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."
Wednesday, June 08, 2011
"The power of a pocket...
For women have no pockets. Why? The question takes us into the murkier depths of the sex war as well as the arcana of sartorial history...
The record shows that the absence of pockets was a huge disadvantage to females and one reason why male superiority was so steadfastly maintained..."
(The Spectator, June 4 2011)
I was taken aback when a few years ago my wife Anju asked me if I had ever noticed that heroines in Hindi films seldom wore footwear while singing a duet (song) outdoor.
Be it in on farms, in jungle, on rubble, in snow, through fire, on glass, in water, on boulder, in rain...
Since then I have always paid attention to the feet of dancing dames and found, to my horror, that Anju is almost always right.
Another thing we often notice- while watching Hindi film songs- is, even in severe cold, those Indian dames don't wear clothes covering their entire body while men wear suits and even headgear!
"palako.n ke piichhe se kyaa tumane kah Daalaa phir se to faramaanaa" (पलकों के पीछे से क्या तुमने कह डाला फिर से तो फ़रमाना) is one of the best songs I have heard.
[Film: Talaash (1969) Music Director: S D Burman, Lyricist: Majrooh, Singers: Rafi, Lata Mangeshkar]
Notice, how, even in snow, Sharmila Tagore is walking barefoot while Rajendra Kumar is wearing nice shoes. Also, notice the difference in the kind of clothes they are wearing.
There is a line in the song:
...दुनिया ना देखे धड़के मेरा मन रस्ता सजन मेरा छोड़ो
तन थरथराए उँगली हमारी देखो पिया न मरोड़ो...
तन थरथराए? Body trembles?...Lack of footwear, Ma'am.
Surely Two Species: One from cold Mars, One from boiling Venus