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."

Friday, May 19, 2023

इतिहास, गोष्टी आणि शहरे... Italo Calvino... It is not the voice that commands the story: it is the ear



Italo Calvino:
"... The Great Khan owns an atlas where all the cities of the empire and the neighboring realms are drawn, building by building and street by street, with walls, rivers, bridges, harbors, cliffs. He realizes that from Marco Polo’s tales it is pointless to expect news of those places, which for that matter he knows well: how at Kambalu, capital of China, three square cities stand one within the other, each with four temples and four gates that are opened according to the seasons; how on the island of Java the rhinoceros rages, charging, with his murderous horn; how pearls are gathered on the ocean bed off the coasts of Malabar.
Kublai asks Marco, “When you return to the West, will you repeat to your people the same tales you tell me?”
“I speak and speak,” Marco says, “but the listener retains only the words he is expecting. The description of the world to which you lend a benevolent ear is one thing; the description that will go the rounds of the groups of stevedores and gondoliers on the street outside my house the day of my return is another; and yet another, that which I might dictate late in life, if I were taken prisoner by Genoese pirates and put in irons in the same cell with a writer of adventure stories. It is not the voice that commands the story: it is the ear.
“At times I feel your voice is reaching me from far away, while I am prisoner of a gaudy and unlivable present, where all forms of human society have reached an extreme of their cycle and there is no imagining what new forms they may assume. And I hear, from your voice, the invisible reasons which make cities live, through which perhaps, once dead, they will come to life again.”..."
('Invisible Cities',  1972)




Tuesday, May 16, 2023

Tamara de Lempicka@125

#TamaradeLempicka125


“My goal is never to copy, but to create a new style, clear luminous colors and feel the elegance of the models.”
 



Friday, May 12, 2023

Niccolò Machiavelli, Politics, War and Democracy

 To conclude then: fortune varies but men go on regardless. When their approach suits the times they’re successful, and when it doesn’t they’re not. My opinion on the matter is this: it’s better to be impulsive than cautious; fortune is female and if you want to stay on top of her you have to slap and thrust. You’ll see she’s more likely to yield that way than to men who go about her coldly. And being a woman she likes her men young, because they’re not so cagey, they’re wilder and more daring when they master her. (from translation of 'Prince' by Tim Parks)

दुर्गाबाई भागवत ह्या Niccolò Machiavelli ला महत्वाचा समजणाऱ्या, विरळा भारतीय लेखक आहेत म्हणून पूर्वी टाकलेली पोस्ट, ह्या निवडणूकीच्या मोसमात पुन्हा एकदा... 
 
पहिली गोष्ट राजकारणाला कुठ्लाहि पर्याय नाही... घटना....कायदा हा राजकारणाचे बाळ असते.... "modern law is an artefact of state power"... 
 
वाचा John Gray:
"... For Machiavelli, writing over a century earlier, politics was best understood through the study of history…..
The true lesson of Machiavelli is that the alternative to politics is not law but unending war….
One of the peculiarities of political thought at the present time is that it is fundamentally hostile to politics. Bismarck may have opined that laws are like sausages – it’s best not to inquire too closely into how they are made – but for many, the law has an austere authority that stands far above any grubby political compromise. In the view of most liberal thinkers today, basic liberties and equalities should be embedded in law, interpreted by judges and enforced as a matter of principle. A world in which little or nothing of importance is left to the contingencies of politics is the implicit ideal of the age.
The trouble is that politics can’t be swept to one side in this way. The law these liberals venerate isn’t a free-standing institution towering majestically above the chaos of human conflict. Instead – and this is where the Florentine diplomat and historian Niccolò Machiavelli (1469-1527) comes in – modern law is an artefact of state power. Probably nothing is more important for the protection of freedom than the independence of the judiciary from the executive; but this independence (which can never be complete) is possible only when the state is strong and secure...."
 
दुसरे मॅकिएवेली (माक्याव्हेल्ली) जे युद्धा बद्दल म्हणतात ते मी निवडणूकीला लावत आहे ... 
 
Niccolò Machiavelli, The Prince:
"A prince must have no other objective, no other thought, nor take up any profession but that of war, its methods and its discipline, for that is the only art expected of a ruler. And it is of such great value that it not only keeps hereditary princes in power, but often raises men of lowly condition to that rank."
 
मी थोडा बदल करून.... 
 
"A politician (in democracy) must have no other objective, no other thought, nor take up any profession but that of elections, its methods and its discipline, for that is the only art expected of a ruler. And it is of such great value that it not only keeps hereditary sons/ daughters in power, but often raises men of lowly condition to that rank."
 

 
 Artist: Davide Coroneo,  2012

Wednesday, May 10, 2023

...म्हणजे आपल्याला त्यांची 'फिगर' दिसते आहे आणि त्यांना पासबुकातील...There is a Sexual Way of Looking at Life

Alfred Hitchcock:
“...Sex on the screen should be suspenseful, I feel. If sex is too blatant or obvious, there's no suspense. You know why I favor sophisticated blondes in my films? We're after the drawing-room type, the real ladies, who become whores once they're in the bedroom... An English girl, looking like a schoolteacher, is apt to get into a cab with you and, to your surprise, she'll probably pull a man's pants open...”

Muriel Spark from an interview in the (London) Sunday Times, (22 Sept. 1996):
"Sex is a mystery, and I often think of it from that point of view. I wish it weren’t so much of an illusion. Sex in a relationship never lasts as long as people think, but one’s interest in sex never goes. I know a sexy man from a non-sexy man, I can tell you. I have not lost the power of sizing up. I don’t want people for myself, but there is a sexual way of looking at life and I don’t think one can not think sexually."

मी ती ऍड पहिली त्यावेळी १४वर्षाचा होता... माझ बँकेत खात होत पण बँकेबद्दल फार जुजबी माहिती होती... पण मला ती ऍड फार आवडली आणि म्हणून लक्षात राहिली....



 
 
सौजन्य : वाङ्मय शोभा दिवाळी १९७४, जाहिरात तयार करणारी ऍड एजन्सी
 
कै. काशीनाथ घाणेकर (१९४०-१९८६) तर लगेचच ओळखतात...पण माझ लक्ष जायच त्या स्त्रीकड... त्या कोण मॉडेल आहेत हे मला अजून माहित नाहीये...पण माझ्यातील टीनएजर  चित्रातील कामुकतेला नेहमी दाद द्यायचा....

पहा ना...लो कट ब्लाउज...अगदी किंचित अनावृत्त झालेला उजवा स्तन... म्हणजे मला त्यांची 'फिगर' दिसायची आणि त्यांना पासबुकातील...आणि घाणेकरांना काय वाटतय याचा जरी पत्ता त्यांच्या ब्लँक एक्स्प्रेशन वरून लागत नसला तरी,  त्या आणि मी दिसलेल्या फिगरवर खुश होतो!

.... आणि थोड अस पण वाटत की त्यांनाही (आपल्या पतीच्या) बँकेत नेमके किती पैसे आहेत याचा पत्ता आतापर्यंत नव्हता....तो आता लागला आहे .... अकल्पित धनलाभ त्यांच्या पतींना नाही , त्यांना झाला आहे!....त्यांची शॉपिंग लिस्ट तयार आहे....

आणि त्या ज्या ठिकाणी उभ्या आहेत तेथून त्यांना त्यांच्या पतीकडून हव्या त्या गोष्टी कबूल करून घेणे पण मला सोपे वाटते आहे, पहा आल्फ्रेड हिचकॉक वर काय म्हणतात ते!

Sunday, May 07, 2023

Anne Baxter@100

#AnneBaxter100

Conversations with Classic Film Stars : Interviews From Hollywood's Golden Era by James Bawden & Ron Miller: "Anne Baxter was a prodigious acting talent from a prestige-heavy family—her grandfather was America’s leading architect, Frank Lloyd Wright—and always seemed destined for greatness. She began acting at age eleven and went on to study with Russian actress Maria Ouspenskaya and America’s Stella Adler. She made her Broadway debut in Seen, but Not Heard in her early teens and her movie debut at seventeen. While still a teen, she worked with Orson Welles in his 1942 masterpiece The Magnificent Ambersons. Baxter will always be remembered as the conniving Eve Harrington in the 1950 All about Eve, for which she was nominated for a Best Actress Oscar, but she already had won a 1946 Supporting Actress Oscar as the sad alcoholic in The Razor’s Edge. Baxter also wrote a best-selling memoir, Intermission: A True Story (1976), which detailed her unsuccessful attempt to live in the Australian outback with second husband, Randolph Galt...."



 Baxter, a teen newcomer to Hollywood in 1940. Photo by Frank Powolny; courtesy of 20th Century-Fox.

"Yes. I was fourteen and was already too busty to play an eleven-year-old."