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."

Saturday, December 14, 2019

Walter Benjamin and New Angel...Paul Klee@140


#PaulKlee140

 

Artist: Paul Klee
Walter Benjamin:

"A Klee painting named Angelus Novus shows an angel looking as though he is about to move away from something he is fixedly contemplating. His eyes are staring, his mouth is open, his wings are spread. This is how one pictures the angel of history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them. The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress."

Raymond Biesingers, The Baffler:
"....By the mid-nineteenth century, faith in progress was already so ubiquitous as to be largely invisible to its adherents, whether they counted themselves revolutionaries or traditionalists and whether they lived in Europe itself, in the rapidly expanding settlements in the Americas and Australia, or in colonial outposts in Africa and Asia. To question it with any seriousness was to marginalize yourself as a crank, a heretic, or a fool. In the European imagination—which increasingly operated in racial terms, understanding itself as white—progress defined the world..."

...आणि १९व्या शतकातील महाराष्ट्रातील सुद्धा तेच चालेले होते... सगळ्यांनी "प्रगती"चा नुसता धोशा लावला होता.. पेशवे गेले म्हणजे प्रगती झाली... हा विचार सुद्धा नाही की शिवाजीमहाराजांच्या आधीचा किंवा नंतरचा महाराष्ट्रातील इतिहास पुन्हा वेगळ्या स्वरूपात , पुढील काळात परत येऊ शकतो... उदाहरणार्थ: 'नवकोट नाना' १८व्या शतकाच्या शेवटी गेले पण २०-२१ व्या शतकात सर्व जातीत नाना निर्माण होऊ शकतात.... (आणि तसे झाले!)

वॉल्टर बेंजामिन सुद्धा प्रगतीला भुलले नाहीत आणि काही काळा पुरती  प्रगती नाही म्हणजे काही निराशेच्या खाईत पडायची गरज नाही ...  For Walter Benjamin at least, refusing to be blinded by the false promises of progress did not mean that hope was lost....
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