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."

Friday, September 20, 2019

The Exotic Sophia Loren@85

#SophiaLoren85


Stephen Marche, 'Consumer Products', Lapham's Quarterly, Sept. 2018:
“... Within the maelstrom of image, however, certain celebrity types return to the public consciousness again and again. Gwyneth Paltrow is not just Gwyneth. Without Greta Garbo, there is no Grace Kelly; without Grace Kelly, there is no Gwyneth. The power of this particular trope—the blond princess—is huge; Great Garbo was the most charismatic actress in history. Avenue Princess Grace in Monaco is the most expensive stretch of real estate in the world, over twice the per-square-foot value of an average Fifth Avenue apartment. Each manifestation of the Gwyneth/Grace/Garbo figure wears the skin of the previous manifestation. For women, along with the blond princess, we have the blond whore (Mae West, Tallulah Bankhead, Marilyn Monroe, Madonna), the exotic (Sophia Loren, Penélope Cruz), the independent (Katherine Hepburn, Barbara Strei­sand, Ellen Burstyn)...”

Sophia Loren, ‘Yesterday, Today, Tomorrow My Life’, 2014 (?):
“...Death is as ugly as it is normal. There’s something profoundly unnatural about having to let go of someone you love so much. You turn this way and that trying to find support, knowing full well that there isn’t any. And you feel completely alone, abandoned even by words.
Then again, is there really anything left to be said when, after fifty-six years of life together, the end comes? Every morning when I wake up I struggle to believe Carlo is no longer here. I search for him in every corner of our house. I find him in our children’s voices, which are identical to his, in the expressions of our grandchildren, who have meanwhile arrived to brighten my days. They complete my maternal feelings, in a way I would never have expected...”

Carlo Ponti:
“...Sophia and Lollobrigida began their careers miming the main parts in opera films. This was a career start that had, as I saw it, no real future, and we dropped it almost as soon as it began: singers never succeed as actresses. I have to say that actresses who have control over their career just don’t exist. It is possible that talented male stars might manage to establish an independent career for themselves. But in the whole history of cinema there is not one actress, and I mean not a single one, from Garbo to Dietrich, whose career has taken off without the help of a man....”

Pauline Small, ‘Sophia Lauren: Moulding the Star’, 2009:
“...Cinema is an art form, but it is also an industry, and the star is an employee, certainly the most prominent, of those actively working in the industry. The meanings that build around a star image are rooted in the industrial processes that govern that industry, which in turn are a manifestation of the place cinema holds in a given culture. What is so interesting about Sophia Loren is the way her persona drew on and fused aspects of two separate but inter-related industries, of two separate but inter-related cultures, in Italy and in Hollywood, into a most spectacularly successful career...”


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