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.”

H. P. Lovecraft: "What a man does for pay is of little significance. What he is, as a sensitive instrument responsive to the world's beauty, is everything!"

Werner Herzog: “We are surrounded by worn-out, banal, useless and exhausted images, limping and dragging themselves behind the rest of our cultural evolution.”

John Gray: "Unlike Schopenhauer, who lamented the human lot, Leopardi believed that the best response to life is laughter. What fascinated Schopenhauer, along with many later writers, was Leopardi’s insistence that illusion is necessary to human happiness."

Chris Ware: "Being a cartoonist means you don’t consider yourself too fancy."

Justin E.H. Smith: “One should of course take seriously serious efforts to improve society. But when these efforts fail, in whole or in part, it is only humor that offers redemption. So far, human expectations have always been strained, and have always come, give or take a bit, to nothing. In this respect reality itself has the form of a joke, and humor the force of truth.”

विलास सारंग: "संदर्भ कुठलेही असोत, संस्कृत, इंग्रजी, बुद्धिवादी, तांत्रिक, इतिहासाचे, खगोलशास्त्राचे, आधुनिक पदार्थविज्ञानाचे, शिवकालीन पेशवाईतील बखरीचे, अगणित ज्ञानक्षेत्रांचे, अशा वैविध्यपूर्ण ज्ञानावर लेखन- विशेषत: कवितालेखन- उभं राहत."

Tuesday, March 20, 2007

Where do you suppose Bhau Padhye learned such terrible words?

“SACRED GAMES” of Vikram Chandra has received a lot of praise across the world.

Donald Morrison in his review for FT on Sept 29, 2006 says:

’……… the real star of Sacred Games is Mumbai, described with the fond precision of Joyce’s Dublin - from Colaba to Bandra, gang-ridden Dongri to graceful Marine Drive….

Chandra gets the sounds and smells, as well as Mumbai’s mix of smugness and longing, rural atavism and mobile-phone modernity, filmi (film music) glitz and gangster strut. He also evokes the close links between those last two realms, in an almost painfully hilarious account of Gaitonde’s attempt to produce a Bollywood movie.

For added authenticity, Chandra sprinkles the pages with enough Hindi, Urdu and Marathi to fill a dictionary. It helps to know your blenchods from your maderchods, your lakhs from your crores. He never offers translations - or italics - yet clarity prevails. When one of Gaitonde’s girlfriends says: “Give a boy a ghoda, doesn’t make him smart. Just makes him a chutya with a gun,” you get the picture.’

In Bhau Padhye, Mumbai had her best chronicler of all time.

Marathi speaking people often say- in day to day life they speak Tukaram’s (17th century saint-poet) Marathi. Similarly, a lot of Bambaiyya Hindi / Marathi is deeply influenced by Bhau Padhye’s Marathi. Or is it the other way round?!

Literary stalwarts like Durga Bhagwat दुर्गा भागवत, Vijay Tendulkar, Bhalchandra Nemade and Dilip Chitre have all called Bhau Padhye world-class artist. Quite rightly so.

Unfortunately, Bhau’s royalty income from his entire life’s work would never equal even a fraction of Chandra’s advance (US$ 1 million) for this single book!






Artist: Helen E. Hokinson The New Yorker 9 June 1945