V WOOLF

//////////////It's life that matters, nothing but life--the process of discovering, the everlasting and perpetual process,' said Katharine, as she passed under the archway, ... 'not the discovery itself at all.'



/////////////////The eyes of others our prisons; their thoughts our cages.
— Virginia Woolf



/////////////////AVOIDING TRIGGER FOODS



//////////////////prequel.....sequel




//////////////// That the Great House of Tarquin
Should suffer wrong no more.



////////////////........Had a toast today after long. Never realized how important an element becomes after it has been taken away from you. The story of life virtually …




////////////////......AB....Thats like a couple of teaspoons full extra !! Blessed are they that lounge in the comfort of elegant and mouth watering cuisine, while a good 30 % of our populace still remains hungry and without meal. How great the dichotomy, how intensely unbalanced our living. Consider yourself privileged Shri for getting that increased sip of water. Many around you have never come across any ‘increased’ circumstances.



///////////////////"We must reconcile ourselves to a season of failures and fragments." -- Virginia Woolf



///////////////////SPEECH DELAY SCREEN- NOT 50 WORDS BY AGE 2 YRS



///////////////////SATYAJIT ROY- DENSITY



/////////////////////TRKSH PROVERBS

The green twig is easily bent.

What a man is at seven is also what he is at seventy.


/////////////////.......Ray’s major films about Hindu orthodoxy and feudal values (and their potential clash with modern Western-inspired reforms) include Jalsaghar (1958; The Music Room), an impassioned evocation of a man’s obsession with music; Devi (1960; The Goddess), in which the obsession is with a girl’s divine incarnation; Sadgati (1981; Deliverance), a powerful indictment of caste; and Kanchenjungha (1962), Ray’s first original screenplay and first colour film, a subtle exploration of arranged marriage among wealthy, westernized Bengalis. Shatranj ke Khilari (1977; The Chess Players), Ray’s first film made in the Hindi language, with a comparatively large budget, is an even subtler probing of the impact of the West on India. Set in Lucknow in 1856, just before the Indian Mutiny, it depicts the downfall of the ruler Wajid Ali at the hands of the British with exquisite irony and pathos.




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