Rahul Jain

“I love deadlines. I love the whooshing noise they make as they go by.”
― Douglas Adams, The Salmon of Doubt: Hitchhiking the Galaxy One Last Time

“Irony and cynicism were just what the U.S. hypocrisy of the fifties and sixties called for. That’s what made the early postmodernists great artists. The great thing about irony is that it splits things apart, gets up above them so we can see the flaws and hypocrisies and duplicates. The virtuous always triumph? Ward Cleaver is the prototypical fifties father? "Sure." Sarcasm, parody, absurdism and irony are great ways to strip off stuff’s mask and show the unpleasant reality behind it. The problem is that once the rules of art are debunked, and once the unpleasant realities the irony diagnoses are revealed and diagnosed, "then" what do we do? Irony’s useful for debunking illusions, but most of the illusion-debunking in the U.S. has now been done and redone. Once everybody knows that equality of opportunity is bunk and Mike Brady’s bunk and Just Say No is bunk, now what do we do? All we seem to want to do is keep ridiculing the stuff. Postmodern irony and cynicism’s become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming what’s wrong, because they’ll look sentimental and naive to all the weary ironists. Irony’s gone from liberating to enslaving. There’s some great essay somewhere that has a line about irony being the song of the prisoner who’s come to love his cage.”
― David Foster Wallace

“I don't know where I'm going, but I'm on my way.”
― Carl Sandburg

“If there was one thing I feared as I was growing up . . .
No, that's stupid. I feared hundreds of things: the dark, the death of my father, the possibility that I might rejoice the death of my mother, sums involving vernier calipers, groups of schoolboys with nothing much to do, death by drowning.
But of all these, I feared the most the possibility that I might go mad too.”
― Jerry Pinto, Em and The Big Hoom