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."

Monday, April 16, 2007

Dealing when I should be wheeling. And vice versa!

I don't consider myself a failure but by most criteria of the society I live in, I probably am one!

I went to IIT and qualified for IIM. I worked for leading multinationals before I became disillusioned with them.

I went abroad many times each time wanting to return home more desperately.

I left Miraj, the town where I lived for first 21 years of life, with some excitement but now I realize I have ended up "on a hillside far from home under an alien sky".

CHARLES ISHERWOOD has written an excellent essay “Take a Bow, Loser, the Spotlight’s Yours” NYT April 8, 2007.

I really liked a few points he has made:

“……Behold a new face of the Broadway musical, bearing a wry comic grimace that reflects the new mood abroad in America. A country renowned — for good or ill — as the land that enshrined success as a prize to be cherished above all others has lately evinced a sneaky fascination with failure. The losers on “American Idol” are almost as famous as the winners — sometimes more so. Kicked off one contest show, a new-minted pseudo-celebrity becomes a star of the next. Paris Hilton’s very pointlessness constitutes the whole of her appeal; no one really wants her to acquire a talent………

The affection for life’s also-rans is equally strong at the moment in the more popular media. Exhibit A in the case for the country’s new love affair with flopdom would have to be “American Idol,” arguably the most influential showbiz phenomenon of the last decade. ……

Maybe this new mood enshrining failure as the new success is related to the last decade or so of dissatisfaction with the country’s ostensible political winners, and the policies they’ve pursued. But it surely reflects a population embarking on the new century with a perhaps not unhealthy dent in its self-esteem……….

But everyone of a certain age (say 30) has probably lived through a few of those startling moments when you take stock of your life as it is and wonder: How did I get here, exactly? When did the curves come that moved me away from one destiny and toward another? I guess it all must have happened during intermission.”
Artist: Richard Decker The New Yorker 13 Oct 1962
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