Printed between 1827 and 1838, John James Audubon’s Birds of America is considered to be the archetype of wildlife illustration. It contains 435 life-sized watercolours of North American birds. View all hand-engraved plates and high-resolution downloads here.
Niccolò Paganini: Caprice No. 9 in E major “The Hunt / La chasse” (Allegretto)
Violinist: Vadim Tchijik
Tuesday 7th April 2015 at Serena Hotel, Islamabad
Based on my own and my patients’ experiences, I now like to say that the story of loss has three “chapters.” Chapter 1 has to do with attachment: the strength of the bond with the person who has been lost. Understanding the relationship between degree of attachment and intensity of grief brings great relief for most patients. I often tell them that the size of their grief corresponds to the depth of their love.
Chapter 2 is the death event itself. This is often the moment when the person experiencing the loss begins to question his sanity, particularly when the death is premature and traumatic. Mary had prided herself on her ability to stay in control in difficult times. The profound emotional chaos of her baby’s death made her feel crazy. As soon as she was able, she resisted the craziness and shut down the natural pain and suffering.
Chapter 3 is the long road that begins after the last casserole dish is picked up — when the outside world stops grieving with you. Mary wanted to reassure her family, friends and herself that she was on the fast track to closure. This was exhausting. What she really needed was to let herself sink into her sadness, accept it.
“All sorrows can be borne if you put them in a story or tell a story about them,” said the writer Isak Dinesen. When loss is a story, there is no right or wrong way to grieve. There is no pressure to move on. There is no shame in intensity or duration. Sadness, regret, confusion, yearning and all the experiences of grief become part of the narrative of love for the one who died.
دامِ ہر موج میں ہے حلقۂ صد کامِ نہنگ
دیکھیں کیا گزرے ہے قطرے پہ گہر ہوتے تک
दाम-ए हर मौज में है हलक़ह-ए सद काम-ए निहनग
देखें कया गुज़रे है क़तरे पह गुहर होते तक
daam-e har mauj meN hai halqah-e sad kaam-e nihang
dekheN kyaa guzre hai qatre pah guhar hote tak
in the net/snare of every wave is a circle of a hundred crocodile-mouths
let’s see what happens to the drop, until [its] becoming a pearl
Here is a music collection compiled by Aftab Datta for sarangi.info‘s tenth birthday. We hope you like listening to it as much as we do.
“Time flies like an arrow; fruit flies like a banana”.
Afzal Khan – Kafi (Ghulam Farid)
Amir Khan -_Puriya (Live in Indore)
Arnab Chakraborty -_Kedar
Bade Ghulam Ali Khan – Todi (Radio Pakistan; Farhat Said Khan’s Collection)
Barin Majumder – Nat Bihag
Barkat Ali Khan – Dadra Khamaj (Dadra)
Bashir Khan -_Gujri Todi
Begum Akhtar – Kaushik Dhuni (Calcutta Music Circle 1974, Farhat Said Khan’s Collection
Bhimsen Joshi – Suha (Live)
Ejaz Husaain Hazarvi -_Khirad Mandon Se Kya Poochhon (Ghazal)
Faiyaz Khan – Bheem
Fayyaz Khan & Sharafat Hussain Khan – Darbari (Farhat Said Khan’s Collection)
Gajananrao Joshi_Basant (Violin)
Ghulam Shabbir & Jaffer Khan – Bairagi Todi
Gopal Mishra – Miyan ki Malhar
Govind Prasad Jaipurwale – Megh
Habib Ali – Bhairavi
Hafiz Ali Khan – Aimen
Hamid Hussain – Thumri
Hanif Khan – Shudh Sarang
Hirabai Barodekar – Multani
Ilyas Hussain Khan – Chandini Kedar
Imrat Khan & Vilayat Khan – Jog
Jagannathbuwa Purohit – Hindol
Khadim Hussain – Miyan Ki Malhar (Dhrupad)
Kumar Mukerjee – Miyan Ki Malhar (Farhat Said Khan’s Collection)
Latafat Hussain Khan – Lalit (Mehfil)
Majid Khan – Puriya Dhaneshree (Nazir Khan’s Collection)
Malabika Kanan – Gaud Sarang (Farhat Said Khan’s Collection)
Malini Rajurkar – Sohni (Tarana)
Mallikarjun Mansur – Shudh Sarang
Mehdi Hassan – Bihag (Chautaranag)
Moinuddin & Aminuddin Dagar – Lalit
Mukhtar Begum – Pilu (Thumri)
Mumtaz Sabzal -_Malkauns (Benjo)
Mushtaq Ali Khan – Bhopali
Natai Basu – Dhani
Nazakat Ali & Salamat Ali Khan – Hamir Kalyan
Nazakat Ali & Salamat Ali Khan – Bilaskhani Barwa
Nazakat Ali Khan – Lalit
Nazar Hussain – Jaijaivanti
Nirmal Guha Thakurata – Lalit
Nisar Hussain – Bhairavi (Tarana)
Pushparaj Koshti – Bageshree
Qadir Ali Faridi – Lankadhan Sarang
Rais Khan – Kaunsi Kanada (1968; Farhat Said Khan’s Collection)
Rasoolanbai – Piya Milan Hum Jayibo (Chaiti)
Ravi Kichlu & V.G. Jog – Barwa (Farhat Said Khan’s Collection)
Roshanara Begum – Shudh Sarang (78rpm)
Sadiq Ali Beenkar – Shankara
Saeen Ditta – Tilang
Safdar Hussain Khan – Khamaj (Thumri)
Ghulam Hassan Shaggan – Purvi (version 2.0)
Shahbaz Hussain – Teentaal (Lehra: Zohaib Hassan)
Shahida Parveen -_Nindiya Lagi (Thumri)
Sharafat Ali Khan – Shiraz
Sharafat Hussain Khan – Shudh Sarang
Wahid Hussain – Sarang
Yeshwant Rai Purohit – Malkauns (More Ghar Aailo Balama)
- Widely-accepted claims about telomeres predicting mortality are contradicted by some quality meta-analyses and large-scale population-based studies.
- Predictions of future onset of chronic illnesses from telomere length have not been reproducible in meta-analyses and large-scale population-based studies.
- Even when found, the associations in large scale, quality studies between telomere length and outcomes like disease onset and mortality are quite modest.
- Associations claimed between exposure to stress and telomere length have not been reproducible in large scale studies.
- Cross-sectional associations of telomere length are often not borne out in prospective longitudinal studies.
- Telomere length is reliably associated with age, sex, and race. The association between telomere length and clinical variables is reduced or disappears when age is statistically controlled for in large scale studies. Older people have shorter telomeres than younger people, and males have shorter telomeres than females. This corresponds to life expectancy. But wait, whites have shorter telomeres than nonwhites. So, they die earlier? No, of course not, and this robust association needs to be ignored if anyone wants to claim consistency of findings about telomere length and aging.
More at NYRB Classics
Georg Christoph Lichtenberg 1742-1799
“(Lion) fell in love in his tenth year with a boy named Schmidt (best pupil in the school), the son of a tailor, liked to hear him talked about and got all the boys to converse with him, never spoke to him himself but it gave him great pleasure to hear that the boy had spoken of him. Climbed up on a wall after school to see him go out of school. Now he still remembers his physiognomy very clearly, and he was far from handsome, a turned-up nose and red cheeks. But he was first in school. I should be sorry if by this free confession I should increase the world’s mistrust, but I was a human being and if happiness is ever to be attained in this world it must not be sought through concealment, not at all, nothing firm can come about in that way. Lasting happiness is to be found only in uprightness and sincerity…” From The Waste Books, translated by R. J. Hollingdale
“Lion” is one of the names Lichtenberg adopted when he wrote about himself in the third person, i.e. objectively.