Sachin Tendulkar is the Greatest Sportsman ever NOW!

Friedrich Nietzsche: "We mine the past for myths to buttress our present."

Michael Crichton: "Because the past is the only alternative to the corporate present."

Margaret Visser: “Gratitude is always a matter of paying attention, of deliberately beholding and appreciating the other.”

ROD LIDDLE:

"This is the generation (born between 1955 and 1985), which has bequeathed to the world reality television, the cult of the celebrity, first-person confessional journalism and the mass hysterical emoting at the funerals of people they have never met, let alone known. I suppose, if we were to grope for a reason, we might say that it was the first generation for a very long time which lived without the depredations of war and thus the prospect of imminent death; which threw off the notion of a higher authority than itself and was schooled in the art of self-expression rather than the acquisition of knowledge."

In Indian context, we could say: it was the first generation for a very long time which lived without the fear of hunger and thus the prospect of death by starvation.

The past week belonged to media frenzy on completion of twenty years by Sachin Tendulkar in international cricket. (I still vividly remember his first day.)

They say Sachin Tendulkar is very humble despite being the richest cricketer in the history of the game.

Maybe he is.

But humility is not just about how you treat your servants, the words you choose or your body language.

It is also about how you show respect for the absent, for the past.

Last week news television (led by The Times of India's and Times NOW's Boria Majumdar) showed no respect to the absent or the past.

Michael Crichton sums up neatly:

"...Jennifer had no interest in the past; she was one of the new generation that understood that gripping television was NOW, events happening NOW, a flow of images in a perpetual unending electronic present. Context by its very nature required something more than NOW, and her interest did not go beyond NOW. Nor, she thought, did anyone else's. The past was dead and gone. Who cared what you ate yesterday? What you did yesterday? What was immediate and compelling was NOW.

And television at its best was NOW..."

(Airframe, 1996)

When anchor after anchor kept telling Tendulkar how he was the greatest of them all, I never heard Tendulkar saying that perhaps Don Bradman, Garry Sobers, Sunil Gavaskar, Wasim Akram or Kapil Dev and a few more were greater cricketers than him.

...that Dhyan Chand and Viswanathan Anand were the greatest sportsmen India produced.

...that since his debut in November 1989, India has not won either an ODI world-cup or a tournament like Benson & Hedges World Championship of Cricket.

...that India has still not beaten Australia and South Africa, in a test series, on their own turfs, and although India beat West Indies in a Test series on his watch, he was not part of that squad. (He was a member of the Test teams that beat Pakistan-first time in history of Indian cricket- and England on their own soils.)

...that back then there were no helmets and fancy protective gears and/or batsmen played on uncovered wickets and/or bowlers followed back-foot no-ball rule.

...that since there were no ODI's earlier, the interviewer should compare another cricket player's first-class record against his own first-class record. Also please note that Jack Hobbs was cricket's most prolific batsman because, in 29 years, he scored 61,237 first-class runs and 197 centuries.

...that his predecessors found motivation to compete fiercely and risk their lives (remember Nari Contractor or Jimmy Amarnath or neighbour Eknath Solkar at forward-short-leg without helmet?) even though there was hardly any money to be made by playing.

He should have said any/all of this even if he didn't mean it.

Instead his expressions reminded me of the late Om Prakash from a scene in 'Chupke Chupke'(1975) where Dharmendra praises him, comparing him to 'naya dulha' Amitabh Bachchan.

I understand that Tendulkar doesn't have a gift of gab like Sunil Gavaskar but he surely could have tried.

Read here how Gary Lineker appreciates Diego Maradona.

Read here how Michael Atherton bids farewell to Muttiah Muralitharan.

Read Sunil Gavaskar's book "Idols".

Read Garry Kasparov's series of books "My Great Predecessors".

Listen to Kumar Gandharva's tribute to Bal Gandharva: "Mala umajalele Bal Gandharva".

Graham Greene on how he compares with the past masters:

"Well, there is no such thing as success. The priest can't hope to become a saint- or else it's an illusory dream which vanishes with time; the writer can't hope to write a book equal those of Tolstoy, Dickens or Balzac. He might have dared to believe in the possibility at the outset, but his books always carry a flaw somewhere."

('The Other Man: Conversations with Graham Greene', Marie-Francoise Allain,1981)


‘Own up, Narcissus, you’re responsible for this graffiti, aren’t you?’

Courtesy: Spectator

Why did Marathi speaking two Girishes take Oaths in Sanskrit?

"...ज्ञानेश्वरापास्नं तुकरामापर्यन्तचा काळ म्हणजे मराठीनं ऐसपैस पसरलेले पाय. आता ही भाषा जवळ जवळ काहीही पेलायला तयार झाली होती..."

अशोक शहाणे Ashok Shahane (नपेक्षा, Napeksha 2005)

("...In the period from Dnyaneshwar (1275-1296) to Tukaram (? -c1650) Marathi comfortably spread its legs. Now this language was ready to bear almost anything...")

Sheldon Pollock, EPW, 26th July 2008:

"...Sanskrit, for D D Kosambi, was a language that had lost all contact with the sensuous world of “real life” in ancient India (some lives being apparently more real than others); it was purely an instrument of elite power and “legitimisation” of power...

...As for the Sanskrit poets themselves, their work “necessarily” carried the stamp of parasitism and decay. This prohibited them from ever addressing “major problems of the individual spirit” or of humanity at large, and it condemned their works and biographies to near oblivion..."

Despite this, on November 10 2009, Girish Bapat & Girish Mahajan, two newly elected Maharashtra lawmakers, whose mother tongue is presumably Marathi, unlike that of Abu Azmi, chose to take their oaths of office in Sanskrit even when it was objected to-initially at least-by pro-tem speaker Ganpatrao Deshmukh. (Times of India)

Why?

Reviewing "THE HINDUS/ An Alternative History" by Wendy Doniger, PANKAJ MISHRA says:

"...In fact, most Indians in the 18th century knew no Sanskrit, the language exclusive to Brahmins. For centuries, they remained unaware of the hymns of the four Vedas or the idealist monism of the Upanishads that the German Romantics, American Transcendentalists and other early Indophiles solemnly supposed to be the very essence of Indian civilization...

...In “privileging” Sanskrit over local languages, she writes, they created what has proved to be an enduring impression of a “unified Hinduism.” And they found keen collaborators among upper-caste Indian scholars and translators. This British-Brahmin version of Hinduism — one of the many invented traditions born around the world in the 18th and 19th centuries — has continued to find many takers among semi-Westernized Hindus suffering from an inferiority complex vis-à-vis the apparently more successful and organized religions of Christianity, Judaism and Islam..."

Meanwhile, how is Marathi doing?

विनोबा भावे:

"...आपल्याकडे मराठीत जी भाषा रूढ झाली आहे ती अगदी प्रखर, हाणून पाडणारी, मारक, बोचक, दाहक, अशी आहे. आणि हे सर्व सुमारे ७0-८० वर्षातले अलीकडचे जे मराठी साहित्य आहे त्यामध्ये दिसून येते...जसा एखादा काचेचा पेला जमिनीवर आपटला म्हणजे त्याचे तुकडे तुकडे होतात. त्याप्रमाणे महाराष्ट्रामध्ये कोणत्याही प्रश्नाचे तुकडेच होतात. इथे शाबूद प्रश्न राहतच नाही...शब्दामध्येच सर्व असलेनसलेले भाव ओतून पराक्रमाच्या क्षेत्रामध्ये आम्ही फिके पडत चाललो आहोत..." (c 1950)

(विनोबा सारस्वत "Vinoba Saraswat" edited by राम शेवाळकर Ram Shewalkar 1987)


(Vinoba Bhave: "...the Marathi language that is established amongst us is strong, biting, knocking over, killing, hot and this is all reflected in the Marathi literature of last 70-80 years...the way a glass tumbler falls and breaks into splinters, any issue in Maharashtra splits into pieces. No issue remains intact here...By pouring all our feelings in only words, we are fading in the field of bravery...")

I wonder what Vinoba would have felt had he heard fanatics and rabble-rouser of Maharashtra in year 2009.


‘Of course, I use foul language. What other language is there?’

Courtesy: Spectator

The Fall of the Wall:Camus, with help from Kafka and Molière

I don't remember what I was doing when I first heard the fall of the Berlin wall in 1989. I was familiar with the wall largely because of reading of John le Carré's classic "The Spy Who Came in from the Cold"(1963).

Some people say 'the fall' restored the light in Eastern Europe.

Did it?

I always felt Václav Havel was a poster boy for anti-communist brigade.

Therefore, I was surprised to read him saying:

"...It lies in human nature that where you experience your first laughs, you also remember the age kindly. Older people experienced their first joys in that time, and it shapes their remembrance today. There are objective grounds for this nostalgia because the communists cared for the individual from birth to death, something that has gone missing today..." (Newsweek, October 9, 2009)

Gerard DeGroot says:

"...In Eastern Europe, the people wanted communism's fairness but also capitalism's riches. The incongruity of those desires eventually eroded communist regimes but has since produced ironies worthy of Tolstoy. Freedom did not bring justice...

...When light was restored, East Europeans emerged not as heroes but as flawed human beings. They are indeed just like everyone else.

As Poland's Cardinal Stefan Wyszynski once warned, one gang of robbers replaced another.

"Free elections," Constantine Pleshakov concludes, "do not necessarily lead to more freedom. . . . The free market can impoverish a nation as effectively as central planning." How true.

Today, the Czech Republic is a leading producer of pornography, while Sofia and Gdansk market themselves as destinations for stag weekends. Half a million Poles live in Britain, causing the British jokingly (and not so jokingly) to complain that they should take their work ethic and go home. That's not quite the simple beauty that starry-eyed romantics in the West envisioned in 1989..." (November 1, 2009)

Did Rambo Ronald Reagan's speech on June 12, 1987:"Mr. Gorbachev, open this gate! Mr. Gorbachev, tear down this wall!" bring down the wall?

Gerard DeGroot again:

"...The real story, minus the comic book hero, is more complicated -- and interesting. Reagan still plays a role, but as diplomat, not Rambo. His contribution came in accommodation; his willingness to talk to Gorbachev gave the Soviet leader the confidence to break molds. Gorbachev, furthermore, did not tear down the wall; he merely suggested that change would be tolerated.

The events themselves were played out by a cast of thousands in Budapest, Berlin, Prague, Warsaw and Bucharest. There was no script; this was an improvisational drama conceived by Camus, with help from Kafka and Molière. The Soviet Union came to the realization that its empire was no longer affordable. Like other imperial powers, it cut and ran, leaving colonial subjects to sort things out for themselves. Chaos naturally resulted.

...Events were shaped by "the logic of human messiness." The regimes in Eastern Europe were destroyed not by monolithic force, but by myriad human beings reacting impulsively to the freedom of possibility. Watching from afar, we saw what seemed like neat little dominoes falling. In fact, what happened was as capricious, and messy, as a tornado.

Chance played a huge part..."


Artist: Robert Weber, The New Yorker, Nov 27 1989

Do Most Soldiers Just Want to Get Home in One Piece?

Erich Maria Remarque in “All Quiet On The Western Front":

“This book is to be neither an accusation nor a confession, and least of all an adventure, for death is not an adventure to those who stand face to face with it. It will try simply to tell of a generation of men who, even though they may have escaped shells, were destroyed by the war.”

George Orwell in "Homage to Catalonia":

"One of the most horrible features of war is that the war-propaganda, all the screaming and lies and hatred, comes invariably from people who are not fighting."

Arundhati Roy:

"...Sometimes the most rabid people calling for war, calling for Pakistan to be nuked, etc, are those who live far away, who will not have to suffer the consequences of what they're saying. You see it all the time in the Letters columns of magazines and newspapers..."

Recently in India, 10th anniversary of the Kargil war was observed. Many 'celebrated' India's 'victory' there.

On September 1, 2009, the world observed 70th anniversary of the start of the World War II.

The Greatest Generation is a term often used by Americans to describe the generation who grew up during the deprivation of the Great Depression, and then went on to fight in World War II.

While reviewing "D-Day: The Battle for Normandy" by Antony Beevor, Dominic Sandbrook says:

"...Despite all the patriotic American nonsense about the "greatest generation", Beevor shows that there were remarkably few heroes. There were rarely "more than a handful of men prepared to take risks and attack," he says; most men just wanted to get home in one piece and "somebody else to play the role of hero". Surveys showed that if a few broke ranks and fled, the rest would follow; in most engagements, as many as half never fired a shot..."

(The Observer, Sunday 31 May 2009 )

JONATHAN SUMPTION on "Finest Years" by Max Hastings:

"...Max Hastings’ views about the British army in the second world war are well known, and are pungently repeated here. Its ranks were filled with ‘many men willing to do their duty, but few who sought to become heroes.’ Its leaders, with a handful of exceptions, were risk-averse blockheads, devoid of imagination or initiative..."

(Spectator, September 16, 2009)

Back home, consider the third battle of Panipat that was fought on January 14, 1761.

Many high-profile commanders of Maratha army just wanted to get home in one piece and somebody else to play the role of hero.

What about India's battles since 1947? Are they tales of only courage and bravery?

For me, Haqeeqat(1964) remains the only authentic war tale told by the Hindi cinema since 1947.


Artist: Pat Oliphant

For more pictures of Pat Oliphant click here

So oft in cultural wars, the disputants rail on in utter ignorance

John Godfrey Saxe's (1816-1887) poem on the famous Indian parable "The Blindmen and the Elephant" concludes like his:

"...And so these men of Hindustan
Disputed loud and long,
Each in his own opinion
Exceeding stiff and strong,
Though each was partly in the right
And all were in the wrong.

So oft in theologic wars,
The disputants, I ween,
Rail on in utter ignorance
Of what each other mean,
And prate about an Elephant
Not one of them has seen!"

In 21st century Maharashtra, I see all around, men of Hindustan, first disputing loud and long, and then fighting 'theologic' and cultural wars, railing on in utter ignorance.

Vasant Sarwate's वसंत सरवटे cover of Lalit Diwali 2009 ललित दिवाळी is based on world famous M. C. Escher's woodcut print "Sky and Water I", first printed in June 1938.

The original print is reproduced at the end of my commentary and Sarwate's picture is embedded at the bottom of the post.

Wielding a sketch pen in one hand and a sword in the other, the artists in Sarwate's picture are ready to slit each other's throat to make their own perception prevail.

In fact, the sketch pens in their hands, which look more like spears than drawing instruments, seem so ferocious that they remind me of a chilling scene from Batman (1989) when the joker proves the adage "the pen is truly mightier than the sword"!

Killer weapons in their hands make a poignant comment on the current intolerant environment towards art (and artistic freedom) and history in Maharashtra.

No wonder Shiv Visvanathan observes: "Three great modernised societies in India — Maharashtra, Karnataka and Gujarat — are deep in the throes of rightist groups who use bans as a way of sustaining politics."

(Some people say Bal Thackeray and Raj Thackeray are artists first and then politicos. I wonder if the two artists in the picture are them because both claim to understand "Marathi culture" better than the other.)

Have the artists from Sarwate's picture seen the "elephant"?

Commenting on his own picture Escher said: "In the horizontal center strip there are birds and fish equivalent to each other. We associate flying with sky, and so for each of the black birds the sky in which it is flying is formed by the four white fish which encircle it. Similarly swimming makes us think of water, and therefore the four black birds that surround a fish become the water in which it swims."

This print has been used in physics, geology, chemistry, and in psychology for the study of visual perception.

GILBERT ADAIR: "...M. C. Escher, the Dutch-born graphic artist whose images of endlessly diminishing birds, fish and lizards, the tiniest of them bunched up at the edges of the picture frame, constitute a remarkable approximation of the counter- intuitive results obtained by adding up an infinite series of fractions (e.g. 1+1/2+1/4+ 1/8+1/16 … equals not infinity but 2)..."

I guess it's the first time it has been used in a cartoon.

To appreciate full esthetic value of 'Sky and Water I', see a short film by National Film Board of Canada on youtube here.


Artist: M. C. Escher, "Sky and Water I", 1938


Artist: Vasant Sarwate, Lalit Diwali 2009 ललित दिवाळी

(notice Sarwate's use of colours instead of Escher's B & W, warrior on the left is made of curves and one of the right of straight lines, only top three rows have fish-water/bird-air...)

Click on the respective years to see Sarwate's covers of Lalit Diwali 2008 and 2007.

You are Not-out, David Shepherd

Watching a good cricket test match is like reading a good novel. Many actors and situations.

One such actor was the late David Shepherd.

I enjoyed watching David Shepherd as much I did watching players.

I remember a test match in Melbourne, Australia in December 1999.

It was Brett Lee's debut test.

Peter Roebuck wrote: "This was a day to remember, a day on which Brett Lee made a startling first appearance in his country's colors and Sachin Tendulkar stood alone at the crease defying formidable odds with courage and skill.

It was a glorious confrontation between old and new, mighty and promising, an expression of the great gifts of the game, the brilliance of batsmanship, the excitement of pace and the powers needed to reach the gods. Meanwhile, a superb leg-spinner (Shane Warne) also bowled with artistry and cunning as he pursued his own landmark. It wasn't a day to have stayed in bed. There haven't been many better...

...When Tendulkar reached his 100, the entire crowd rose in acclamation. His dismissal, caught on the boundary, brought the crowd to its feet a second time.
It had been the perfect day. The visiting champion had scored a century. And a new fast bowler had arrived on the scene."

That was India's first innings.

In second innings, his back against the wall, Tendulkar was playing Shane Warne beautifully but a touch nervously.

In the end Warne prevailed by getting him out LBW.

David Shepherd was the umpire. He had watched the confrontation of the two masters from the close and probably made the correct decision in the end.

While Shepherd enjoyed two masters at work, I enjoyed three!



picture courtesy: Dylan Martinez/Reuters

Is 'Positive Thinking Talk' in Marathi TV Serials a Cheap Import from USA?

Joseph Conrad: “The fact is you want more scepticism at the very foundation of your work. Scepticism the tonic of minds, the tonic of life, the agent of truth- the way of art and salvation.”

While surfing cable TV, I often pause on Marathi channels, showing sitcoms, to find out what they are upto.

Every now and then, I meet a character that says: "Everything will be OK/ it will all get sorted out/ All will work out in the end."...In fact, these must be the most spoken statements in a Marathi soap.

Almost every character- hero/villain, old/young, male/female, rich/poor, being borne/dying, healthy/sick, Brahmin/Dalit, Hindu/Muslim- ends up saying it a few times during his/her life time in the drama.

Is this behaviour part of Marathi / Indian culture? I am not sure because I have not heard this with so much frequency in real life?

When I read Marathi books or watch Marathi cinema of previous eras, these smiley-faced talkers, bleating sentimental cant and wishful thinking, are hard to find.

From where do they come? USA?

BARBARA EHRENREICH:

"GREED — and its crafty sibling, speculation — are the designated culprits for the financial crisis. But another, much admired, habit of mind should get its share of the blame: the delusional optimism of mainstream, all-American, positive thinking...

...Positive thinking is endemic to American culture — from weight loss programs to cancer support groups — and in the last two decades it has put down deep roots in the corporate world as well. Everyone knows that you won’t get a job paying more than $15 an hour unless you’re a “positive person,” and no one becomes a chief executive by issuing warnings of possible disaster...

...Americans did not start out as deluded optimists. The original ethos, at least of white Protestant settlers and their descendants, was a grim Calvinism that offered wealth only through hard work and savings, and even then made no promises at all. You might work hard and still fail; you certainly wouldn’t get anywhere by adjusting your attitude or dreamily “visualizing” success...

...When it comes to how we think, “negative” is not the only alternative to “positive.” As the case histories of depressives show, consistent pessimism can be just as baseless and deluded as its opposite. The alternative to both is realism — seeing the risks, having the courage to bear bad news and being prepared for famine as well as plenty. We ought to give it a try."

(NYT, September 24, 2008)

MEGHAN COX GURDON

"...As Ms. Ehrenreich disapprovingly explains, positive thinking has saturated not just American religion but also corporate life and popular culture, and it is rapidly soaking into modern psychology. The problem for her is that people who are insistently reciting inspirational phrases won't hear the siren's wail in time to save themselves. Ms. Ehrenreich cranks her indignation up highest when aiming at the bankers, economists, bureaucrats and business honchos whose near-hallucinatory positive thinking, she believes, has pushed us all to the brink of economic collapse..."

(WSJ, OCTOBER 11, 2009)

Another example of the kind of Marathi that gets spoken in Marathi soaps:

तू कसा आहेस? (how are you?)
मी बरा आहे. (I am OK.)
तू कशी आहेस? (How are you?)
मी बरी आहे. (I am OK.)

Marathi people never greeted like this as long as I remember! Maybe they do now.

Bambooque of Avadh Punch would confirm our status as America-returned, newly-made gentleman & noisy Jee-Huzoors pretending to have forgotten our native tongue during our brief stay in America. He would describe us as "the personification of false hopes, the embodiment of extravagant expectations and the incarnation of utterly vain delusions."

I don't mind conversations about Marathi TV serials but I wish there were no conversations in them!



The Spectator

A New Adjective in Marathi: Ambedkar

James Fallows writes on The Atlantic:

"..."to Obama" -- has gained currency among some Japanese youths.

Explanation:

"obamu: (v.) To ignore inexpedient and inconvenient facts or realities, think "Yes we can, Yes we can," and proceed with optimism using those facts as an inspiration (literally, as fuel). It is used to elicit success in a personal endeavor. One explanation holds that it is the opposite of kobamu. (拒む, which means to refuse, reject, or oppose)...

...The absorptive-and-transforming power of the Japanese language is indeed one of its charms..."

When I read it, I thought:

why couldn't we be creative with the name- Ambedkar?

If Japanese care to lean about the achievements of B R Ambedkar- and they are no less than their favourite Gautam Buddha- what meaning will they assign to it?

Here is an attempt in Marathi.

The legend of Bhageeratha says because of his tireless efforts, the river Ganga descended to earth from heaven. It was considered an impossible task. To honour this, in Marathi, such efforts are called: Bhageeratha efforts भगीरथ प्रयत्न.

I have never forgot following lines of poet Namdev Dhasal since I read them in class X, thirty four year ago.

सूर्यफुले हाती ठेवणारा फकीर हजारो वर्षानंतर लाभला
आत्ता सूर्यफुलासाराखे सूर्योंमुख झालेच पाहिजे
('आत्ता', नामदेव लक्ष्मण ढसाळ, गोलपिठा, १९७१ )

[After thousands of years, we met a fakir who handed to us sunflowers
now we must become sun-facing like sunflowers

('Aatta', Namdev Lakshman Dhasal, Golpitha, 1971)]

Ambedkar's task was harder than that of Bhageeratha because in 1891- the year he was borne- growing, plucking and handing over the sunflowers, in the total darkness that engulfed the Dalits of India, was possible only in the dreams.

And yet, he did it. Therefore, let us call such efforts: Ambedkar efforts आंबेडकर प्रयत्न.

Who is the Greatest Indian Bilingual Intellectual?

Matthew Arnold:

"We are often told that an era is opening in which we are to see multitudes of a common sort of readers, and masses of a common sort of literature; that such readers do not want and could not relish anything better than such literature, and that to provide it is becoming a vast and profitable industry. Even if good literature entirely lost currency with the world, it would still be abundantly worth while to continue to enjoy it by oneself. But it never will lose currency with the world, in spite of momentary appearances; it never will lose supremacy. Currency and supremacy are insured to it, not indeed by the world's deliberate and conscious choice, but by something far deeper, -- by the instinct of self- preservation in humanity."

Damodar Mauzo:

"The first traces of the Konkani language were written by Sant Namdev..."

Ramachandra Guha has written an essay that

"interprets the rise and fall of the bilingual intellectual in modern India. Making a distinction between functional and emotional bilingualism, it argues that Indian thinkers, writers and activists of earlier generations were often intellectually active in more than one language.

Now, however, there is an increasing separation of discourses – between those who operate exclusively in English and those who operate in the language of the state alone.

The decline of the bilingual intellectual is a product of many factors, among them public policy, elite preference, new patterns of marriage, and economic change."

(Economic & Political Weekly, August 15 2009)

While reading Guha' essay, my thoughts strayed to arguably the greatest bilingual intellectual of India: Sant Nāmdev (c.1270-c.1350 CE)

He wrote in Marathi, Konkani, Hindi and Punjabi. Sixty-one of his compositions are included in the Guru Granth Sahib.

Oh my word! He knew how to write!

One of his Hindi abhangas:

एकै पाथ र धरिए भावो। दुजै पाथर धरिए पावो।
जे एहु देवा तो ओहु भी देवा ॥

(a stone makes a step on which we plant our foot, another stone makes an image of god in which we put our faith and worship it. Both are really stones. The difference is in belief.)

Namdev's resume is still not finished!

M V Dhond म वा धोंड argues that it was Namdev who created one of the most enduring 'myths' of India- Lord Vitthal.

Namdev animated Vitthal. Vitthal started walking and talking.

Namdev dragged Vitthal to the homes of his devotees and made him do menial work for them.

[ऐसा विटेवर देव कोठें! ("Aisa Vitevar Dev Kothe!") 2001]

Namya's poetry will never lose currency with the world, in spite of momentary appearances; it never will lose supremacy. Currency and supremacy are insured to it, not indeed by the world's deliberate and conscious choice, but by something far deeper, -- by the instinct of self- preservation in humanity.

This is how I saw the following picture: the artist (say Namdev) creates the myth (say Lord Vitthal) and the myth in turn places a laurel wreath on the artist's head. (Vasant Sarwate is a big fan of Steinberg. I should ask him.)


Artist: Saul Steinberg, The New Yorker, Jan 6 1962

Little Man You only Hope to Know!

Like last few years, I was looking forward to Madhukar Dharmapurikar's मधुकर धर्मापुरीकर Diwali greeting.

I wasn't disappointed.

For me calendar 2009's theme has been John N Gray's "Straw Dogs: Thoughts on Humans and Other Animals" (2002).

One of the quotes I liked from the book is by Joseph Brodsky: "...should the truth about the world exist, it's bound to be nonhuman."

Therefore, I was delighted to see that the greeting was consistent with the theme.

See the picture below. (To view 2008 card, click here)

The picture made me nostalgic. At a public garden in Miraj, a few decades ago, on a mild sunny morning, three of us and our parents had a photo session. There was no one else other than us and the photographer.

Were there birds? I don't remember but surely no albatrosses or seagulls!

Although the family in the picture seems to be enjoying their presence, what are birds there doing?

Do they want to fit in the frame? Are they swooping down on the junk strewn at the beach? Are they enjoying irritation of family dog? Is this a scene from Alfred Hitchcock's "The Birds" (1963)?

R K Laxman once described how dozens of crows sat without a sound on overhead cables during the entire reception of Prince Charles in Mumbai.

Does a poet have an answer?

Walter de la Mare?:

"Over these unremembered marble columns,

birds glide their old remembered way.

Dive in red gold setting tide and write dark alphabets on evening sky

whether an epitaph, chorus or strange augury

little man you only hope to know!"

Here is hoping for happy Diwali 2009!



Artist: Norman Thelwell (1923 - 2004)