jejuri (Bombay, 1976). For this volume, he was awarded the Commonwealth Poetry Prize. Notable among his uncollected verse is the long poem, ‘The Boatride’ which was originally published in Arvind Mehrotra's short-lived little magazine, Damn You. It has subsequently been published in R. Parthasarathy's Ten Twentieth Century Indian Poets (Delhi, 1976).
Kolatkar's most sustained achievement, Jejuri, ostensibly records a pilgrimage to the temple of Khandobi at Jejuri, a small town in Western Maharashtra. The poet views Hindu tradition sceptically. His laconic verse borrows something from the medieval bhakti poets of Maharashtra, especially Tukaram (who Kolatkar has translated into English), and juxtaposes this with the relaxed diction of the American Beat poets. An idiosyncratic humour pervades much of Kolatkar's writing; it derives some of its force from viewing commonplace detail at an unaccustomed angle. In the short poems this can produce original, surreal effects. Longer poems, notably ‘Ajamil and the Tigers’, display a skilfully sustained handling of narrative and irony.

CHITRE, Dilip Purushottam
(1938– ),
was born in Baroda, where he had his early education. His family moved to Bombay when he was 13. After taking a degree in English from Bombay University in 1959, he went to Ethiopia for three years to teach in schools, and in the late Sixties and Seventies he was associated with the magazine Quest (now New Quest), for which he wrote essays, reviews, and a regular column of comment. He has edited An Anthology of Marathi Poetry: 1945–65 (Bombay, 1967), doing most of the translations himself, and his translations of Tukaram (seventeenth century) are collected in Says Tuka (New Delhi, 1991). He has also directed a film and held exhibitions of his paintings.
A prolific writer in two languages, Marathi and English, Chitre has created a large body of work, much of it uncollected. Travelling in a Cage (Bombay, 1980), his only book in English so far, contains merely a fraction of his English poems. The title poem was written between 1975 and 1977, when he lived in the United States. Its epigraph, ‘The heart is placed obliquely in the chest’ is from Gray's Anatomy, and a sexual encounter, not always obliquely dealt with, appears to be at the heart of the sequence. Chitre sees language, sex, even death, as a prison or cage, with self-murder, ‘the greatest of all forms’, holding the key to freedom. The book's shorter poems play down his De Profundis side, and employ a plainer, less inwardturning voice and a raconteur's tone.
Travelling in a Cage might be difficult to find, but poems from it are available in two recent anthologies, Indian English Poetry since 1950, ed. Vilas Sarang (Bombay, 1989), and The Oxford India Anthology of Twelve Modern Indian Poets, ed. Arvind Krishna Mehrotra (Delhi, 1992). For a discussion of his work,
see Modern Indian Poetry in English, by (Delhi, 1987).
(सौजन्य: ऑक्सफर्ड प्रकाशन)

अर्थात आता दोघेही वारले आहेत.

मला थोडे आश्चर्य वाटले: केशवसुत, बालकवी, माधव ज्युलियन, बा सी मर्ढेकर, नामदेव ढसाळ , सदानंद रेगे यांचा त्यात समावेश नाही याचे. (याचा प्रमुख अर्थ हा की त्यांचे इंग्लिश मध्ये चांगले अनुवाद झाले असल्यास प्रसिद्ध झाले नाहीयेत. उदा: विलास सारंगांनी केलेला मर्ढेकरांचा अनुवाद)....  

चांदोबा, चांदोबा स्विस बँकेमागे लपलास का?... Chandamama Magazine and Swiss Banks

चांदोबा मासिक हे या ब्लॉग वरती अनेक वेळा आले आहे... पण ते बिझनेस लाईन, मार्च १० २०१९ ला ह्या पद्धतीने येईल असे वाटले नव्हते....

"End of good tale: New owners of Chandamama in dock for Swiss stash... It enthralled children with stories from Indian mythology for decades while narrating virtues of good deeds, but the Chandamama magazine’s new owners are now in the dock for allegedly stashing funds in Swiss banks. Mumbai-based Geodesic Ltd, which acquired the iconic magazine in 2007, and its three directors are being probed by Indian authorities for alleged money laundering and other financial irregularities, and Switzerland has agreed to provide “administrative assistance” (share information) regarding their accounts in its banks...."

चांदोबा ने तहहयात नैतिकता शिकवली... आता वरील केसचा शेवट असा न होवो .... 

कलाकार : चंदामामाचे यशस्वी 

सौजन्य : चंदामामा, सप्टेंबर १९७१

Albert Einstein@140

Today March 14 2019 is 140th birth anniversary of Albert Einstein

Charlize Theron

Photographer: I don't know

वाङमयीन 'चेटकिणी'....A Celebration of Magical Women Writers

विलास सारंगांची वाङ्मयीन टीकेवरची पुस्तके आपण वाचली तर आपल्या लक्षात येते की त्यांच्या नजरेत दुर्गाबाई कशा शेवटी शेवटी उत्तुंग झाल्या ते.... पहिल्या पुस्तकांतून दुर्गबाईंचा उल्लेख सुद्धा नाहीये... हे पुन्हा एकदा लिहतोय कारण हे वाचल:

"“The absence of the witch does not invalidate the spell,” Emily Dickinson wrote. So great writers bewitch us with their work long after they have absented themselves from the world. The enduring bewitchment of thirty such titans and trailblazers of the written word,"
('Literary Witches: A Celebration of Magical Women Writers' by Taisia Kitaiskaia, Katy Horan)

'long after they have absented themselves from the world' दुर्गाबाई मला कायम bewitch करतात, त्या सारंगांना पण bewitch करत होत्या....

Sappho (630–570 BCE). 

Artist: Katy Horan

अश्या प्रकारच्या चित्रांचे प्रयत्न मराठीत वेगळ्या प्रकारे वसंत सरवटे यांनी केले आहेत - साहित्यीकांची अर्कचित्रे काढून....

Manneken Pis@400; But Could Have Been @4000...

#MannekenPis400 

Wikipedia informs:

"Manneken Pis, meaning "Little Pisser" in Dutch, is a landmark small bronze sculpture (61 cm) in the centre of Brussels (Belgium), depicting a naked little boy urinating into a fountain's basin. It was designed by Hiëronymus Duquesnoy the Elder [nl] and put in place in 1618 or 1619...."

courtesy: Wikipedia

But I realized this milestone only when I saw the following cartoon

Artist: Maddie Die, The New Yorker, February 11 2019

Bill Ward@100

#BillWard100

Today March 6 2019 is 100th birth anniversary of Bill Ward (William Hess Ward) 6/3/1919- 17/11/1998

“....Like many artists of the time, Ward moved between several companies, and around 1946 worked for “Busy” Arnold, Quality’s publisher, who also hired Cole. When Arnold asked Ward if he had any ideas for a new story for his Modern Comics anthology, Ward suggested Torchy—the strip about the dizzy blonde he’d created while in the Army. Torchy was a stripping morale booster for troops, in much in the same way as its U.K. counterpart, Jane. The strip became a huge success and got its own title, while Ward’s particular skill at drawing women got him moved over to Quality’s massively popular romance comics...

... Ward’s women were caricatures from the start; with enormous breasts and miniscule waists, they seemed to totter about effortlessly on 12” heels in skintight cocktail dresses. “Like a lot of folks I’ve spoken to over the years, I’ve had conflicting feelings about the man’s art. Certainly, he produced lusciously gorgeous depictions of the female form, but frankly, a lot of what I’ve seen from Ward slipped over the line from sexy to crass, particularly much of his later work, where his ladies were often festooned with a grotesquely gargantuan bosom,” said an uncharitable fellow cartoonist, Fred Hembeck....

... Ward produced an incredible 30 cartoons a month for Goodman and was paid a mere $7 for each one. It’s estimated that Ward drew or painted over 10,000 pin-up cartoons during his life, more than any other artist before or since. His influence is still felt today and he is regarded very much as an artist’s artist...”

(‘Erotic Comics: A Graphic History: Volume 1’ by Tim Pilcher, 2008)

महाराष्ट्रातील कित्येक माजी-आजी कलावंतांवर बिल वॉर्ड यांचा प्रभाव असल्याच जाणवत...

Artist: Bill Ward