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."

Tuesday, August 20, 2013

Has the Rupee Ever Been Worth More Than a Dollar?

Adam Fergusson, 'When Money Dies: The Nightmare of the Weimar Collapse', 1975:
"Just before the First World War in 1913, the German mark, the British shilling, the French franc, and the Italian lira were all worth about the same, and four or five of any were worth about a dollar. At the end of 1923, it would have been possible to exchange a shilling, a franc or a lira for up to 1,000,000,000,000 marks, although in practice by then no one was willing to take marks in return for anything. The mark was dead, one million-millionth of its former self. It had taken almost ten years to die."
 
'Arthur Jensen' in 'Network' 1976:

"There is only one holistic system of systems, one vast and immane, interwoven, interacting, multivariate, multinational dominion of dollars. Petro-dollars, electro-dollars, multi-dollars, reichmarks, rins, rubles, pounds, and shekels. It is the international system of currency which determines the totality of life on this planet. That is the natural order of things today. That is the atomic and subatomic and galactic structure of things today! And YOU have meddled with the primal forces of nature, and YOU... WILL... ATONE!"

Naomi Klein, "The Shock Doctrine: The Rise of Disaster Capitalism", 2007:

(disaster capitalism is)  "An economic system that requires constant growth, while bucking almost all serious attempts at environmental regulation, generates a steady stream of disasters all on its own, whether military, ecological or financial. The appetite for easy, short-term profits offered by purely speculative investment has turned the stock, currency and real estate markets into crisis-creation machines, as the Asian financial crisis, the Mexican peso crisis and the dotcom collapse all demonstrate." 

Paul Krugman, The New York Times, August 22 2013:

"In short, the main lesson of this age of bubbles — a lesson that India, Brazil, and others are learning once again — is that when the financial industry is set loose to do its thing, it lurches from crisis to crisis."

From time to time, I see proceedings of Lok Sabha and Rajya Sabha on TV. They are often very interesting. At any rate, they are much better than the shrill, largely uninformed 'debates' on (Marathi, Hindi, English) news TV channels.

On August 14 2013, Mr. D. RAJA of Communist Party of India said in Rajya Sabha

"...In 1947, when we got independence, the rupee value was equal to the dollar value. One rupee was equal to one dollar. That was the situation in 1947. Now, one dollar is equal to Rs.61. When our economy is growing, as per the Government statement, at five per cent, and the economy of the U.S. is growing at two per cent, then, why is our rupee falling in value? What is the secret? The American dollar value has not fallen, but the Indian rupee value has been falling..."

India's finance minister did not challenge the claim that in 1947 the rupee value was equal to the dollar value. Instead this is what he said:

"...Yes, people have said that one rupee is equal to one dollar. Of course, it was in 1947 that one rupee was indeed equal to one dollar. Ten grams of gold costed Rs.88.62 in 1947. Today, ten grams of gold is about Rs.29,000. The rupee has depreciated. Do you not like the rupee? Don't take the rupee. I will give you 88 dollars. Please go and buy ten grams of gold today. We will give you 88 dollars if you don't like it. Please go
and buy ten grams of gold today. If the rupee has depreciated against the dollar, the dollar has depreciated against gold. Why?
..."

Business Standard on August 19 2013 says:

"...For the record, the rupee was never equal to the dollar, except perhaps in the hoary past. At the time of independence, India's currency was pegged to pound sterling, and the exchange rate was a shilling and six pence for a rupee - which worked out to Rs 13.33 to the pound. The dollar-pound exchange rate then was $4.03 to the pound, which in effect gave a rupee-dollar rate in 1947 of around Rs 3.30. The pound was devalued in 1949, changing its dollar parity from 4.03 to 2.80. India was then a part of the sterling area, and the rupee was devalued on the same day by the same percentage, so that the new dollar exchange rate in 1949 became Rs 4.76 - which is where it stayed till the rupee devaluation of 1966 made it Rs 7.50 to the dollar and the pound moved to Rs 21."
 
I am stunned that even India's parliament does gets its such vital data correct.


Artist: Dana Fradon, The New Yorker, January 13 1973

I can't resist the temptation of quoting another extract from Mr. Fergusson's book that is quoted at the top:

"The agony of inflation, however prolonged, is perhaps somewhat similar to acute pain — totally absorbing, demanding complete attention while it lasts; forgotten or ignorable when it has gone, whatever mental or physical scars it may leave behind. Some such explanation may apply to the strange way in which the remarkable episode of the Weimar inflation has been divorced — and vice versa — from so much contemporary incident. And yet, one would have thought, considering how persistent, extended and terrible that inflation was, and how baleful its consequences, no study of the period could be complete without continual reference to the one obsessive circumstance of the time.
The converse is also true: except at the narrowest level of economic treatise or personal reminiscence, how can a fair account of the German inflation be given outside the context of political subversion by Nationalists and by Communists, or the turmoil in the Army, or the quarrel with France, or the problem of war reparations, or the parallel hyperinflations in Austria and Hungary? How can one gauge the political significance of inflation, or judge the circumstances in which inflation in an industrialised democracy takes root and becomes uncontrollable, unless its course is charted side by side with the political events of the moment?"

Sunday, August 18, 2013

Darling of Unmodern People...मध्ययुगीन राधा ही बावरी!



Manohla Dargis, The New York Times, June 27 2012:

"...For all the technological innovations, the groovy new Bat cycles and codpieces, superhero movies just recycle variations on gender stereotypes that were in circulation back in the late 1930s, when Superman and Batman first hit. The world has moved on — there’s an African-American man in the Oval Office, a woman is the secretary of state — but the movie superhero remains stuck in a pre-feminist, pre-civil rights logic that dictates that a bunch of white dudes, as in “The Avengers,” will save the world for the grateful multiracial, multicultural multitudes. What a bunch of super-nonsense."
 

The Economist, February 15 2001:

"...Dipankar Gupta contends, justly, that India's fascination with western gadgetry and lifestyles has not brought modernity. You can subjugate women and make a weapon of religion just as well with a mobile phone as without one, probably better. True modernity, Mr Gupta writes, entails adhering to universal norms, upholding individual rights, making the state accountable. His book pleads with India to put modernisation in place of “westoxication”..."

महेश एलकुंचवार, लोकसत्ता, August 17 2013:

"...ढिसाळ, बेजबाबदार, बौद्धिक आळशीपणा, नाठाळ, स्वत:मध्ये बदल न करणारा आणि संयम हरवलेला ही मराठी माणसाची लक्षणे सुमारपणातूनच आली आहेत...अभिरुचीची ही घसरण सुरू असून अभिजात म्हणजे काय हेही आम्हाला कळत नाही..."

I stopped watching any Marathi and Hindi TV soap operas more than a decade ago.

This does not mean I am against them. I might have been once but not now. They are popular and, other than creating considerable employment, they serve a useful purpose: Serving senior citizens.

Maharashtra has a large and growing population of middle-class senior citizens. They now live longer and (at least bodily) healthier. While it's often easy to say, one should read books, there is a limit to how much one can read with a weakening eyesight.

A similar argument can be made about even chatting or walking. Public parks have almost vanished from the most of urban Maharashtra. Even suburban roads are un-walkable because they are serious-accident traps. There is no public transport that is economical to use and not dangerous. In places like Pune, auto-rickshaws refuse the fares for short distances with impunity. All this severely restricts senior citizens' movements beyond immediate neighbourhood.

There are no card/carom/chess clubs in the vicinity.

How do people kill time from about sunset to until they sleep?

Answer: Watching soap opera channels including Marathi news channels because the latter are as 'entertaining' as the former. 

(I know a couple of people who get withdrawal symptoms if they don't watch their soaps. I also know some who watch the same episode multiple times in a 24-hours cycle.)

Look at the picture below. Aren't they well served by Marathi soap operas?



Artist: Vasant Sarwate,  Lalit, Diwali 2007 (वसंत सरवटे, ललित, दिवाळी)

David Foster Wallace has said: "TV is not vulgar and prurient and dumb because the people who compose the audience are vulgar and dumb. Television is the way it is simply because people tend to be extremely similar in their vulgar and prurient and dumb interests and wildly different in their refined and aesthetic and noble interests."

Therefore, those who watch  "vulgar and prurient and dumb" serials are not vulgar and prurient and dumb in all their interests.

My wife- Anju (अंजु)- too hardly watched any TV except extremely funny 'CID' on Sony channel. (CID is really funny, in fact currently the only genuinely funny program on Hindi-Marathi TV. Just watch some of the CID jokes on FB.)
 
A couple of months ago Anju started watching 'Radha Hi Bawari' (राधा ही बावरी), a Marathi TV serial. I asked her why.

She said she liked its theme of romance of over-thirty professional, well qualified girl- Radha (राधा)- with a younger, ingenuous, lowly-educated boy- Sourav (सौरव), her husband.

And then one recent morning, she announced: she would not watch it any more. I once again asked her why.

She said she was sick and tired of the way Sourav was constantly denounced by his wife and his motherly sister-in-law for "not doing anything worthwhile".

My wife felt why Sourav should do "something" as long as he was a good sensitive person, a potentially good homemaker and, above all, loved by Radha. As a qualified doctor, Radha was making enough money to lead a happy life. Did they ever fear that they might destroy Sourav in the process of remaking him? Couldn't they change Sourav with their love? Couldn't they be little less shrill?

Having seen glimpses of the serial along with my wife, I completely agree with my wife. The serial  reinforces the stereotypes of 20th century: a man / husband/ father should earn money no matter what...otherwise he is not a 'man'.


Artist: Emily S. Flake,   Courtesy: brain pickings

The rate at which Sourav is being pounded by his close ones, I think,  he needs to see a psychiatrist very soon. Of course, that will never be shown because seeing a psychiatrist is perhaps for the sissies!

I have Dipankar Gupta's 'Mistaken Modernity: India Between Worlds', first published 2000.

I have always liked what the book basically does: "issues a damning indictment of the "westoxicated" elitist Indian middle class, and shows how unmodern the people of this class are in the very areas in which they are considered to be modern".


Akash Kapur wrote about it in The New York Times, July 29 2010:

"...Mr. Gupta was referring to a particularly superficial version of modernity that he believed was taking root in the nation — one defined more by Western consumer habits and lifestyles than by adherence to a cosmopolitan, tolerant set of values and democratic norms.
He pointed, for instance, to the persistence of caste bias, oppressive traditions and historical inequalities in a nation where ownership of washing machines, cars and other material trappings of global capitalism was increasing. He argued that in many ways India was an unmodern nation..."


courtesy: the owner of the copyrights to this image and the author of the book

p.s I write on September 27 2013:

Loksatta, September 26 2013:

" वीस वर्षांपूर्वी, उपग्रह वाहिन्यांच्या उदयकाळात आलेल्या बोल्ड नायिकाप्रधान मालिकांची जागा आता सोशिक, दुखी नायिकांनी घेतली आहे. आजचे प्रेक्षक काळाच्या वीस वर्षे मागे आहेत, असे वास्तव टीव्ही-चित्रपट निर्माती अश्विनी यार्दी यांनी बुधवारी परखडपणे मांडले...उपग्रह वाहिन्यांवरून सुरुवातीच्या काळात दाखविल्या जाणाऱ्या मालिकांचा प्रेक्षकवर्ग समाजातील उच्चशिक्षितांचा होता. त्यामुळे तेव्हा हसरतें, तारा अशा मालिकांमधून बोल्ड नायिका प्रेक्षकांच्या पसंतीला उतरल्या. सन २००० नंतर उपग्रह वाहिन्या सर्वदूर पसरल्या. शहरीच नव्हे तर निमशहरी ग्रामीण भागातील प्रेक्षकांना समोर ठेवून मालिका बनवणे क्रमप्राप्त ठरले. आज बोल्ड नायिकांना प्रेक्षकवर्ग नाही. मालिकांमधील नायिका या मान खाली घालून राहणाऱ्या, दुख सहन करणाऱ्या व सोशिक रंगवल्या जात आहेत, असे यार्दी म्हणाल्या. भरजरी कपडय़ांमध्ये घरात वावरणाऱ्या, किचनमध्ये सतत राबणाऱ्या, स्वयंपाक बनवत राहणाऱ्या, कुटुंबियांमध्ये आग लावत असलेल्या व्यक्तिरेखा प्रेक्षकांच्या आवडीनुसार दाखवल्या जातात. त्यांच्यात बदल केलेला प्रेक्षकांना रुचत नाही. वेगळ्या विषयांवरील, गंभीर मालिका आपटतात, अशी खंतही त्यांनी व्यक्त केली. किचनमध्ये तयार होणाऱ्या पदार्थाची प्रक्रिया विचारणारे, सोफासेटचे कौतुक करणारे आणि भिंतीवरील चित्र का बदलले याची चौकशी करणारे अनेक फोन आणि पत्रे येत असतात..."

Wednesday, August 14, 2013

Among New Lilliputians, Nothing Pisses Me Off...Who Am I?


Jonathan Swift:

"We have just enough religion to make us hate, but not enough to make us love one another."
 

Eugène Ionesco, 'Rhinoceros', Act III, 1959:

"...Oh, how I wish I was like them! I haven't got any horns, more's the pity! A smooth brow looks so ugly. I need one or two horns to give my sagging face a lift. Perhaps one will grow and I needn't be ashamed any more - then I could go and join them. But it will never grow!...

...My hands are so limp - oh, why won't they get rough! My skin is so slack. I can't stand this white, hairy body...

...I should have gone with them while there was still time. Now it's too late! Now I'm a monster, just a monster. Now I'll never become a rhinoceros, never, never!...

...People who try to hang on to their individuality always come to a bad end! Oh well, too bad! I'll take on the whole of them, the whole lot of them! I'll put up a fight against the lot of them, the whole lot of them! I'm the last man left, and I'm staying that way until the end. I'm not capitulating!"


Paul Hunter on 'Gulliver's Travels' in 'The Cambridge Companion to Jonathan Swift', 2003:

"Here deformity, defecation, and sexuality become repugnant reminders of our absurd and grimly limited physical selves, and (whatever they tell us about Swift’s psychological fears, prejudices, and personal hang-ups) the exaggerated physical features of the narrative’s human population ground our tendencies to elevate our belief in ourselves as above it all."

Gopalkrishna Gandhi, The Hindu, August 15 2013:

"...I do not intend to explain anything which our Parliament might have done or not done, either. We set it up with great arman (longings), arzu (wishes) and a sense of abru (self-respect). But when I see the way Parliament functions or, perhaps I should say, the way it does not function, it fills me with shame. Parliament is accountable before it is ‘Hon’ble’. It is obsessed by its honour when it should be absorbed in its duties.

And everywhere, money is King. Not the voter, not the Constitution, but money. When something or someone is King, what becomes of the Republic? From the roadside vendor who has to pay a regular mamul in some hundreds of rupees to the giant Corporate that bribes its way to contracts with so many zeroes that I cannot count, we are now become a Jamhuriyat-i-Naqad, a Republic of Cash.  

We have become a soulless people, a people without self-confidence, without morale. A nation that does not have any ideals cannot survive..."


 विलास सारंग: "…काही असलं तरी 'विविधज्ञानविस्तारा'तील निनावी लेखकाने 'गलिव्हर्स ट्रव्हल्स' ची कादंबरी म्हणून थोरवी सहजप्रेरणेने  ओळखली, हे प्रशंसनीय आहे… "

( 'वाङ्मयीन संस्कृती व सामाजिक वास्तव', 2011, पृष्ठ: 14-15)

Vilas Sarang: "...In any case an anonymous writer in 'Vividhdnyanvistar' recognized the greatness of 'Gulliver's Travels' as a novel with an easy-inspiration, this is laudable..."

('Vangmayin Sanskruti v Samajik Vastav', pages: 14-15)

Mr. Sarang here is arguing that an anonymous Marathi writer (probably writing in 19th century)  realised the greatness of Jonathan Swift's 'Gulliver's Travels' ahead of the most of the British literary establishment that was trapped in 'naive realism' and even refused to call the book a novel. 

For me, Swift's book is indeed one of the greatest books ever.

George Orwell writes in his essay on the book  "An examination of Gulliver's travels".

"...The Lilliputians also have various social and legal institutions (for instance, there are old age pensions, and people are rewarded for keeping the law as well as punished for breaking it) which Swift would have liked to see prevailing in his own country. In the middle of this passage Swift remembers his satirical intention and adds, ‘In relating these and the following Laws, I would only be understood to mean the original Institutions, and not the most scandalous Corruptions into which these people are fallen by the degenerate Nature of Man’:..."

We all know, in the book,  Lilliput is England and Blefuscu is France..."the original Institutions, and not the most scandalous Corruptions into which these people are fallen"...so maybe Lilliput is also 21st century India!

 Artist: Robert Kraus (1925-2001), The New Yorker, August 18 1956

One meaning of lilliputian is 'petty' and that is what we are turning fast into, if Salman Rushdie is right. 



The Independent, UK quoted Mr. Rushdie on August 11 2013:

"I do think that one of the characteristics of our age is the growth of this culture of offendedness. It has to do with the rise of identity politics, where you're invited to define your identity quite narrowly – you know, Western, Islamic, whatever it might be. Classically, we have defined ourselves by the things we love. By the place which is our home, by our family, by our friends. But in this age we're asked to define ourselves by hate. That what defines you is what pisses you off. And if nothing pisses you off, who are you?"
 
Rushdie ascribed the new hatred to the fall of Communism and the rise of religious fanaticism, among other things.

"Instead of there being one Iron Curtain, there became lots and lots of little enclaves with people fighting to the death about their own little mindset or their own tribalism. And then religious fanaticism happened, which is not only Islamic. In India, there is the rise of Hindu nationalism, and in America the increased power of the Christian church."

As I watch news television in India, I realise how true all this is. We have little enclaves of  religion, language, region, caste, sub caste, economic class, gender, power...Increasingly, Indians are being asked to define themselves by hate.

Artist: Robert Kraus (1925-2001), The New Yorker, October 6 1962


The two cartoons by one of my favourite cartoonists, the late Mr. Kraus, on the subject of 'Gulliver's Travels' are as moving as the book itself.