4
" Maria, lonely prostitute on a street of pain,You, at least, hail me and speak to meWhile a thousand others ignore my face.You offer me an hour of love,And your fees are not as costly as most.You are the madonna of the lonely,The first-born daughter in a world of pain.You do not turn fat men aside,Or trample on the stuttering, shy ones,You are the meadow where desperate menCan find a moment's comfort.Men have paid more to their wivesTo know a bit of peaceAnd could not walk away without the guiltThat masquerades as love.You do not bind them, lovely Maria, you comfort themAnd bid them return. Your body is more Christian than the Bishop'sWhose gloved hand cannot feel the dropping of my blood.Your passion is as genuine as most,Your caring as real!But you, Maria, sacred whore on the endless pavement of pain,You, whose virginity each man may make his ownWithout paying ought but your fee,You who know nothing of virgin births and immaculate conceptions,You who touch man's flesh and caress a stranger,Who warm his bed to bring his aching skin alive,You make more sense than stock markets and football gamesWhere sad men beg for virility.You offer yourself for a fee--and who offers himself for less?At times you are cruel and demanding--harsh and insensitive,At times you are shrewd and deceptive--grasping and hollow.The wonder is that at times you are gentle and concerned,Warm and loving.You deserve more respect than nuns who hide their sex for eternal love;Your fees are not so high, nor your prejudice so virtuous.You deserve more laurels than the self-pitying mother of many children,And your fee is not as costly as most.Man comes to you when his bed is filled with brass and emptiness,When liquor has dulled his sense enoughTo know his need of you.He will come in fantasy and despair, Maria,And leave without apologies.He will come in loneliness--and perhapsLeave in loneliness as well.But you give him more than soldiers who win medals and pensions,More than priests who offer absolutionAnd sweet-smelling ritual,More than friends who anticipate his deathOr challenge his life,And your fee is not as costly as most.You admit that your love is for a fee,Few women can be as honest.There are monuments to statesmen who gave nothing to anyoneExcept their hungry ego,Monuments to mothers who turned their childrenInto starving, anxious bodies,Monuments to Lady Liberty who makes poor men prisoners.I would erect a monument for you--who give more than most--And for a meager fee.Among the lonely, you are perhaps the loneliest of all,You come so close to loveBut it eludes youWhile proper women march to church and fantasizeIn the silence of their rooms,While lonely women take their husbands' armsTo hold them on life's surface,While chattering women fill their closets with clothes andTheir lips with lies,You offer love for a fee--which is not as costly as most--And remain a lonely prostitute on a street of pain.You are not immoral, little Maria, only tired and afraid,But you are not as hollow as the police who pursue you,The politicians who jail you, the pharisees who scorn you.You give what you promise--take your paltry fee--andWander on the endless, aching pavements of pain.You know more of universal love than the nations who thrive on war,More than the churches whose dogmas are private vendettas made sacred,More than the tall buildings and sprawling factoriesWhere men wear chains.You are a lonely prostitute who speaks to me as I pass,And I smile at you because I am a lonely man. "
5
" There is something in us, as storytellers and as listeners to stories, that demands the redemptive act, that demands that what falls at least be offered the chance to be restored. The reader of today looks for this motion, and rightly so, but what he has forgotten is the cost of it. His sense of evil is diluted or lacking altogether, and so he has forgotten the price of restoration. When he reads a novel, he wants either his sense tormented or his spirits raised. He wants to be transported, instantly, either to mock damnation or a mock innocence. "
― Flannery O'Connor , Mystery and Manners: Occasional Prose
8
" About my father.....
My father was a very simple person. When I was small I never understood why he is so simple actually I disliked it. He use to go to office and return late and have dinner with us. I use to think he never stood for me on anything. But he was the person who uses to take me to the market for Diwali shopping. He uses to give me 20 Rs to eat at school when he had only 30. He tried to fulfill all my wishes in his range. He uses to take me on his bicycle after school tuition and walk while making me sit on bicycle. He uses to scare away lizards for me. He uses to play with me. He was the one who told me to work hard when I failed. He never scolded me for studies but only when I killed an insect intentionally. He was the one who taught me physics and mathematics.
Once he found a wounded parrot on the road and he bought him home. He brought medicine for him and applied it on his wounds. Later on a cat took that parrot and he ran after her but the parrot died. He did not had proper food for three four days.
He spent each and every penny of his earning for our happiness and never forgot to return any pending amount. He use to talk to us but very less and joke sometimes. His style was very different, we use to tell him to use dye or color on his hairs but he always refused. And when he smiled and laughed he doesn’t stop. For every question he had one answer:-“TRUST GOD HE WILL DO EVERYTHING,HE IS THE ONE WHO DOES EVERYTHING”. He uses to discuss with us lot on Bhagwat Gita. Once he told me:- “ Bade prem se milna jag mae sabse aye insaan na jane kis vesh mae tujse mil jayen bhagwaan(meet each person with full love as you never know in which form god will come in front of you)”.To that I replied:-“ But according to Bhagwat gita this is kalyug and all will deceive you if you do that”. He never drunk alcohol or had non-veg.
His habits were like –“If he don’t want to do something he will not do it”. But later on he started consulting me (A foolish person like me).
I use to shout at him each time I was leaving home as he use to put my wallet at some secret safe place. And when he had not kept it even I use to say “you must have kept it”. He just kept quiet. But later I came to know about the place and it was always the same and I myself realized that why am I shouting at him. Once he said to me “ bache apne aap he sekhtae hain(Children learn by themselves)”. I daily use to woke up walk up to him and say something and then lie down beside him and sleep again. I had lot of fights with him and he was never angry on me. He was just realizing that I am becoming responsible son and we had lot of dreams together and we use to plan a lot.
His smile, his eyes, his habits, his innocence, his politeness , his sense of responsibility , his teachings , his knowledge ,his humble nature, his moral values, his love for humans and animals, being non arrogant , no anger, he was never hungry for money , his voice :-“ hello Sonu beta , theak ho ( My Son – Sonu , are you fine)” , his watch, his mobile case, his phone, his shoes, his specs , his laugh, his jokes and all the qualities that were infinite. "
― Amit Dixit
9
" Man doeth this and doeth that from the good or evil of his heart; but he knows not to what end his sense doth prompt him; for when he strikes he is blind to where the blow shall fall, nor can he count the airy threads that weave the web of circumstance. Good and evil, love and hate, night and day, sweet and bitter, man and woman, heaven above and the earth beneath--all those things are needful, one to the other, and who knows the end of each? "
― H. Rider Haggard , She: A History of Adventure (She, #1)
13
" Limitation of scope, however, could represent a profound advantage from an ecological point of view. The sun, the wind and the earth are experiential realities to which men have responded sensuously and reverently from time immemorial. Out of these primal elements man developed his sense of dependence on—and respect for—the natural environment, a dependence that kept his destructive activities in check. The Industrial Revolution and the urbanized world that followed obscured nature's role in human experience—hiding the sun with a pall of smoke, blocking the winds with massive buildings, desecrating the earth with sprawling cities. Man's dependence on the natural world became invisible; it became theoretical and intellectual in character, the subject matter of textbooks, monographs and lectures. True, this theoretical dependence supplied us with insights (partial ones at best) into the natural world, but its onesidedness robbed us of all sensuous dependence on and all visible contact and unity with nature. In losing these, we lost a part of ourselves as feeling beings. We became alienated from nature. Our technology and environment became totally inanimate, totally synthetic—a purely inorganic physical milieu that promoted the deanimization of man and his thought. "
― Murray Bookchin , Post-Scarcity Anarchism
14
" But if he is angry at the world for doing him harm, why does he take it out on his loving partner? Couldn’t he just as readily express his rage by playing racquetball or pounding pillows. His ideas about her role seem paradoxical. On the one hand, the narcissistic husband has vested his wife with tremendous power. She is necessary for his self-repair, but instead of valuing her and seeking comfort in her arms, he beats and humiliates her. Because he sees her as available to meet any and all of his needs, he releases his rage and any self-hate at her; such an act helps him ultimately feel powerful again, making him realize he is not weak and shattered.
When the narcissistic man eels the terror and rage associated with his own internal fragmentation, his outburst restores his sense of power and control. He turns the anger expanding within him away from himself, toward his wife. He insists that she’s the defective one, she’s to blame, because she has not met his needs. Such acts of externalization are key to the NPD batterer. His violent behavior restores his self-esteem. He believes that his actions are not his fault; he is just trying to take care of himself. "
― , Not To People Like Us: Hidden Abuse In Upscale Marriages
16
" Why did McNamara have such good figures? Why did McNamara have such good staff work and Ball such poor staff work? The next day Ball would angrily dispatch his staff to come up with the figures, to find out how McNamara had gotten them, and the staff would burrow away and occasionally find that one of the reasons that Ball did not have comparable figures was that they did not always exist. McNamara had invented them, he dissembled even within the bureaucracy, though, of course, always for a good cause. It was part of his sense of service. He believed in what he did, and thus the morality of it was assured, and everything else fell into place. It was all right to lie and dissemble for the right causes. It was part of service, loyalty to the President, not to the nation, not to colleagues, it was a very special bureaucratic-corporate definition of integrity; you could do almost anything you wanted as long as it served your superior. "
― David Halberstam , The Best and the Brightest
18
" My conception of a novel is that it ought to be a personal struggle, a direct and total engagement with the author's story of his or her own life. This conception, again, I take from Kafka, who, although he was never transformed into an insect, and although he never had a piece of food (an apple from his family's table!) lodged in his flesh and rotting there, devoted his whole life as a writer to describing his personal struggle with his family, with women, with moral law, with his Jewish heritage, with his Unconscious, with his sense of guilt, and with the modern world. Kafka's work, which grows out of the nighttime dreamworld in Kafka's brain, is *more* autobiographical than any realistic retelling of his daytime experiences at the office or with his family or with a prostitute could have been. What is fiction, after all, if not a kind of purposeful dreaming? The writer works to create a dream that is vivid and has meaning, so that the reader can then vividly dream it and experience meaning. And work like Kafka's, which seems to proceed directly from dream, is therefore an exceptionally pure form of autobiography. There's an important paradox here that I would like to stress: the greater the autobiographical content of a fiction writer's work, the *smaller* its superficial resemblance to the writer's actual life. The deeper the writer digs for meaning, the more the random particulars of the writer's life become *impediments* to deliberate dreaming. "
― Jonathan Franzen , Farther Away
19
" He plunged into the foliage, and was swept into a humid, wet world of towering trees, animal chirps and thick ferns. After a few steps, he turned, and could barely make out the village. He walked a few more steps. He could see nothing now except for the thick trees and long ferns and grasses that surrounded him. He was enveloped into the confined space between trees, surrounded by the jungle heat and staccato chirps. He turned in the direction of the village, but could only see thick, dense trees. Hoping his sense of direction had not been muddled, he turned back around to the direction of the alleged ocean, and kept walking.
Now the calls he heard sounded more and more strange. How far had he walked by now? The jungle, or rain forest, whatever it was, did not relent, and he kept on weaving into narrow gaps between the sturdy ferns and towering trees, pressing onwards. This continued for a seemingly oppressive amount of time, and he began to doubt his decision. To come to this place. To take a chance with his life, which was going in the right direction. Why couldn’t he be happy with the normal and mundane, he cursed, scolding his own stubbornness "
― T.P. Grish , Maldives Malady: A Tropical Adventure
