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.”

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: "… 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."

Friday, April 27, 2018

तरली तर चेटकीण, बुडली तर स्त्री-हक्क कार्यकर्ती! ....Make It New

Ezra Pound: "Make It New."

André Gide: “Everything that needs to be said has already been said. But since no one was listening, everything must be said again.”
 courtesy: Wikipedia

(Illustration from an 18th century chapbook reproduced in Chap-books of the eighteenth century by John Ashton (1834))

वरील चित्र इ स १८००च्या आधीचे आहे.इथे एका स्त्रीला शिक्षा दिली जातीय. त्यात जे मशीन आहे त्याला ककींग किंवा डकिंग स्टूल म्हणायचे.

का शिक्षा दिली जातीय? तर जास्त वाद घातल्याबद्दल. "Punishing a woman accused of excessive arguing in the ducking stool."

विकिपीडिया सांगते:

“In medieval times until the early 18th century, ducking was a way used to establish whether a suspect was a witch. The ducking stools were first used for this purpose but ducking was later inflicted without the chair. In this instance the victim's right thumb was bound to her left big toe. A rope was attached to her waist and the "witch" was thrown into a river or deep pond. If the "witch" floated it was deemed that she was in league with the devil, rejecting the "baptismal water". If the "witch" sank she was deemed innocent.”

आता या सगळ्या पार्श्वभूमीवर खालील मार्च २०१८मधले चित्र पहा :

Artist: Peter Kuper, The New Yorker, March 2018

एक चांगला कार्टूनिस्ट एका जुन्या चित्रात नव्याने प्राण कसा भरू शकतो याचे हे उदाहरण आहे. भारतातील अशाच एका प्रयत्नासाठी- स्व. सुधीर तेलंग यांनी केलेल्या-  ही "Sudhir Tailang Is Making Shankar New"
मे २०१२ची पोस्ट पहा.


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