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

Thursday, February 19, 2009

Nighty Purge Campaign in Pune?

When I was growing up in Miraj, it was quite common to see middle-class men walking out in pyjamas.

This blog has already commented on a similar habit of today's Pune residents. Read it here.

Therefore, it was quite amusing to read a report in Business Line on December 14, 2008:

"Community leaders in Shanghai are trying to break up the love affair of some city residents with walking outside in their pyjamas, state media has reported.

The Rixin neighbourhood committee in the city's north-east has begun a campaign to discourage residents' longstanding habit of wearing pyjamas out of their bedrooms and on the streets, the state-run Youth Daily reported.

"We're telling people not to wear pyjamas in the street because it looks very uncivilised," community official Guo Xilin was quoted as saying.

The Shanghainese habit of wearing pyjamas in public emerged alongside China's economic reforms over the past 30 years as it became a sign of prosperity, because it meant people did not sleep in tattered old clothes.

For a still visibly large number of Shanghainese, wearing pyjamas outside has become more a way of life than a fashion statement, and to outsiders, the phenomenon is part of the city's charm.

Guo, however, called pyjama-wearers "visual pollution" and a public embarrassment to the city.

But some residents still argue wearing pyjamas is perfectly acceptable.

"Pyjamas are also a type of clothes. It's comfortable, and it's no big deal since everyone wears them outside," a retiree surnamed Ge was quoted as saying.

Rixin's pyjama purge campaign is not the first of its kind - in the 1990s Shanghai officials put up signs and ran education campaigns to tell people not to stroll around in night gowns.

The campaign's managers eventually gave up."

I wonder why there are no such campaigns in India.

Artist: Barbara Shermund, The New Yorker, 18 Apr 1936