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."

Tuesday, October 05, 2021

Breakfast ही कथा अशीच , फुलझाड उगवावे तशी सहज ताजी...Breakfast at Tiffany's @60

Truman Capote , 'Breakfast at Tiffany's', १९५८:
"... Also, she had a cat and she played the guitar. On days when the sun was strong, she would wash her hair, and together with the cat, a red tiger-striped tom, sit out on the fire escape thumbing a guitar while her hair dried. Whenever I heard the music, I would go stand quietly by my window. She played very well, and sometimes sang too. Sang in the hoarse, breaking tones of a boy's adolescent voice. She knew all the show hits, Cole Porter and Kurt Weill; especially she liked the songs from Oklahoma!, which were new that summer and everywhere. But there were moments when she played songs that made you wonder where she learned them, where indeed she came from. Harsh-tender wandering tunes with words that smacked of pineywoods or prairie. One went: Don't wanna sleep, Don't wanna die, Just wanna go a-travelin' through the pastures of the sky; and this one seemed to gratify her the most, for often she continued it long after her hair had dried, after the sun had gone and there were lighted windows in the dusk...."

"... पण Breakfast वाचल्यानंतर काही स्वत: लिहावे ही इच्छा बऱ्याच काळापर्यंत ठार मेली. काही लोकांच्या painting मध्ये रंग जिवंत, ताजे वाटतात, तर इतरत्र तेच रंग पोतेऱ्यासारखे होतात. (ही नवी आठवण सुट्टीत मी oil मध्ये थोडे landscape करण्याचा प्रयत्न केला होता. त्या अनुभवाचे हे ज्ञान !!) Breakfast ही कथा अशीच , फुलझाड उगवावे तशी सहज ताजी; पण मनात आठवण ठेवून जाते. तरुण (व सुंदर) स्त्रीच्या चालीप्रमाणे शैली अशी लवचीक, सहज पंचेंद्रिये इच्छापूर्ती- स्वप्नरंजनाने भरणारी असावी. आपल्या पुषकळशा कथा मनाचा एक कोपरा गढूळ करतात. ..."

(८-७-१९६२, 'जी.एं, ची निवडक पत्रे: खंड २', पृष्ठ ११०, १९९८)

किती गोष्टी वरील पत्रात पहाल? ३९ वर्षीय अविवाहित जीएंचे चित्रकलेचे ज्ञान आणि त्यांची पेन्टिंग्स, तरुण स्त्रीच्या चालीची लवचिकता....

Breakfast at Tiffany's हे पुस्तक त्या नावाच्या सिनेमापासून (१९६१) वेगळे करताच येत नाही जीएंनी सुद्धा तो सिनेमा वरील पत्र लिहायच्या आधी बघितला असायची शक्यता खूप मोठी आहे.










सोबतच्या चित्रात सिनेमातील ऑड्री हेपबर्न आणि तिचे Orangey नावाचे मांजर

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Painter With Light: John Alton@120


Five Books: Who is the greatest cinematographer of film noir?

Barry Forshaw: John Alton. He is a genius who made the work of directors such as Anthony Mann look even better. The classic image of men in trench coats and hats silhouetted against smoky, rainy streets.



A scene from Canon City, 1948

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