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.”

Shel Silverstein : “Talked my head off Worked my tail off Cried my eyes out Walked my feet off Sang my heart out So you see, There’s really not much left of me.” ~

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);...”

Werner Herzog: “We are surrounded by worn-out, banal, useless and exhausted images, limping and dragging themselves behind the rest of our cultural evolution.”

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

Sunday, December 11, 2016

Conrad मला फार श्रेष्ठ लेखक वाटतो. कारण त्याचे कथानक एक metaphor असतो...29 Years After GA


आज  डिसेंबर ११ २०१६, जी ए कुलकर्णींची  २९वी पुण्यतिथी आणि डिसेंबर ३ २०१६ हा कॉनराडांचा १५९वा जन्मदिन होता. 

Joseph Conrad, ‘The Secret Agent’:

“...The Professor passed the tip of his tongue on his dry, thin lips, and said doctorally:

"There are no such things. All passion is lost now. The world is mediocre, limp, without force. And madness and despair are a force. And force is a crime in the eyes of the fools, the weak and the silly who rule the roost. You are mediocre. Verloc, whose affair the police has managed to smother so nicely, was mediocre. And the police murdered him. He was mediocre. Everybody is mediocre. Madness and despair! Give me that for a lever, and I'll move the world. Ossipon, you have my cordial scorn. You are incapable of conceiving even what the fat–fed citizen would call a crime. You have no force." He paused, smiling sardonically under the fierce glitter of his thick glasses...”

जी ए कुलकर्णी, मे १७ १९८०:
"...Conrad किंवा Hardy सारखे लेखक नव्या नगाऱ्याच्या आवाजात फार दुर्लक्षित झाले आहेत. विशेषतः Conrad मला फार श्रेष्ठ लेखक वाटतो. कारण त्याचे कथानक एक metaphor असतो, तर विषय जीवनातील साक्षात्कार किंवा भ्रमनिरास किंवा anguish चे असतात..."
(पृष्ठ: १९४, 'जी.एं.ची निवडक पत्रे: खंड १', १९९५)
 
महान व्यंगचित्रकार डेविड लोंनी काढलेले कॉनरॅडांचे अर्कचित्र , १९२८

जीएंना जोसेफ कॉनरॅड अतिशय आवडत. त्यांच्या पत्रात तर ते अतिशय आदराने येतातच आणि त्यांच्या साहित्य प्रकृतीला पण कॉनरॅड जवळचे होते.

खालील दोन अवतरणे वाचा कॉनरॅडांची..."fatality governing this man-inhabited world",,,आहे ना जीएंची नाममुद्रा?

"...the only remedy for China-men and for the rest is the change of hearts, but looking at the history of the last 2000 years there is not much reason to expect  that thing, even if a man has taken to flying- a great uplift, no doubt, but no great change. He doesn’t fly like an eagle; he flies like a beetle. And you must have noticed how ugly, ridiculous, and fatuous is the flight of a beetle..."

"...I have never been able to find in any man's book or any man's talk anything convincing enough to stand up for a moment against my deep-seated sense of fatality governing this man-inhabited world..."

शिवाय त्यांनी एक विद्यार्थी म्हणून कॉनरॅडांच्या पुस्तकांचा अभ्यास केला असेल आणि काही पुस्तके शिक्षक म्हणून कदाचित शिकवली पण असतील- उदा. Lord Jim (1900), Heart of Darkness (1899),  Nostromo (1904)....

अलीकडे जुलै २०१६ मध्ये दी सिक्रेट एजन्ट पुन्हा एकदा, चौथ्यांदा, बीबीसीने, छोट्या पडद्यावर आणले.

Tom Reiss, The New York Times, September 11 2005:

"The Secret Agent," Joseph Conrad's 1907 novel about an anarchist plot to blow up the Royal Observatory at Greenwich -- in fact, a scheme by a secret police agent to stir up a government backlash -- has acquired a kind of cult status as the classic novel for the post-9/11 age. Conrad's villain, the Professor, who never goes out without a glass vial of high explosives in his breast pocket and a detonator in his palm, has been taken to be a prescient portrait of the terrorists who menace our own world... The Secret Agent" remains the most brilliant novelistic study of terrorism as viewed from the blood-spattered outside...”

जीएंनी जोसेफ कॉनरॅडांचे 'दी सिक्रेट एजन्ट', १९०७ किंवा दुसरे कोणतेही पुस्तक का अनुवादले नाही?

जीए डिसेंबर १९८७ मध्ये वारले. अमेरिकेत तो जरी सप्टेंबर २००१ मध्ये मोठ्या प्रमाणात पोचला असला तरी, आतंकवाद भारतामध्ये केंव्हाच स्थिरावला होता.  पंजाब  त्यामुळे पूर्णपणे ढवळून निघाला होता: १९८४-१९९५.  (मला आठवतय ज्यावेळी आम्ही १९८९ साली आसामला पहिल्यांदा गेलो त्यावेळी आजच्या इतकीच कडक सेक्युरिटी कलकत्ता एअरपोर्टवरती होती.)

भारताच्या पंतप्रधानाची हत्या  होऊन जीए जाईपर्यंत तीन वर्षे झाली होती. जीएंना कधी या दरम्यान 'दी सिक्रेट एजन्ट' आठवले नाही? का त्यांना निवांतपणा आणि प्रकृतिस्वास्थ्य, जे एका लेखकाला लागते, ते त्याकाळात कधी लाभलेच नाही?

जी एंनी कॉनरॅड रिखटर यांच्या पाच पुस्तकांचा अनुवाद केला पण त्यांच्या दुसऱ्या (जास्त?) आवडत्या कॉनरॅडच्या एकही पुस्तकाचा अनुवाद त्यांनी केला नाही हि मोठी खेदाची गोष्ट आहे.

मराठी लेखकांनी- अगदी सदानंद रेगे आणि विलास सारंगांनी सुद्धा-  जोसेफ कॉनरॅडना दुर्लक्षिले आहे...का?  याचे उत्तर जॉन ग्रेंच्या खालच्या अवतरणात तर नाही?

"...Conrad published The Secret Agent in 1907. Although he experimented boldly with literary techniques, he was essentially a 19th-century writer. He took his subject matter from the anxieties of his time - the ambiguities of progress and civilisation, the sense of the blind drift of history that preceded the First World War and the break-up of personal identity that comes with loss of faith in the future. For much of the past hundred years, these seemed dated themes, with little bearing on the great political transformations that preoccupied novelists such as George Orwell and Arthur Koestler. Whatever horrors they chronicled, Orwell and Koestler never gave up the hope that humankind could have a better future. It did not occur to them that history might be cyclical, not progressive, with the struggles of earlier eras returning and being played out against a background of increased scientific knowledge and technological power. For all their dystopian forebodings, neither anticipated the 21st-century reality, in which ethnic and religious wars have supplanted secular ideological conflicts, terror has returned to the most advanced societies and empire is being reinvented...." 

('Gray's Anatomy: Selected Writings', 2009)

मराठी लेखक सुद्धा ऑरवेल आणि केस्ट्लर यांच्या प्रमाणे 'प्रगती'च्या ट्रॅप मध्ये तर अडकले नाहीत?
"Whatever horrors they chronicled, Orwell and Koestler never gave up the hope that humankind could have a better future. It did not occur to them that history might be cyclical, not progressive, with the struggles of earlier eras returning and being played out against a background of increased scientific knowledge and technological power."

माझ्यामते त्याचे उत्तर २०व्या शतकातील बहुतेक मराठी लेखकांच्या बाबतीत 'हो' असे आहे. पण जीए त्यात नाहीत. त्यांना दी सिक्रेट एजन्ट चा अनुवाद करायला अनेक कारणांमुळे जमले नाही एवढेच मी गृहीत धरतो. 



on the right Toby Jones as Mr Anton Verloc

from BBC's TV series 'The Secret Agent' based on Joseph Conrad's novel of the same name, 2016

Courtesy: BBC