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."

Thursday, February 21, 2019

तिच्या वक्षावर श्रावणाचें कोंवळें चंदन....Sadanand Rege and Robert McGinnis


 कवी: सदानंद रेगे, वाङ्मय शोभा, सप्टेंबर १९५६

(काहीप्रमाणात रेगे जरी मर्ढेकरांचे समकालीन असले आणि त्यांच्या इतकेच (किंचित जास्तच!) प्रतिभाशाली असले तरी मर्ढेकरांच्या नव्या आणि 'स्वच्छ'  "दवात आलीस" किंवा "माझ्या ढिलाश्या बोटांचे / तळ तुझ्या स्तनावर." ची छाप या कवितेवर मला  दिसते)

p.s खालील चित्रातील तिच्या टॉपचा रंग कुठेतरी चंदनाच्या जवळचा आहे....  

आर्टिस्ट: Robert McGinnis

Mr. McGinnis has been hailed 'Pop culture Rembrandt'....


J. Kingston Pierce, Feb 1 2019: 
“Yes, there have been other painters who painted beautiful women—but there’s nothing like a McGinnis woman,” raves Charles Ardai, the editor at New York publishing house Hard Case Crime, which specializes in vintage-style paperback fronts and has made plentiful use of this artist’s output over the last decade and a half. “Leggy, serene, aloof, unruffled, coiled, and deadly or enigmatic and sensuous, Bob’s women are like otherworldly creatures, breathtaking and perfect.”
However, the appeal of McGinnis’s female subjects goes beyond their conspicuous corporeal attributes, insists Art Scott, who co-authored—with the painter himself—a handsome 2014 book, The Art of Robert E. McGinnis. “To me,” Scott says, “his exceptional talent for depicting physical beauty and sensuality is secondary to his gift for imbuing his women with personality: intelligence, competence, spunkiness, danger—as called for in their portrayal in the text. Other top paperback artists had this gift as well, but pre-McGinnis especially, the Calendar Girl/Starlet (or Calendar Girl/Starlet Menaced by Bad Guy) look and pose was what was usually on the covers.”
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