मेघदूत: "नीचैर्गच्छत्युपरि 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: "… . . 1000 नंतर ज्या प्रकारची संस्कृती रुढ झाली , त्यामध्ये साधारणत्व विश्वात्मकता हे गुण प्राय: लुप्त झाले...आपली संस्कृती अकाली विश्वात्मक साधारणतेला मुकली आहे."

Friday, May 09, 2014

फणसाचा गरा लागतो बरा, नाकतोड्यापेक्षा परवडला खरा ...We Also Serve Jackfruit



Simone Weil:


"What a country calls its vital economic interests are not the things which enable its citizens to live, but the things which enable it to make war. Gasoline is much more likely than wheat to be a cause of international conflict." 


Wikipedia:


"The jackfruit is one of the three auspicious fruits of Tamil Nadu, along with the mango and banana, known as the mukkani (முக்கனி). These are referred to as ma-pala-vaazhai (mango-jack-banana). The three fruits (mukkani) are also related to the three arts of Tamil (mu-Tamizh).[30] Jackfruit is the national fruit of Bangladesh. It is also the state fruit of the Indian state of Kerala."

Eating jackfruit in summer, when the fruit used to compete unfavourably with the mangoes for attention, at our home in Miraj (मिरज), was a family activity.

Twice or so the summer, my father used to buy the fruit and, with the help of my mother, used to cut it and we would sit around and eat the whole of it. There were two types of the fruit available- 'kapa' (कापा) and 'barka' (बरका). Apparently, you need the former type to eat it the way I have described it.


"The World Bank and United Nations warned recently that rising temperatures and unpredictable rainfall had already reduced yields of wheat and corn, and could lead to food wars within the decade."

So contrary to what great Ms. Weil has said, wheat could be a cause of  international conflict !

 "Researchers say jackfruit — a large ungainly fruit grown across south and south-east Asia — could be a replacement for wheat, corn and other staple crops under threat from climate change.."

 "...Efforts in India to exploit the fruit’s potential coincides with a global push to expand food production, especially in developing countries which are expected to face growing challenges to feed their people in the coming decades.

Jackfruit can fill the gap on a number of counts, said Danielle Nierenberg, president of Food Tank, which works on sustainable agriculture.

“It is easy to grow. It survives pests and diseases and high temperatures. It is drought-resistant,” she said. “It achieves what farmers need in food production when facing a lot of challenges under climate change.”
The fruit is rich in potassium, calcium, and iron, said Ms. Reddy, making it more nutritious than current starchy staples..."


"Two billion people around the world, primarily in south-east Asia and Africa, eat insects – locusts, grasshoppers, spiders, wasps, ants – on a regular basis. Now, with food scarcity a growing threat, efforts are being made to normalise the concept of entomophagy, or the consumption of insects, for the other 5 billion. Last year, the UN's Food and Agriculture Organisation (FAO) published a list of more than 1,900 edible species of insects; the EU, meanwhile, offered its member states $3m to research the use of insects in cooking.

Why? Because insects, compared to livestock and fish, are a much more sustainable food source. They are available in abundance: for every human on Earth, there are 40 tonnes of insects. They have a higher food conversion rate than even our fastest-growing livestock (meaning they need to consume less to produce the same amount of meat) and they emit fewer greenhouse gases. As a fast-food option, which is how people treat them in countries such as Thailand, insects are greatly preferable to the water-guzzling, rainforest-destroying, methane-spewing beefburger. They are nutritious too: rich in protein, low in fat and cholesterol, high in calcium and iron..."


                                                            "But Wait, We Also Serve Jackfruit"

Photograph/ courtesy: Photomorgana/Corbis,: The Guardian

p.s.

Rajyasree Sen, WSJ, July 6 2014:


"...Ripe Jackfruit –The green unripe jackfruit is used extensively in cooking across India for its texture that resembles meat. And then there is a pungent-smelling ripe jackfruit, which is India’s answer to the durian, famous for its strong odor which is said to resemble anything from rotting onions and gym socks to raw sewage..."
 

Monday, May 05, 2014

Drawing Her Into This Battle!...Sudhir Tailang's Art

I have already said that Mr. Sudhir Tailang is arguably the best political cartoonist in India today.

Here is one more reason why.


Artist: Sudhir Tailang, The Asian Age. April 2014

Some background:

Mr. Modi has been called 'devil' by Ms. Banerjee...He has been also called 'Butcher of Gujarat' by her party...Sale of Ms. Banerjee's paintings has become controversial.

Now on to the cartoon:

In the picture,  Ms. Banerjee has produced a new painting featuring  Mr. Modi as devil. She does not forget to even pun on this act : "I'm drawing him into this battle!" Notice the exclamation mark, she WANTS the battle.

Now, what will Mr. Modi do? He too has to draw her. She wants  him to draw her as a cartoon. (Remember, how a university professor was arrested in West Bengal for emailing a cartoon caricaturing the chief minister)

And the moment Mr. Modi does it, she will go after him with IT ACT 66A!

This is the best political cartoon I have seen this election season. It made my week!

Thursday, May 01, 2014

Balraj Sahni & Zachary Kanin: Do Bigha Zamin

Today May 1  2014 is 101st Birth Anniversary of Balraj Sahni and International Workers' Day


Look at the following picture.






Artist: Zachary Kanin, The New Yorker, January 2014

And look at the following:

Balraj Sahni's  rickshaw pulling in Bimal Roy's 'Do Bigha Zamin', 1953


Faster! By God, you'll earn that tip yet!

Wednesday, April 30, 2014

Luncheon on the Grass...Let Me Get You All In!

Today April 30 2014 is 131st Death Anniversary of Édouard Manet





                                                                   'Luncheon on the Grass'

Artist: Édouard Manet (1832–1883), 1863 

courtesy: Wikimedia Commons

Do you know that Manet was going to draw it without the woman in the forefront? She, in nude, was going to paint the picture of the picnic party... But then...
Artist: John O'brien, The New Yorker, December 15 1997

Wednesday, April 23, 2014

How to Open a New Book. And a Georgian Lady!

Today April 23 2014 is World Book Day




"Here's a lovely old advisory from William Matthews Bookseller, explaining how to open a book for the first time, which was a major operation in the age of hand-sewn hardcover bindings."

courtesy: Dangerous Minds  and Boing Boing

Undressing a Georgian / Victorian lady too perhaps needed instructions like the above.

In the passage below, just ignore the passions and focus on the skills:

"...“Let’s go to bed, Tillie.”
Eyes closed, she nodded.
He removed the pins from her hair, placing them on the mantel, then took her tresses into two fists and buried his face in it, inhaling deeply.
Her knees weakened, but she remained still, allowing him all the time he wanted.
Finally, he brushed it behind her back, then dipped down to find her collar fastenings. She reached up to detach it, but he pushed her hands away.
“Tonight,” he said, “I will be your lady’s maid, and I will do for you what you have done countless times for others.” His eyes slid to half-mast. “But this will be much, much more enjoyable.”
Flushing, she stood motionless as he tenderly removed collar and cuffs, setting them next to her pins on the mantel. Kneeling before her, he untied her boots, then slipped them off.
Still on one knee, he twisted to hold his hands to the fire before slipping them blindly beneath her skirts. She jumped, bracing her fingertips against his shoulders as he whisked her garters off and rolled down her stockings.
The plank floor was cold and rough beneath her feet, giving her blessed relief from the flush overtaking her body.
Bodice, overskirt, skirt lining, skirt, petticoat, corset cover, corset, and chemise. With the removal of each layer, he whispered words of praise and awe, paid homage in the age-old way of man, and then carefully attended to the piece of clothing in his hands, shaking it out before hooking it on a peg. Finally, his breathing deep, his eyes fierce, he lifted the bed linen.
She slid beneath the covers, heart full, every nerve quivering. He made quick work of his own clothing, suspenders swinging, articles flying..."

  (from 'Maid to Match' by Deeanne Gist, 2010)


Isobel Carr, a historical re-enactor who writes Georgian romance novels, has given a dozen demonstrations for romance writers in the past six years. Her "underwear through the ages" seminar covers the Tudor, Georgian, Regency and Victorian eras. 

Typically, she comes fully dressed, then disrobes down to her undergarments. Ms. Carr says she tries to amend common misconceptions while performing her striptease—including the anachronistic use of silk underwear. All delicates were "plain white linen," she says. 

Corsets are another common stumbling block. "I try to show that corsets are back-lacing, and they have to be completely unlaced to take them off," she says. "I've seen scenes in books where they've been yanked off overhead, and you can't do that." 

Novelist Delilah Marvelle took Ms. Carr's seminar twice, at romance conventions in 2006 and 2008, because she was struggling to describe unmentionables, as 19th-century women called their underthings. The workshop helped her craft the following passage in her 2008 novel "Mistress of Pleasure."

"Maybelle undid the lacing that held her petticoats in place and let them drop from around her waist down to her slippered feet, leaving her only in her chemise, corset and stockings. She could feel him tugging and pulling as he worked to undo the long set of laces on her corset."..."



Artist: Thomas Rowlandson (1756 - 1827), 1791


"...If the British Library’s exhibition gives the reality of the age, it is Rowlandson’s work that transmits its essential flavours, the tang and boisterousness of the times and their irreverence...

...Rowlandson was highly political, although far from partisan. In 1784, he produced prints both for and against Charles James Fox (with his portly figure and bushy eyebrows, a cartoonist’s dream) and during George III’s first illness, he was paid to make prints supporting the prince of Wales’s bid for the regency while later drawing various loyalist subjects.

Royalty and politicians were merely at the sharp end of a society that fascinated him. Partly because of his spendthrift nature and unsuccessful gambling forays, he was forced to churn out great numbers of works: the mores of the age were a rich source. The preposterousness of old men wooing young women, the pretensions of the military, the nonsense of fashion, the scrum of the theatre: it all attracted his eye. What his humour tends to hide, however, is the skill of his draughtsmanship and that when he allowed himself to be gentle – while painting a riverside scene at Ferrybridge in Yorkshire, for example – he was capable of great beauty.

If the British Library show were reduced to just one object to represent the Georgian century, Rowlandson himself would be the ideal exhibit..."

(

Rowlandson...our history of late 18th century, early 19th century would have become so more interesting...in Maharashtra, he would have loved to caricature Bajirao II and his amorous pursuits...