Deeply Fried

I recently completed the autobiography of the British humorist Stephen Fry titled "Moab is my washpot" and saying that it is one of the most satisfying if not the most interesting books ever to have come under my purview would not be an exaggeration.

Stephen Fry, as most people would be unaware of given our obsessions with all things American, is an extremely brilliant comedian from England. His quick wit is as admirable as his exquisite command over the English language. His encyclopedic knowledge as astonishing as his polymathic disposition, and his relentless success matched only by his depression-ridden personal life. He represents the last of the dying breed of public personalities we associate the term intellectual with and for all his mindboggling genius, his humility peering from behind the superb 'class' that veils it all makes every minute of his appearance a pleasure to the eyes, every syllable that he utters the most satisfying music of perfection, and every point that he analyzes an insightful study into incisive rationality.

The book is great not just because its so honest it hurts. Not even because he describes a life with twists and turns enough to encompass the existence of 5 ordinary individuals like me. The book is amazing because of the sheer pleasure of its language. Every sentence seems perfect. Every word as if chosen after considerable deliberation. Every punctuation has a story to tell, a weight to support. Even the font changes size to drive home the author's point. Words dance and sway in a perfectly choreographed sequence of linguistic acrobatics and every sentence merges so fluidly in the following sentence that you almost do not want to pause at the full stop. Latin merges with French and Spanish and Greek and gobbledygook to spice up the already formidable English. And from behind it all, the sweet and sour memories of an eventful past emerge with the clarity of a dew laden mountain bush against a misty background. Its one of the few books in which the subject matter did not matter all that much, not to me at least. If you will permit me the slight leeway, I would like to compare the charm of the book with music. Not music as in Beethoven's moonlight sonata. But music as in the sound of the grand Piano. Its beauty is akin to the primal attractions of color as opposed to a painting. Its both a privilege and an exhilarating experience witnessing the potentialities of language I never thought existed. Its continuity is numbing and hypnotic. Its flow... well I could go on and on.

Let me take this opportunity for elaborating on a slight diversion. As Wilde would probably have said, though in an infinitely more articulate way, "There are far too many geniuses in the world". I mean look around you. The world is festooned with the likes of them. Running around soccer fields and tennis courts, banging away their lives on the Piano and the guitar from the age of 2, spewing barely intelligible equation in dimensions too obscure to even comprehend, scaling mountains, jumping from cliffs and planes and probably moon, painting the Monalisa in Microsoft Paint. They have come to infest the world in such huge numbers, it has become an ungainly sight. So what makes these geniuses different to me than say Fry or Watterson ? I think it has to do with one's class and principles. Its in one's world view and his rationality, in the way he treats others and in how he stands for the principles he professes. It has something to do with that slightly snobbish idea of elitism. Not material elitism but intellectual elitism. The courage to say, in plain words, how mentally constrained and emotionally prejudiced our lot is. Such brilliance doesn't raise his voice like Carlin does. It merely shakes his head and keeps quiet with the sort of dignity an army commander might have while sitting with a bunch of buffoons from the Parliament. And I see these qualities in both Fry and Watterson and to a big extent, Dylan. Its not just their genius which impresses me. Its their rationality and courage and the will to defy the mores of the society for the love of their art.