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."
Friday, February 08, 2008
Since January 24, 2008, it made news for different reasons.
The Economist January 26, 2008 had this story:
“I CAN only dance when I'm drunk,” confides Srijana, a 20-year-old employee of the Pussy Cat Bar and Shower, a tavern in Thamel, Kathmandu's main tourist hangout. A few slurps from a customer's glass later and she mounts a small stage. There, to whoops from a few tipsy locals, she sheds most of her clothes and gyrates to a Hindi pop tune. Dangling above her is the Damoclean sword included in the bar's name: a silver shower nozzle, positioned to spray flesh-revealing water on a dancer below.
Such gimmicks are common in Thamel's bars, where competition for lascivious males is fierce. Until a few years ago Nepal had no obvious sex industry. There are now an estimated 200 massage parlours and 35 “dance bars”, such as the Pussy Cat, in Thamel alone—with over 1,000 girls and women working in them. Many sell sex. In the Pussy Cat, another dancer admits to turning tricks, for 1,800 rupees ($28).
That is a tidy sum in Nepal, South Asia's poorest country. It is much more than Nepali women are paid in India's flesh-pots—to which over 5,000 are trafficked each year, according to the UN. But the dancers in Thamel are chasing a richer sort of Indian: tourists. And their government seems to be encouraging them. In an advertisement for “Wild Stag Weekends”, the Nepal Tourism Board offers this advice: “Don't forget to have a drink at one of the local dance bars, where beautiful Nepali belles will dance circles around your pals.”
In a country with a rich tradition of dance, where paying for sex is illegal, this might be harmless innuendo. But not everybody thinks so. During the recently-ended civil war, Nepal's Himalayan tourism industry collapsed. Some activists think that sex tourism is replacing it. According to John Frederick, an expert on South Asia's sex trade, “Ten years ago the sex industry was underground in Nepal. Now it's like Bangkok, it's like Phnom Penh.”
The war, which put much of rural Nepal under the control of Maoist insurgents, has increased the supply of sex workers…”
A silver shower nozzle, positioned to spray flesh-revealing water on a dancer below?!
Hindi films indeed have shaped carnal desires of millions. Me included.
Times of India reported on February 3, 2008:
“ (Nepali film) Kagbeni also has the distinction of having Nepal's first onscreen amorous kiss. And a large section of the Himalayan kingdom has been tickled by the minute-long liplock between the lead pair Saugat Malla and Deeya Maskey…”