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."

Saturday, March 21, 2015

व्हिएतनामी वनस्पतींचा टाहो: Agents' Rainbow- Orange, White, Blue, Pink, Green, Purple...

Today March 21 2015 is International Day of Forests. It also is Gudi Padwa (गुडी पाडवा), first day of an Indian calendar and Nowruz, first day of an Iranian calendar.

Michael Herr, 'Breathing In' from 'Dispatches', 1968:

"...At the end of my first week in-country I met an information officer in the headquarters of the 25th Division at Cu Chi who showed me on his map and then from his chopper what they’d done to the Ho Bo Woods, the vanished Ho Bo Woods, taken off by giant Rome plows and chemicals and long, slow fire, wasting hundreds of acres of cultivated plantation and wild forest alike, “denying the enemy valuable resources and cover.”..."

Almost fifty years ago, on March 8 1965, first American ground troops arrived in Vietnam. By the time they left at the end of 1973, an estimated 3 million Vietnamese were killed, including 2 million civilians. Hundreds of thousands were seriously injured and disabled.

However, they were even more devastating for Vietnamese plant life.

George Black explains in The Nation what American invasion meant for Vietnamese natural environment:

"...Although the Romans used to destroy their enemies’ fields, and armies have always bombed and burned adversaries out of their hiding places, there is no real precedent for the systematic use of science and technology to destroy large portions of a country’s natural environment, as the United States did with its herbicide-spraying program in Vietnam. The overall operation was called Trail Dust, but it’s generally referred to as Ranch Hand. Another name that was sometimes used was Hades, and that may be the most apposite of the three...

...Agent Orange accounted for more than 60 percent of the spraying, but actually it was just one in a rainbow spectrum of herbicides, each employing a different cocktail of chemicals and color-coded by a painted band around its fifty-five-gallon storage barrel. Agent White was the second most widely used defoliant, while substantial amounts of Agent Blue were also sprayed, mainly to kill crops by desiccation. Agents Pink, Green and Purple were used in smaller quantities during the early years of the war..."


'The Scream', 1893, 

Artist: Edvard Munch (1863-1944)

courtesy: Wikipedia

Are all Agents captured in Munch's picture?


Artist: Harry Bliss, The New Yorker, April 2014