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.”
W H Auden: "But in my arms till break of day / Let the living creature lie. / Mortal, guilty, but to me/ The entirely beautiful."
Will Self: “To attempt to write seriously is always, I feel, to fail – the disjunction between my beautifully sonorous, accurate and painfully affecting mental content, and the leaden, halting sentences on the page always seems a dreadful falling short. It is this failure – a ceaseless threnody keening through the writing mind – that dominates my working life, just as an overweening sense of not having loved with enough depth or recklessness or tenderness dominates my personal one.”
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."
Art Spiegelman: "You know words in a way are hitting you on the left side of your brain, music and visual arts hit on the right side of the brain, so the idea is to pummel you, to send you from left brain to right brain and back until you're as unbalanced as I am."
विलास सारंग: "संदर्भ कुठलेही असोत, संस्कृत, इंग्रजी, बुद्धिवादी, तांत्रिक, इतिहासाचे, खगोलशास्त्राचे, आधुनिक पदार्थविज्ञानाचे, शिवकालीन व पेशवाईतील बखरीचे, अगणित ज्ञानक्षेत्रांचे, अशा वैविध्यपूर्ण ज्ञानावर लेखन- विशेषत: कवितालेखन- उभं राहत."
Tuesday, March 20, 2007
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