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."

Sunday, January 03, 2021

I'm a Cartoon because My Mother too is Dead



Today January 3 2021 is my mother's 15th death anniversary

Sarah Boxer writes in The Atlantic, July-August 2014 issue:

“...Bambi’s mother, shot. Nemo’s mother, eaten by a barracuda. Lilo’s mother, killed in a car crash. Koda’s mother in Brother Bear, speared. Po’s mother in Kung Fu Panda 2, done in by a power-crazed peacock. Ariel’s mother in the third Little Mermaid, crushed by a pirate ship. Human baby’s mother in Ice Age, chased by a saber-toothed tiger over a waterfall.

I used to take the Peter Pan bus between Washington, D.C., and New York City. The ride was terrifying but the price was right, and you could count on watching a movie on the screen mounted behind the driver’s seat. Mrs. Doubtfire, The Man Without a Face, that kind of thing. After a few trips, I noticed a curious pattern. All the movies on board seemed somehow to feature children lost or adrift, kids who had metaphorically fallen out of their prams. Gee, I thought, Peter Pan Bus Lines sure is keen to reinforce its brand identity. The mothers in the movies were either gone or useless. And the father figures? To die for!

A decade after my Peter Pan years, I began watching a lot of animated children’s movies, both new and old, with my son. The same pattern held, but with a deadly twist. Either the mothers died onscreen, or they were mysteriously disposed of before the movie began: Chicken Little, Aladdin, The Fox and the Hound, Pocahontas, Beauty and the Beast, The Emperor’s New Groove, The Great Mouse Detective, Ratatouille, Barnyard, Despicable Me, Cloudy With a Chance of Meatballs, and, this year, Mr. Peabody and Sherman. So many animated movies. Not a mother in sight...”


Artist: Zohar Lazar, The Atlantic 
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