Looking at Cartoons, Getting Along

Launched on Nov 29 2006, now 2,100+ posts...This bilingual blog - 'आन्याची फाटकी पासोडी' in Marathi- is largely a celebration of visual and/or comic ...तुकाराम: "ढेकणासी बाज गड,उतरचढ केवढी"...George Santayana: " Everything in nature is lyrical in its ideal essence, tragic in its fate, and comic in its existence"...William Hazlitt: "Pictures are scattered like stray gifts through the world; and while they remain, earth has yet a little gilding."

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, June 26, 2020

काफ्कांचे 'दि कासल' आणि जी एंचा मठ....K and S

Franz Kafka, The Castle:

"...But do you think your entire earlier life is so submerged (except of course for the landlady, who won’t let herself be forced down with it) that you no longer know how hard one must fight to get ahead, especially if one is coming up from the depths? How one must use everything that can somehow give one hope?..."

या विषयावरती जमल तर जास्त लिहायची इच्छा आहे. ही पोस्ट फक्त सुरवात समजावी.

इंग्लिश विकिपीडिया 'दि कासल', १९२६ची ओळख अशी करून देतो:

" In it a protagonist known only as K. arrives in a village and struggles to gain access to the mysterious authorities who govern it from a castle. Kafka died before finishing the work, but suggested it would end with K. dying in the village, the castle notifying him on his death bed that his "legal claim to live in the village was not valid, yet, taking certain auxiliary circumstances into account, he was permitted to live and work there". Dark and at times surreal, The Castle is often understood to be about alienation, unresponsive bureaucracy, the frustration of trying to conduct business with non-transparent, seemingly arbitrary controlling systems, and the futile pursuit of an unobtainable goal."

जी ए कुलकर्णींची कथा 'स्वामी', १९७३ वरकरणी ह्याच्या अगदी उलट आहे अस वाटेल कारण स्वामीला तर फसवून मठात ऐषोआरामात डांबल आहे. पण वास्तव तस नाहीये.

स्वामीचा legal claim, K सारखा, to LEAVE the convent (मठ) is judged as not valid... 'स्वामी' कथा सुद्धा 'dark and at times surreal' आहे ....तसेच ' is often understood to be about alienation, unresponsive bureaucracy, the frustration of trying to conduct business with non-transparent, seemingly arbitrary controlling systems, and the futile pursuit of an unobtainable goal.'

किंवा असही म्हणता येईल की जिथे 'दि कासल' संपते तिथे 'स्वामी' सुरु होते पण तरी काही बदलत नाही.... तेच alienation, unresponsive bureaucracy, the frustration of trying to conduct business with non-transparent, seemingly arbitrary controlling systems, and the futile pursuit of an unobtainable goal... सुरूच राहतात.

ह्या सगळ्याला कदाचित एकच रुपेरी किनार आहे... माणसाचा झगडा आणि आशा