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."

Thursday, August 05, 2010

Chelsea Clinton's Wedding and The Godfather

Francis Ford Coppola:
“Both the Mafia and America have roots in Europe……Basically, both the Mafia and America feel they are benevolent organisations. Both the Mafia and America have their hands stained with blood from what is necessary to do to protect their power and interests. Both are totally capitalistic phenomena and basically have a profit motive.”

It was widely reported in Indian newspapers on July 31 2010 that "Chelsea Clinton's future father-in-law is a convicted fraudster".

Why should it matter?

This is what Sarah Churchwell said about President J F Kennedy's- whose portrait in 1970's hung even in 'lowly' corner restaurant called Bharat Bhuvan (भारत भुवन) in Miraj- father:

"...In his monetary dealings, Joe Kennedy was a democrat: he would screw almost anyone. Otherwise, his politics were closer to fascism: his advice to the overwhelmingly Jewish heads of film studios during the second world war was to appease Hitler by ceasing to make "anti-Nazi pictures". What Kennedy learned best from Hollywood, however, was the importance of branding and myth-making: he was an early manipulator of the cult of personality. His talent for pious façades camouflaging covert manipulation only came to fruition with his sons' political careers, as he instructed them: "It's not what you are, but what people think you are that is important.".."

Is that the second reason- because first is obvious- following picture reminded me of Sonny Corleone (James Caan) from Francis Ford Coppola's "The Godfather"?



Artist: Mike Luckovich

Monday, August 02, 2010

Two Compositions from Stage: Waman Kendre, Michael Grandage

Waman Kendre (वामन केंद्रे) is supposed to be very good in the art of theatre direction.

I haven't seen anything by him yet for which I feel bad. But what the hell...I haven't still read even one line from Eknath's (एकनाथ) "Bhagwat" (भागवत) . So much to do, so little time...

Do I understand anything called theatre? I think not.

But I like compositions- "The spatial property resulting from the arrangement of parts in relation to each other and to the whole."

I felt moved by following composition from Kendre's play.


from Bhasa’s 'Madhyamavyayoga' (मध्यमव्यायोग) in Hindi, Kendre's first interpretation of a Sanskrit work


courtesy: The Asian Age July 23 2010

It's a great pity that I have neither read or seen a single full length play of great Bhasa who earlier appears on this blog here and there.

Kendre's 'Madhyam Vyayog' brought to my mind when I was last moved by a similar theatrical composition.

When I first saw it, I couldn't take my eyes off the following picture. Even today it shakes me. What are they going to do next?


This is from FRIEDRICH SCHILLER's German epic “Don Carlos” directed by Michael Grandage.

The Economist (Feb 17th 2005) did one of the most impressive art reviews I have read.

"Whatever you do, don't miss “Don Carlos”...“Don Carlos” was written two years before the French revolution, and the good men belong to that time. Carlos, the king's son, and his friend the Marquis of Posa favour humanity, liberty and freedom of speech. Posa almost persuades Phillip of the case for freedom. But, true to history, when the curtain falls, the good men have lost. The dramatic climax is the entrance of the real villain—the imposing, sinister figure of the Inquisitor, clothed in a cardinal's scarlet. When he instructs the king in his duty to God and the Roman Catholic church, Phillip does his bidding—but Schiller has made the case against tyranny. Mr Grandage declares that the message rings no less true, and is no less relevant, on Shaftesbury Avenue in 2005..."

Thursday, July 29, 2010

Ravi Baswani, an eternal Sancho Panza

One of the joys of reading Marathi written in 20th century is G A Kulkarni's (जी. ए. कुलकर्णी) 'Yatrik' (यात्रिक) from the collection of his short stories 'Pinglavel' (पिंगळावेळ) 1977, an allegory of Cervantes's 'Don Quixote' and D V Deshpande's (धों वि देशपांडे ) commentary on it from 'jeeenchya katha: ek anwayarth'(जीएंच्या कथा: एक अन्वयार्थ).

Who moves me most, from the story, is not Don but Sancho.

('Pinglavel' appears on this blog quite a few times.)

Kundan Shah said after hearing Mr. Baswani's death:"...He helped Naseeruddin Shah flesh out his character and that was the reason behind the on-screen chemistry..."

That has always been the role of Sancho. He helps Don Quixote flesh out his character and that is the reason behind their eternal chemistry.

In Marathi literature the most famous example of Don and Sancho is the pair of Chimanrao (चिमणराव) and Gundyabhau (गुंड्याभाऊ) of C V Joshi (चिं वि जोशी). Gundyabhau helps Chimanrao flesh our his character.

No Gundyabhau, no Chimanrao. No Dr. Watson, no Sherlock Holmes. No Sancho, no Don. No Ravi Baswani, no Naseeruddin Shah and no JBDY.


Artist: Pablo Picasso

Artist: Roc Riera Rojas

brainpickings.org:

"There must be something in the air about remarkable Spanish illustrations of literary classics. In 1968, Spanish graphic design pioneer Roc Riera Rojas illustrated a special edition of Miguel de Cervantes’ cult 1605-1615 novel Don Quixote, which has since become a prized collector’s item."

S D Phadnis Turns 85 today

Artist S D Phadnis (शि. द. फडणीस) turns 85 today.

I have very little to add to what his close friend Vasant Sarwate (वसंत सरवटे) says on Phadnis's art in a masterly essay included in Sarwate's book Sahapravasi (सहप्रवासी). ( A couple of years ago I was fortunate to spend 2-3 hours with both of them at Phadnis's house.)

On this blog, in the static information on the right side, there is a quote of W H Auden:

“…though one cannot always
Remember exactly why one has been happy,
There is no forgetting that one was”

(Good-Bye to the Mezzogiorno )

Well, I sometimes exactly remember why I have been happy.

It's because I just saw Shi Da's sunlight -or moonlight as in the picture below- filled cartoon where even today a lady looks like my mother of 1970's, where there is no evil, where life is uncomplicated, where people pay attention to their surroundings instead of burying their face in mobile phone...


courtesy: Official website of S D Phadnis

Wednesday, July 28, 2010

Use Jaane Na Do Yaaro- Ravi Baswani

उसे जाने ना दो यारों

Susan Sontag on the iconoclastic spirit of the 1960's: "...How one wishes that some of its boldness, its optimism, its disdain for commerce had survived……”

They must be kidding when they say Ravi Baswani at death was 64. When did he turn even 40?

I have given up any hope of seeing another Hindi film as good as Jaane Bhi Do Yaaro (JBDY), 1983 where he was one of the main reasons to make it so good.

He was equally good in Chashme Buddoor (1981).

It's a pity that I saw so little of him on Hindi silver screen.

In 1980's, for me, it was much easier to identify with him rather than with Naseeruddin Shah or Farooq Sheikh who romanced pretty girls on screen while he on screen and I in real life weren't.

David Remnick recently said: If God had a plan, God was a fantastic comedian. There's a scene in The Human Stain by Philip Roth where Nathan Zuckerman is listening to an orchestra rehearse. People are having a good time and all he can think of is that, in 40 years, every single one of them will be dead.

JBDY is an orchestra. Sure, every single one of them will be dead. But I would dread to think that it would start with Mr. Baswani in 2010.

(after I published this post, I realised Bhakti Barve too was dead but then for me Ms. Barve- a good actor herself- didn't belong to the core of JBDY.)

Maurti Mane; Perhaps Mahabharat's Bheem looked like him

Read my earlier post on the late Mr. Mane here.

courtesy: Pudhari पुढारी July 28 2010

To see more pictures and read more on Mr. Mane, please visit ePudhari's website, choose Kolhapur edition of July 28 and go to page 8.

Tuesday, July 27, 2010

Hemant Morparia is a Gadfly Constantly Annoying Our Holy Cows

Alexander Waugh: “Beware of seriousness: it is a form of stupidity.”

Julian Gough: '"Why so sad, people?" as Zadie Smith asks.
Well, it's just a habit by now. It's so ingrained in our culture that it has become an unexamined default position. What makes it much worse is that it is now being coached, reinforced. All of the writers on the Granta list attended university creative writing programmes. All, in other words, have submitted to authority. This is a catastrophe for them as novelists...'


Vijay Tendulkar was fond of Hemant Morparia's art. I can see why:

Morparia is a fearless gadfly, ever ready to pester our holy cows, not submitting to any authority.

I have seen many brilliant cartoons borne out of his brush. Here is the latest example.

A luxury book publisher is bringing out a special edition biography of Sachin Tendulkar with pages made from his blood.

This should have been fodder for many jesters. Instead all we see in our media are noisy Jee-Huzoors of Tendulkar.

Thankfully for me Morparia is antithesis of them and gives us this. Sure, it raises some stink because it is supposed to.

Saturday, July 24, 2010

I told you this new Indian car Obop was really cool!



My caption: "I told you this new Indian car Obop was really cool!"

Artist: Matt Diffee, New Yorker Cartoon Caption Contest# 248, last date July 25 2010

To see more fun around Nano, click here and here.

p.s key IBM-> HAL, Nano->Obop

Tuesday, July 20, 2010

What did a Woman in the Kitchen have in common with its Floor?

Anton Chekhov: "My holy of holies is the human body..."

Indian religious code: "If a woman was menstruating, she was prohibited from Suttee, the act of a Hindu widow willingly cremating herself on the funeral pyre of her dead husband."

ROBIN MARANTZ HENIG: "The worst thing you could do when my mother was in one of her moods was to point out that she got cranky when she had her period. “I am not just a bunch of chemicals!” she’d yell. My brother, who even at 12 believed in the sanctity of data, decided to keep a written record of when Mom was irritable and see whether it correlated with what he could deduce about her menstrual cycle. It was hard to contradict the circumstantial evidence: when our mother had her period, she was harder to live with..."


Annie Hall,1977: "Alvy: Hey, you are in a bad mood. You must be getting your period.
Annie: I'm not getting my period. Jesus, every time anything out of the ordinary happens, you think that I'm getting my period."

Not too long ago, menstruation was NOT a taboo subject in Maharashtra.

For instance, historians like T S Shejwalkar (त्र्यं शं शेजवलकर), D G Godse (द ग गोडसे), have quoted a number of instances in their work when women’s monthly period was mentioned without any hesitation, even in official communication.

(After reading "no Suttee if menstruating" quoted earlier, I asked my wife if some widows could have faked it....I would. She said it would have been very difficult to do so in a joint family setup of medieval India).

But it all changed since the Victorian era began in England.

I wonder if a book like the one mentioned below will ever get written in Marathi. I am sure when it does, it will be one of the most interesting one.

Elissa Stein and Susan Kim have written a book "Flow: The Cultural Story of Menstruation".

Eryn Loeb reviews it:

"...apparently, plenty of girls still think they pee and bleed out of the same orifice, and menstruation is still understood with a retro blend of embarrassment, fear and superstition...

...Kotex pads burst onto the market the same year women got the right to vote, which was also the same year that saw the first Miss America pageant (that would be 1920)...

...And we learn that as late as 1985, a pre-Friends, pre-Cougar Town, pre-Arquette, Courteney Cox was the first person to use the word "period" in a TV commercial...

Flow revels in the awesome mysteriousness of women's bodies even as its authors try to counter it. It's hard to maintain both positions, though there's something appealing about being normal and mystifying at the same time. That's a central tension of how people have viewed women -- and how women have viewed themselves -- throughout history. Not surprisingly, the ambivalence about the role and significance of menstruation is equally entrenched.

Still, why talk about it? Stein and Kim are tuned in enough to pose that question directly, and their book stands as a pretty clear answer. Certainly, we don't have to talk about everything, but Flow shows that menstruation -- and women's many experiences of it -- are fodder for a host of worthwhile and often important conversations."

Q: What was common to a woman working in a kitchen and the kitchen floor?
A: Both were disinfected with Lysol, a household cleaner!

(For more, check out 'Related Media' by visiting this site.)


Sunday, July 18, 2010

How Narayan Dharap scared the bejesus out of my childhood heart

On Sunday July 18 2010, I read on Guardian blog about Edgar Allan Poe and I thought of Narayan Dharap (नारायण धारप).

Although, I haven't read Dharap for a long time and sadly have no book of his in my possession, and haven's spotted any in numerous book exhibitions, I vividly remember many eerie moments he created.

Only the prospect of my mother's death on an operation table scared me more than his books.

My mother (1937-2006) too was fond of those books and used to say how they were scared of passing by Dharap's house in Pune! She said the Dharap-Vada had a certain mystic aura around it. I am sure it was because of N Dharap's books.

Near disappearance of Narayan Dharap from popular Marathi middle-class culture is another instance of its dire poverty.