more clothes to clean...
Artist: George Hughes, The Saturday Evening Post (1821-) , April 1948
Thursday, June 08, 2023
Daag ache hai?...Every Mother Does Not Think So
Tuesday, June 06, 2023
Afraid of Comments Section!
“No way am I going down there—what if there’s a comments section?”
Artist: Liam Walsh, The New Yorker, December 2016
Saturday, June 03, 2023
पुस्तकात बोस्टन टी पार्टी आहे पण फूमेन अफू पार्टी का नाही?.. Humen Opium Party@184
#HumenOpiumParty184
विकिपीडिया सांगतो:
माझ्या ९वीच्या इतिहासाच्या पुस्तकात (१९७३-७४) बोस्टन टी पार्टी, १७७३ बद्दल पुष्कळ माहिती होती पण मी आयुष्यात फूमेन (उच्चार सुद्धा नक्की माहित नाही) अफू पार्टीबद्दल कधी वाचले नव्हते.
विकिपीडिया सांगतो:
"The destruction of opium at Humen began on 3 June 1839 and
involved the destruction of 1,000 long tons (1,016 t) of illegal opium seized
from British traders under the aegis of Lin Zexu, an Imperial Commissioner of
Qing China..."
सौजन्य : विकीपिडीया
२०१७साली ब्रिटिश साम्राज्यावर घणाघाती
हल्ला करणारे पुस्तक
('Inglorious Empire') शशी थरूर यांनी
लिहले.
फायनान्शियल
टाइम्स (FT) चे व्हिक्टर
म्यॅले (Victor Mallet) त्या पुस्तकाच्या
परिक्षणात लिहतात :
"...Summoning evidence from British and American
historians as well as Indian thinkers, Tharoor charts the destruction of
pre-colonial systems of government by the British and their ubiquitous ledgers
and rule books; the punitive taxation of farmers and mismanagement of famines
in which millions died; the imposition of laws against homosexuality and
sedition used to this day by authoritarian Indian governments; and the extreme
protectionism (in everything from textiles to shipbuilding) that crippled
India’s world-class manufacturing sectors and its pre-existing international
trade networks. “Britain’s Industrial Revolution,” he writes, “was built on the
destruction of India’s thriving manufacturing industries.”
The statistics are worth repeating, the more so because
India is now often neglected in favour of China when historians recall the
economic dominance of Asia. When the East India Company was established in
1600, Britain accounted for 1.8 per cent of global gross domestic product and
India for 23 per cent. India was one of the richest and most industrialised
economies. In 1750, India and China together accounted for nearly
three-quarters of world industrial output, but India “was transformed by the
process of imperial rule into one of the poorest, most backward, illiterate and
diseased societies on earth by the time of our independence in 1947”. By then,
India’s share of world GDP was just 3 per cent, while Britain’s was three times
as high..."
त्याच ब्रिटिश साम्राज्याने मुंबईतील
मूठभर व्यापारी हाताशी
धरून चीनला अफूचे
व्यसन लावले. अमिताव
घोष यांनी त्याविषयावर
तीन कादंबऱ्या लिहल्या
(opium war trilogy).
घोष म्हणतात:
“The first opium war
was a very Indian war. It was fought by Indian sepoys and largely funded by
merchants from Bombay, using many weapons developed by Indian soldiers and
kings such as Hyder Ali, fighting against the British army. Yet, the opium war
is hardly talked about in India, unlike China, where the war is remembered and
so is the Indian contribution…
... We have forgotten the Opium Wars, if ever we remembered
it. But China has not. They are a civilisation with great historical
consciousness, it is something they pay great attention to. The war is
extensively memorialised in China. And they are intensely aware that Indians
participated in the war, and against them.”
म्हणजे भारत-चीन
मधील प्राचीन काळापासून
चालत आलेले सौहार्दपूर्ण
संबंध ब्रिटिशांनी अफूच्या
व्यापारापोटी बिघडवून टाकले, ज्याची
किंमत आज स्वतंत्र
भारत मोजत आहे.
Wednesday, May 31, 2023
Sea-nymphs Hourly Ring His Knell: Ding-dong...
"...
Full fathom five thy father
lies;
Of his bones are coral
made;
Those are pearls that were
his eyes;
Nothing of him that doth
fade,
But doth suffer a
sea-change
Into something rich and
strange.
Sea-nymphs hourly ring his
knell:
Ding-dong.
Hark! now I hear them
— Ding-dong, bell...."
"Ariel's Song" is a verse passage in Scene ii of
Act I of William Shakespeare's The Tempest.
Artist: Arthur Rackham (1867–1939)
Sunday, May 28, 2023
जेंव्हा क्लासिक पुस्तकांची मुखपृष्ठे पल्प होतात .... How to Make Covers Intriguing
उजवीकडे:Bantam, १९४९ कलाकार: William
Shoyer
मला स्वतःला मराठीतील डिटेक्टिव्ह पुस्तकांची , विशेषतः बाबूराव अर्नाळकरांच्या, मुखपृष्ठे फार आवडत असत.
आता खालील दोन वाङ्मय शोभा मासिकाची मुखपृष्ठे पहा, त्यांचे विषय डिटेक्टिव्ह निश्चितच नाहीत. पण अर्नाळकरांच्या डिटेक्टिव्ह पुस्तकांना दिल्याजाणाऱ्या रंगसंगतीच्या वापराने त्यांना एक गूढपणा आला आहे....
उजवीकडे : कलाकार: S S Hawaldar
Friday, May 26, 2023
Tuesday, May 23, 2023
Norman Thelwell@100
#NormanThelwell100
Camilla Swift, The Spectator, May 2014:
"....‘The natural aids to horsemanship are the hands, the legs, the body and the voice.’ But a Thelwell pony sometimes required some, er, additional aids. Norman Thelwell’s first pony cartoon was published in Punch magazine in 1953 and struck a nerve with readers; so much so that the editor asked Thelwell for a double-page spread of ponies. ‘I was appalled. I thought I’d already squeezed the subject dry,’ he later recalled. But of course he hadn’t, and Penelope and her pony Kipper went on to become his most popular characters...."
Camilla Swift, The Spectator, May 2014:
"....‘The natural aids to horsemanship are the hands, the legs, the body and the voice.’ But a Thelwell pony sometimes required some, er, additional aids. Norman Thelwell’s first pony cartoon was published in Punch magazine in 1953 and struck a nerve with readers; so much so that the editor asked Thelwell for a double-page spread of ponies. ‘I was appalled. I thought I’d already squeezed the subject dry,’ he later recalled. But of course he hadn’t, and Penelope and her pony Kipper went on to become his most popular characters...."
Monday, May 22, 2023
Friday, May 19, 2023
इतिहास, गोष्टी आणि शहरे... Italo Calvino... It is not the voice that commands the story: it is the ear
Italo Calvino:
"... The Great Khan owns an atlas where all the cities of the
empire and the neighboring realms are drawn, building by building and street by
street, with walls, rivers, bridges, harbors, cliffs. He realizes that from
Marco Polo’s tales it is pointless to expect news of those places, which for
that matter he knows well: how at Kambalu, capital of China, three square cities
stand one within the other, each with four temples and four gates that are
opened according to the seasons; how on the island of Java the rhinoceros
rages, charging, with his murderous horn; how pearls are gathered on the ocean
bed off the coasts of Malabar.
Kublai asks Marco, “When you return to the West, will you
repeat to your people the same tales you tell me?”
“I speak and speak,” Marco says, “but the listener retains
only the words he is expecting. The description of the world to which you lend
a benevolent ear is one thing; the description that will go the rounds of the
groups of stevedores and gondoliers on the street outside my house the day of
my return is another; and yet another, that which I might dictate late in life,
if I were taken prisoner by Genoese pirates and put in irons in the same cell
with a writer of adventure stories. It is not the voice that commands the
story: it is the ear.
“At times I feel your voice is reaching me from far away,
while I am prisoner of a gaudy and unlivable present, where all forms of human
society have reached an extreme of their cycle and there is no imagining what
new forms they may assume. And I hear, from your voice, the invisible reasons
which make cities live, through which perhaps, once dead, they will come to
life again.”..."
('Invisible Cities', 1972)
Tuesday, May 16, 2023
Tamara de Lempicka@125
#TamaradeLempicka125
“My goal is never to copy, but to create a new style, clear luminous colors and feel the elegance of the models.”
“My goal is never to copy, but to create a new style, clear luminous colors and feel the elegance of the models.”
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