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."

Showing posts with label New Statesman. Show all posts
Showing posts with label New Statesman. Show all posts

Tuesday, April 21, 2026

हे वाचून माझी लढाई संपली आहे ...The Darkness of the Modern World

James Marriott, New Statesman, June 11 2025, review of Stefan Collini's book 'Literature and Learning: A History of English Studies in Britain':

"...To the patrician epicures and monied amateurs who ushered the subject into universities at the beginning of the 20th century (men who fondled poems like antique clocks and ranked novelists like vintages of claret), the study of literature was “a glory of the universe” or “the spring which unlocks the hidden life”. For the evangelists of the critic FR Leavis and charismatic secondary school teachers of the Sixties it was a moral crusade that pitted humanity against the spirit-killing incursions of machine civilisation: English had “life-enhancing powers”, and its study was essential if a modern person hoped to retain “any capacity for a humane existence”. Collini winces fastidiously at some of these “soaring affirmations”. And indeed, such confident panegyrics read strangely in an age when the subject is cowed, apologetic and shrinking. Today, English is reduced to doing its pathetic, blundering best to ape the sciences, grinding scholars through the Research Excellence Framework and promising students “transferable skills”, that mad but unkillable doctrine beloved of prospectus writers which holds that studying ecocritical perspectives on early Shelley is useful preparation for making PowerPoints at PWC....

...The screen is replacing the book. Studies show dramatic and unprecedented drops in literacy and reading, especially among teenagers. A recent survey by the National Literacy Trust found time spent reading books “at a historic low”. In this environment, the study of literature is far from an obvious use of three crucial years of young adulthood. And if the slew of viral journalistic reports from universities – “The end of the English major”, “The elite college students who can’t read books” – are to be believed, even students who choose to study English are unable to actually force themselves through novels. “Most of our students are functionally illiterate” runs a characteristic de profundis wail. A gloomy young Oxbridge academic I spoke to recently described “a collapse of literacy” among his students....

...  Literature’s prestige has declined precipitously since then. To many students in the 21st century, English seems not a liberal discipline but a positively anti-democratic one, with its cultural hierarchies, decaying canons and excessive reverence for the scribblings of dead white males....

...“In time,” Collini writes, “it may become possible to be accepted as a cultivated person (whatever that archaic term will by then have come to represent) without having an acquaintance with any literature written before one’s own era, or perhaps with any literature at all.” I agree but with one qualification: “May become possible?” To anybody under 40 it is clear that time is already upon us. Whether this heralds catastrophe – the fate of literature being coterminous with the fate of civilisation – remains to be seen. But when those of us raised in the faith survey the darkness of the modern world, the thought is a hard one to avoid."

म्हणजे तुम्हाला तुमच्या आधीचे लेखक वाचायची गरज नाही  , किंवा साहित्यच वाचायची नाही ....  


 Holiday Reading,1916 by Carl Larsson

Wednesday, March 19, 2025

The Final Effect of Simenon’s Work is Not Depressing, but Liberating

 मराठीत Georges Simenon (१९०३-१९८९) यांचे एकतरी पुस्तक अनुवादित झाले आहे का याबद्दल मी साशंक आहे पण मला ते फार आवडतात... 

त्यांचे मी संपूर्ण असे एकच पुस्तक वाचलंय : १९६१ साली प्रसिद्ध झालेले "The Train"... पण मी ते वाचत गेलो आणि पुस्तकमय झालो...त्यानंतर त्या पुस्तकावर आधारित एक उत्तम सिनेमा सुद्धा पहिला... 

त्यांनी जवळजवळ ५०० पुस्तके लिहली आहेत... 

त्यांच्या बद्दल मी अलीकडे बरेच वाचले आहे... 

जॉन ग्रे यांनी त्यांच्यावर न्यू स्टेट्समन मध्ये २०१६ साली  लेख लिहला आहे... 

"... Simenon is sometimes read as a writer who offers no hope. It is true that he holds out no prospect of redemption, whether for his characters or for humankind. Yet there is nothing in Simenon’s work of the horror at the human condition that is expressed in some of the stories of Guy de Maupassant – in other respects a comparable writer. Those of Simenon’s protagonists who are not destroyed in the course of attempting to escape their lives return rid of their illusions and readier to enjoy what the world has to offer.

The final effect of Simenon’s work is not depressing, but liberating. Before he left his life behind, M Monde “was a man who, for a long time, had endured man’s estate without being conscious of it, as others endure an illness of which they are unaware. He had always been a man living among other men and like them he had struggled, jostling among the crowd, now feebly and now resolutely, without knowing whither he was going.” When he finds his way back to his family and business, he is more relaxed. “He was part of life, as flexible and fluid as life itself.” M Monde may be the man Simenon wanted to be, and in some degree did become: “a man who had laid all ghosts, lost all shadows, and who stared you in the eyes with cold serenity”."

Julian Barnes यांनी लंडन रिव्यू ऑफ बुक्स मध्ये  Simenon यांच्यावर मार्च १९८३ च्या अंकात लेख लिहला होता:

"... Georges Simenon did three things compulsively in his life: he wrote fiction (about 220 novels under his own name, plus 200 pseudonymous novellas); he went to bed with women (ten thousand at his first public estimate, later amended to ‘tens of thousands’); and he dictated his memoirs (20 volumes were published, with fans repeatedly begging him to stop)...

...Here is a typical sexual encounter from the Twenties, at the time of the writer’s engagement to his first wife:

With Simenon, early one morning, lying awake in the Hotel Berthe, the need was so great that when he heard a chambermaid outside in the hallway cleaning the guests’ shoes, he got up, opened the door, lifted the girl’s skirt and possessed her on the spot – while she was brushing away. She did not even stop what she was doing but merely said: ‘Oh Monsieur!’

Now skip two marriages, 40 years and nine thousand-odd other women, and catch the truth-seeker’s first sexual encounter with Teresa, his present housekeeper-companion:

A month after she started work at Echandens, I unexpectedly walked into a room and found her bending over a table that she was polishing. The sight was too much for me. I advanced upon her, feverishly pulled down her knickers and penetrated her ... Teresa did not play the coquette. She had an orgasm as violent as mine, still bent over the table, with a duster or chamois leather in her hand ... We did not even look at each other. I just walked out of the room and locked myself in my office.." 

Georges Simenon by  artist :Jacques de Loustal (1956-)