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.”

Friedrich Nietzsche: “Everybody wants the same, everybody is the same: whoever feels different goes voluntarily into a madhouse.”

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....."

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."

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: "… . . 1000 नंतर ज्या प्रकारची संस्कृती रुढ झाली , त्यामध्ये साधारणत्व विश्वात्मकता हे गुण प्राय: लुप्त झाले...आपली संस्कृती अकाली विश्वात्मक साधारणतेला मुकली आहे."

Sunday, September 16, 2007

Meera Dev Burman Escapes from Old Age Home!...How?

Susan Sontag: 

“We live in a culture committed to unifying greeds…..everyone on the planet feeding at the same trough of standardized entertainment and fantasies of eros and violence…. (on the iconoclastic spirit of the 1960s) How one wishes that some of its boldness, its optimism, its disdain for commerce had survived……There is no culture ... without a standard of altruism, of regard for others.”

Outlook is an iconoclastic magazine. Not surprising because they have Vinod Mehta as the editor-in-chief, a throw-back to sixties right from his Sunday Observer days.

In their India’s independence day special issue they took on Bal Thackeray. This week it’s the turn of legendary artist Asha Bhosale whose birthday was recently celebrated on every TV channel. (btw Uddhav Bal Thackeray spoke movingly on the occasion. I really liked his speech.)

In a scathing article (“A Bungalow, A Ma-In-Law” of issue dated September 24, 2007) - which doesn't give Ms. Bhosale's views on the subject- Team Outlook says:

“…..Asha would have liked to keep her mother-in-law's (92-year-old ailing Meera Dev Burman, mother of star film composer, the late R.D. Burman, and widow of the equally iconic Sachin Dev Burman) recent months a secret, but that was not to be. Old and ailing Meera was more or less confined to bed soon after her son's death in January 1994..

If Meera had for the past 13 years been living largely confined to her room, in bed, with an attendant round-the-clock, what prompted Asha to take the drastic step of moving her to an old age home, even if it sparkles like a four-star hotel? Surely, she could have continued in the apartment. Those in the know suggest property row as a reason, others say that the 92-year-old ailing woman was not desired in the house by Asha's family who wanted to occupy it….

...her son can be extremely money-minded and ruthless. Maybe he pushed her into it…..

Days after R.D.'s death, there were stories of how Asha had cleverly managed to get control over most of his assets, how some bank lockers in his name had been emptied out and so on. Filmmakers and lyricists who had interacted with R.D. in his last days did not have a good word to offer about her and suggested that R.D. had naively trusted her—in fact, trusted her too much…

Against this, Meera being moved to an old age home fits the pattern. She may have languished there but for the Tripura state government that tracked her down because it wanted to present her a state award. When her address—a 10 x 12 ft room in an old age home—was conveyed and some sections of the media played it up, it appears that the Bhonsles had second thoughts about her continued stay there. "When news of her being R.D. Burman's mother and Asha Bhonsle's mother-in-law spread, she (Meera) became a spectacle here, though she was totally unaware of it all," says the old age home official. "It wasn't good for the family either. Maybe that's why they took her back."..."

Mangeshkar family is not new to such ‘commercial’ controversies.

The Times of India reported on November 7, 2006:

“Melody queen Lata Mangeshkar on Monday reacted sharply to Kolhapur NCP leader V B Patil's remark that she should return her Bharat Ratna for selling part of Jayaprabha Studio. The studio played a key role in the development of Marathi and Hindi cinema and is considered to be the "karmbhumi" of one of the pioneers of Indian film industry director Bhalji Pendharkar...

The studio on 11 acres of land was founded by Chhatrapati Rajaram Maharaj in 1934 in the name of "Kolhapur Cinetone". Pendharkar purchased it from the former princely state of Kolhapur in 1944 and renamed it Jayaprabha Studio. But he eventually handed over the studio to Mangeshkar. Last month, Mangeshkar sold about seven acres of land for commercial development...”

Sandeep Acharya (संदीप आचार्य) wrote vituperative article on Lata Mangeshkar’s favourite project-Dinanath Mangeshkar Hospital, Pune in Loksatta dated May 4, 2003- “Dinanath’s kalpavruksh is for the rich” (दीनानाथांचा कल्पवृक्ष श्रीमंतांसाठी!).

Loksatta’s editorial on April 19, 2003 “Lachar Celebrities” (लाचार सेलेब्रिटीज) also attacked Lata Mangeshkar among others like Sachin Tendulkar and Amitabh Bachhan for some of their actions.

The late Dinanath Mangeshkar, father of Asha and Lata, was blessed with a golden voice and large heart but poor finances. Vishram Bedekar (विश्राम बेडेकर) has given a moving account of this in his autobiography "एक झाड आणि दोन पक्षी", 1987 ("One Tree and Two Birds", Popular Prakashan).

In short, Susan Sontag would have liked him.

The Spectator, UK,  September 15, 2007

Maharashtra Farmers Just Sit and Chew Tobacco?

On September 9, 2007, Union textile minister Shankarsinh Vaghela said farmers of Vidarbha were themselves to be blamed for their plight.

He reportedly said: “If you just sit and chew tobacco in the farms, how can you expect good crops? The government can only help you to an extent. You should emulate the practices of farmers in Gujarat

There has been big hue and cry after this. Vaghela of course has declared that he is misquoted and this is a “fabrication” by BJP to malign him.

These debates have been going on for long.

When I was in Assam, I often heard all other communities talking about Assamese as “Lahe Lahe” people.

One of the best non-fictional Marathi book in recent years is the late R B Patankar’s “अपूर्ण क्रांती ” ‘Incomplete Revolution’ (Mauj Prakashan 1999). He has written extensively about two important periodicals of 19th century Maharashtra. ‘मराठी ज्ञान प्रसारक Marathi Dnyan Prasarak’ and ‘विविध ज्ञान विस्तार Vividh Dnyan Vistar’.

In June 1851, an article was published titled “Comparison of Gujarati and Marathi people’s current condition”. Author Keshav Janardan Punalekar said that “Marathi people have indifference towards commerce, fondness for undisciplined expenditure, arrogant nature and laziness” and Gujarati people have “interest in commerce, simplicity, industriousness, habit of limited expendituere”.

Punalekar is not just critical but suggests how Marathi people can change their ways.

Patankar does not mention any controversy after publication of Punalekar’s article.

Mr. Minsiter, is this farmer in Thurber's picture from Maharashtra or Assam?

Artist: James Thurber The New yorker August 15, 1936