J’ai ainsi eu, au cours de ma vie, des tas de contacts avec des tas de gens sérieux. J’ai beaucoup vécu chez les grandes personnes. Je les ai vues de très près. Ça n’a pas trop amélioré mon opinion. Complete book..
An interesting film, albeit limited by its unrelenting focus on the middle class. But it was the Q&A that proved most illuminating about Pakistani society. Why was it only about Lahore, demanded one Islamabad questioner (irritated perhaps, by a gem of a putdown in the film that if one student had nothing positive to contribute in Lahore, he should leave and settle for an ordinary degree in Islamabad). Unfazed, the director, Nasir Khan, proffered a disarming excuse: that he had no money to travel. What could he do, he shrugged. Your average Taliban is 17, lean and married. He is 33, overweight, overworked and still unmarried. That got a laugh. Full article.
UMRAO JAAN ADA is an Urdu novel by Mirza Hadi Ruswa first published in 1899. It is considered the first Urdu novel by many and tells the story of a real life courtesan and poetess by the same name from 19th century Lucknow. As the novel suggests, the story of Umrao Jaan was recounted by her to the author, when he happe…ned to meet her during a mushairah (poetry gathering) in Lucknow. On listening to her couplets, the author along with Munshi Ahmad, a novel and poetry enthusiast present at the gathering, convinces Umrao Jaan to share her life story with them. In the course of time, Mirza starts noting down her story and shares the text with her. She agrees to correct it. Thus the novel is written in first person as a memoir.
The book was first published by Munshi Gulab Singh and Sons Press in Lucknow in 1899. Incidentally, Umrao Jaan Ada herself also published a novel titled ‘Fasan-e-Ruswa’, which describes the love story of Mirza Hadi Ruswa with a French woman Sophia Augustan. Umrao Jaan Ada became popular in the courts of the Nawab of Awadh for its Urdu poetry and composition. It is known for its elaborate and insightful portrayal of mid-19th Century Lucknow – its decadent society, and the moral hypocrisy of a patriarchal system where Umrao Jaan becomes the symbol of a nation, attracts many suitors but everyone is only looking to exploit her.
“guide” – one of my favorite films of all time. dev anand, waheeda rehman and perfect music by s.d. burman. here’s the theme song…
Those of us who stand outside of this society’s conception of acceptable women; those of us who have been forged in the crucibles of difference– those of us who are poor, who are lesbians, who are black, who are older– know that survival is not an academic skill. It is learning how to stand alone, unpopular and sometimes reviled, and how to make common cause with those others identified as outside the structures in order to define and seek a world in which we can all flourish. It is learning how to take our differences and make them strengths. For the master’s tools will never dismantle the master’s house. They may allow us temporarily to beat him at his own game, but they will never enable us to bring about genuine change. And this fact is only threatening to those women who still define the master’s house as their only source of support.
the story of a baluchi french musician – check it out here.
Funny the way it is
Lying in the park on a beautiful day,
Sunshine in the grass, and the children play.
Siren’s passing, fire engine red, … See More
Someone’s house is burning down on a day like this?
The evening comes and we’re hanging out,
On the front step, and a car rolls by with the windows rolled down,
And that war song is playing, “why can’t we be friends?”
Someone iss screaming and crying in the apartment upstairs
Funny the way it is, if you think about it
Somebody’s going hungry and someone else is eating out
Funny the way it is, not right or wrong
Somebody’s heart is broken and it becomes your favorite song
an english translation of iqbal’s poetry:
Marshall the meek of my world. Arise, set them free.
Seize the towers of the rich. Shake their tyranny.
Lift the slaves. Ignite them. Instill a faith that rocks.
Teach the feeble sparrow to fight the taloned hawk.
Power belongs to the people: their kingdom has come.
Burn the totems of tyranny: their history is done.
Though, the works on view in New York seem a fair representation of the spirit and sensibilities animating the increasingly vibrant contemporary-art scene that gave rise to “Hanging Fire.” That scene, barely visible a generation ago, has been fed in recent years by a surge of newly rich collectors and a proliferation of private galleries that offer the work of Pakistani painters, sculptors and video and installation artists — whose own ranks have grown as existing art-education programs have expanded and new ones have cropped up around the country. Full article.
To gaze at a river made of time and water
and remember Time is another river.
To know we stray like a river
and our faces vanish like water.
To feel that waking is another dream
that dreams of not dreaming and that the death
we fear in our bones is the death
that every night we call a dream.
To see in every day and year a symbol
of all the days of man and his years,
and convert the outrage of the years
into a music, a sound, and a symbol.
To see in death a dream, in the sunset
a golden sadness such is poetry,
humble and immortal, poetry,
returning, like dawn and the sunset.
Sometimes at evening there’s a face
that sees us from the deeps of a mirror.
Art must be that sort of mirror,
disclosing to each of us his face.
They say Ulysses, wearied of wonders,
wept with love on seeing Ithaca,
humble and green. Art is that Ithaca,
a green eternity, not wonders.
Art is endless like a river flowing,
passing, yet remaining, a mirror to the same
inconstant Heraclitus, who is the same
and yet another, like the river flowing.
The useless dawn finds me in a deserted street-corner; I have outlived the night.
Nights are proud waves: darkblue topheavy waves laden with all hues of deep spoil, laden with things unlikely and desirable.
Nights have a habit of mysterious gifts and refusals, of things half given away, half withheld, of joys with a dark hemisphere.
The surge, that night, left me the customary shreds and odd ends: some hated friends to chat with, music for dreams, and the smoking of bitter ashes. The things my hungry heart has no use for.
The big wave brought you.
Words, any words, your laughter; and you so lazily and incessantly beautiful. We talked and you have forgotten the words.
The shattering dawn finds me in a deserted street of my city.
Your profile turned away, the sounds that go to make your name, the lilt of your laughter: these are the illustrious toys you have left me.
I turn them over in the dawn, I lose them, I find them; I tell them to the few stray dogs and to the few stray stars of the dawn.
Your dark rich life.
I must get at you, somehow: I put away those illustrious toys you have left me, I want your hidden look, your real smile – that lonely, mocking smile your cool mirror knows.
What can I hold you with?
I offer you lean streets, desperate sunsets, the moon of the jagged suburbs.
I offer you the bitterness of a man who has looked long and long at the lonely moon.
I offer you my ancestors, my dead men, the ghosts that living men have honored in marble: my father’s father killed in the frontier of Buenos Aires, two bullets through his lungs, bearded and dead, wrapped by his soldiers in the hide of a cow; my mother’s grandfather – just twenty four- heading a charge of three hundred men in Perú, now ghosts on vanished horses.
I offer you whatever insight my books may hold, whatever manliness or humor my life.
I offer you the loyalty of a man who has never been loyal.
I offer you that kernel of myself that I have saved somehow – the central heart that deals not in words, traffics not with dreams and is untouched by time, by joy, by adversities.
I offer you the memory of a yellow rose seen at sunset, years before you were born.
I offer you explanations of yourself, theories about yourself, authentic and surprising news of yourself.
I can give you my loneliness, my darkness, the hunger of my heart; I am trying to bribe you with uncertainty, with danger, with defeat.
Jorge Luis Borges (1934)