#NamdevDhasal70 #नामदेवढसाळ७०
श्रीपाद कृष्ण कोल्हटकरांनी त्यांच्या ह ना आपटे यांच्या 'पण लक्षात कोण घेतो?", १८९० कादंबरीच्या परीक्षणात अस लिहल होत:
"रा. आपट्यांनी स्त्रियांच्या दुःखाची कहाणी सांगितली आहे तशी मागासलेल्या
जातीच्या दुःखाची सांगितल्यास ती मिसेस स्टौच्या 'टॉम काकाची कोठडी' या
कादंबरीच्या खालोखाल क्रांतिकारक होईल अशी खात्री वाटते. "
विजय तेंडुलकर:
"...पांढरपेशा जगाच्या सीमा संपवून पांढरपेशा हिशेबांनी 'नो मॅन्स लँड'- निर्मनुष्य प्रदेश- जेथून सुरु होतो तेथून नामदेव ढसाळ याच्या कवितेचे मुंबईतील, 'गोलपिठा' नावाने ओळखले जाणारे जग सुरु होते..."
('गोलपिठा'च्या पहिल्या आवृत्तीची प्रस्तावना)
दिलीप पुरषोत्तम चित्रे:
"... समकालीन कवींमध्ये मर्ढेकर, अरुण कोलटकर, नारायण सुर्वे, नामदेव ढसाळ अशा काही कवींमध्ये तुकारामी परंपरेच्या काही छटा आल्या..."
(पृष्ठ बारा, 'पुन्हा तुकाराम', १९९०/ १९९५)
John Gray, New Statesman, June 2010:
"....John Wyndham's The
Day of the Triffids (1951) is full of terrifying images of human life
under siege from ambulatory plants, but concludes with a handful of survivors
emerging from their ordeal essentially unchanged to renew civilisation in the
comically improbable environs of the Isle of Wight...
...Even at its most
pessimistic, science fiction has always been a humanist genre. The consoling
assumption has been that while civilisation may be flawed and fragile, it can
always be rebuilt, perhaps on a better model, if only humans have the will to
do it. The possibility that it is the species that is flawed has rarely been
explored..."
Katherine Boo, 'Behind the Beautiful Forevers: Life, Death, and Hope in a
Mumbai Undercity', 2012: “...The dream of Raja Kamble, a sickly toilet-cleaner who
lived on the lane behind Abdul’s, was of medical rebirth. A new valve to fix
his heart and he’d survive to finish raising his children. Fifteen-year-old
Meena, whose hut was around the corner, craved a taste of the freedom and
adventure she’d seen on TV serials, instead of an arranged marriage and
domestic submission. Sunil, an undersized twelve-year-old scavenger, wanted to
eat enough to start growing. Asha, a fighter-cock of a woman who lived by the
public toilet, was differently ambitious. She longed to be Annawadi’s first
female slumlord, then ride the city’s inexorable corruption into the middle
class. Her teenaged daughter, Manju, considered her own aim more noble: to
become Annawadi’s first female college graduate.
The most preposterous of these dreamers was the One Leg.
Everyone thought so. Her abiding interest was in extramarital sex, though not
for pocket change alone. That, her neighbors would have understood. But the One
Leg also wanted to transcend the affliction by which others had named her. She
wanted to be respected and reckoned attractive. Annawadians considered such
desires inappropriate for a cripple.
What Abdul wanted was this: a wife, innocent of words like
pimp and sisterfucker, who didn’t much mind how he smelled; and eventually a
home somewhere, anywhere, that was not Annawadi. Like most people in the slum,
and in the world, for that matter, he believed his own dreams properly aligned
to his capacities....”
Ursula K. Le Guin, 1977:
“...but science fiction is a natural medium for social
satire.”
तेंडुलकर त्यांच्या प्रस्तावनेत म्हणतात की ढसाळांची कविता मला शब्दशः समजत नाही. बरोबरच आहे, पण तेंडुलकर म्हणतात तसा तो निर्मनुष्य प्रदेश नाही तर, एका पांढरपेशा माणसासाठी, एखाद्या विज्ञान कथेत वर्णन केल्यासारखा आहे- a post-apocalyptic, आणि ते जग वर्णन केलेली भाषा समजायला ते जग आधी थोडेतरी समजले पाहिजे, किमान त्याची कल्पना तरी करता आली पाहिजे.
गरिबी मी आयुष्यात भोगली जरी नसली तरी पुष्कळ आणि जवळून पहिली आहे. कित्येक वर्षे पाहिलीय. पण ढसाळांनी मला पहिल्यांदा जाणीव करून दिली की गोलपिठाचे जग मात्र मी अजिबात पाहिलेले नाहीये आणि ते माझ्या भविष्यात नाही तर शेजारातच आहे....
(अलीकडील काही वर्षात पुण्यातील संध्याकाळच्या वेळात स्वारगेट चौक पाहून सुद्धा पोस्ट-अपोकॅलिप्टिक भविष्याची थोडी कल्पना यायला लागलीय.)
कृतज्ञता: कलाकार :
संदेश भंडारे
Artist: RGJ, The Spectator, UK
