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);...”
"... 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: "… इ. स. 1000 नंतर ज्या प्रकारची संस्कृती रुढ झाली , त्यामध्ये साधारणत्व व विश्वात्मकता हे गुण प्राय: लुप्त झाले...आपली संस्कृती अकाली विश्वात्मक साधारणतेला मुकली आहे."
Saturday, March 28, 2009
"...even though fifty years have passed since natives have taken power, instead of becoming fearless, people feel increasingly terrified..."
from य दि फडके "नथुरामायण" Y D Phadke "Nathuramayan" (1998)
अखिल भारतीय मराठी साहित्य संमेलन All India Marathi Sahitya Sammelan has little to do with मराठी Marathi literature but, like elections, has everything to do with entertainment.
Therefore, I like it to continue every year until I die.
This year डॉ. आनंद यादव (Dr. Anand Yadav) first 'withdrew' (for the first time in the entire history of books?) his book-'संतसूर्य तुकाराम' (Saint-Sun Tukaram) and then gave up his chair of presidency.
Yadav got lucky. Neither his house was burnt. Nor was he lynched.
If he were a Brahmin and had written about Shivaji शिवाजी the way he did about Tukaram, he (along with Brahmins like me) would be pushing the luck too far.
For Prospect Magazine April 2009, Kenan Malik has talked to Hanif Kureishi about the Rushdie fatwa and why no one would write such a book today.
‘“Nobody,” Kureishi suggests, “would have the balls today to write The Satanic Verses, let alone publish it. Writing is now timid because writers are now terrified.”…
Despite Kureishi’s brush with Islamism, he never saw The Satanic Verses controversy coming. “I first read The Satanic Verses in proof copy. I didn’t notice anything about it that might rouse the fundamentalists. I saw it as a book about psychosis, about newness and change. The 1980s was an age of fusion—in music, in food, in literature. The Satanic Verses was part of that postmodern fusion.” Even when the protests began, he didn’t take them seriously…
Kureishi does not even remember the book-burning. “It didn’t register,” he says. “Only with the fatwa did it become clear how serious and dangerous it was. It seemed mad to imagine that someone could be killed over a book. I was flabbergasted. How could a community that I identified with turn against a writer who was one of its most articulate voices?”
The Rushdie affair, Kureishi believes, transformed not just his own work, but also “the very notion of writing.” The fatwa “created a climate of terror and fear. Writers had to think about what they were writing in a way they never had to before. Free speech became an issue as it had not been before. Liberals had to take a stand, to defend an ideology they had not really had to think about before.” How have they borne up to the task? “The attacks on Rushdie showed that words can be dangerous. They also showed why critical thought is more important than ever, why blasphemy and immorality and insult need protection. But most people, most writers, want to keep their heads down, live a quiet life. They don’t want a bomb in the letterbox. They have succumbed to the fear.”’