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."

Sunday, December 08, 2019

Naked Woman On Top of a Bookcase: Alive, Stuffed or Dead?... James Thurber@125

#JamesThurber125

Today December 8 2019 is 125th birth anniversary of  James Thurber

Following is the exchange between great James Thurber and  Paris Review for the latter's issue dated Fall 1955:

"...PR: You say that your drawings often don’t come out the way you intended?

JT: Well, once I did a drawing for The New Yorker of a naked woman on all fours up on top of a bookcase—a big bookcase. She’s up there near the ceiling, and in the room are her husband and two other women. The husband is saying to one of the women, obviously a guest, “This is the present Mrs. Harris. That’s my first wife up there.” Well, when I did the cartoon originally I meant the naked woman to be at the top of a flight of stairs, but I lost the sense of perspective and instead of getting in the stairs when I drew my line down, there she was stuck up there, naked, on a bookcase.

Incidentally, that cartoon really threw The New Yorker editor, Harold Ross. He approached any humorous piece of writing, or more particularly a drawing, not only grimly but realistically. He called me on the phone and asked if the woman up on the bookcase was supposed to be alive, stuffed, or dead. I said, “I don’t know, but I’ll let you know in a couple of hours.” After a while I called him back and told him I’d just talked to my taxidermist, who said you can’t stuff a woman, that my doctor had told me a dead woman couldn’t support herself on all fours. “So, Ross,” I said, “she must be alive.” “Well then,” he said, “what’s she doing up there naked in the home of her husband’s second wife?” I told him he had me there.

PR: But he published it.

JT: Yes, he published it, growling a bit. He had a fine understanding of humor, Ross, though he couldn’t have told you about it. When I introduced Ross to the work of Peter de Vries, he first said, “He won’t be good; he won’t be funny; he won’t know English.” (He was the only successful editor I’ve known who approached everything like a ship going on the rocks.) But when Ross had looked at the work he said, “How can you get this guy on the phone?” He couldn’t have said why, but he had that bloodhound instinct. The same with editing. He was a wonderful man at detecting something wrong with a story without knowing why..."

The cartoon in the discussion does not accompany this article.

When I located the cartoon, I found it bizarre. No wonder Ross went in a tailspin.

I could not stop smiling reading Ross's query: Was the woman up on the bookcase supposed to be alive, stuffed, or dead...

Here it is:
 
 Artist: James Thurber, The New Yorker, March 16 1935

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