OT;GAUTAM BUDDHA, LAOTSE AND CONFUCIUS WERE SITTING TOGETHER IN THE HEAVEN. THE TIMEFAIRY CAME OVER THERE WITH THREE GLASSE. ALL THE THREE GLASSES WERE FULL UP TO BRIM. SHE OFFERED THEM TO THE TRIO. GAUTAM BUDDHA REFUSED THE GLASS SAYING THAT LIFE IS FULL OF SADNESS. LAOTSE ACCEPTED THE GLASS SAYING THAT “NOW THE GLASS IS ALREADY BEEN OFFERED, LET ME TASTE IT”. CONFUCIUS JUST ACCEPTED THE GLASS.”IF “ASHTAVAKR” REACHES THE HEAVEN THEN WHAT WOULD BE HIS REACTION?”, ONE DISCIPLE ASKED OSHO. OSHO ANSWERED, HE WILL ACCEPT THE DRINK AND THEN FINISH OFF THE TIMEFAIRY TOO AS SHE HERSELF IS TIME, “SAMAY”. THE JUICE IN THE GLASS IS LIFE ITSELF. THE FULLNESS OF THE GLASS INDICATES THAT LIFE IS FULL OF JUICES OR THE JUICE IS FILLED IN THE GLASS OF LIFE. TO ENJOY THE JUICE MEANS TO ENJOY LIFE, TO CONQUER OVER TIME. EVERY MOMENT OF OUR LIVING IS FULL OF VIGOUR AND VITALITY, TO ENJOY IT MEANS TO WIN OVER LIFE. IF YOU MISS EVEN A SINGLE SECOND THEN YOU MISS THE HAPPINESS IN IT TOTALLY, FOREVER. J. KRISHNMURTI CALLS THIS AS AWARENESS. IF WE ARE AWARE THEN WE CAN KEEP OUR EYES OPEN TO EACH AND EVERY MOMENT OF PRESENT. THAT SINGLE MOMENT WILL TEACH US TO INVEST AND SPEND PROPERLY. THOSE PEOPLE WHO COME ACROSS SUCH AWARENESS NEVER REPENT IN LIFE FOR ANYTHING. I CONSIDER MYSELF TO BE VERY LUCKY AS I GOT AN OPPORTUNITY TO MEET SUCH A PERSON IN MY LIFE; FIRST IT WAS MY FATHER AND LATER ON IT WAS DR. SURESHCHANDRA NADKARNI WHO ACTUALLY FINISHED THE TIMEFAIRY. I NEVER CAME ACROSS THE TIMEFAIRY, BUT MY FATHER HAD DRANK TO THE LAST DROP OF LIFEJUICE FROM THE GLASS OF LIFE, HAD ENJOYED IT, HAD STRIVED FOR IT; AND ME? I HAD WITNESSED IT. IT WAS DR. NADKARNI WHO WAS DITTO LIKE MY FATHER; THIS BOOK WHICH IS WRITTEN IN THE MEMORIES OF MY FATHER IS DEDICATED TO HIM." VA PU. "VASANTA; ANNA KALE”S LUCKY SON. ANNA HIMSELF WAS A VERY LUCKY PERSON. HE HAD A BEAUTIFUL COMMAND OVER BRUSH AND THE PEN. VASANTA WAS ALWAYS MORE CLOSE TO THE PEN. BUT BOTH FATHER AND SON HAD SAME ADDICTION; DRAMA AND THE PEOPLE RELATED TO IT. I AM NOT SURPRISED TO SEE THAT THE THIRD GENERATION HAS CONTINUED WITH THE TREND. ANNA”S GRANDSON SUHAS IS ACQUIRING NAME AND FAME AS AN ACTOR AT THE VERY YOUNG AGE AND ALSO HAS A SMOOTH HAND OVER THE BRUSH. SUHAS MIGHT BECOME A SINGER IF PURSUED PROPERLY. ANNA WILL BE 87 YEARS OLD NOW AND WE WISH THAT VERY SOON WE GET A CHANCE TO CELEBRATE THE CENTURY. THOUGH HE IS VASANTA”S FATHER, FOR ALL OF US DRAMATIST HE IS NO LESS THAN OUR FATHER.HE MAINLY WORKED AS A DRAPER AND MANY OF US HAD HAD IT AS THE BACKGROUND. OVER THE YEAR, ANNA AND HIS DRAPERY BOTH HAVE STOOD FIRMLY BEHIND US. HE ALWAYS PASSESSED EVER FRESH ATTITUDE. VASANTA IS LUCKY TO HAVE A FATHER WHO GAVE HIM NOT ONLY GUIDANCE, SUPPORT, BUT A WHOLE LOT OF FRIENDSHIP. HE WAS THE BEST FRIEND OF HIS SON. HE WAS HIS SON”S ROOM PARTNER IN ALL SENSE. HE TRAVELLED BETWEEN PUNE AND MUMBAI THROUGHOUT HIS LIFE. WITH DUE RESPECT, HIS DAUGHTER AND DAUGHTERINLAW ALSO ENJOY TEASING HIM, CAN BE FRIENDS WITH HIM. HE IS SO SWEET BY NATURE THAT HIS KIDS HAVE FORGOTTEN THAT HE CAN SCOLD TOO. EVEN TODAY, MANY A FAMILIES WONDER WHAT IT IS LIKE FOR THE “PA” TO BE FRIENDLY WITH THEM. HIS APPEARANCE IS VERY SIMPLE; THE ART STUDENTS DRESS UP MORE COLOURFULLY THAN HIS PAINTINGS. HE DRESSES ACCORDING TO THE OLD TRENDS BUT COLOURS BEYOND THE SET NORMS. DRAPERY COLOURING IS TIRING MENTALLY AS WELL AS PHYSICALLY; BUT AT THE AGE OF 80, ANNA COLOURED THE DRAPERY FOR THE JUNGLE, PALACE ETC. FOR BALGANDHARVA NATYA MANDIR AT PUNE, IN HIS OWN STYLE. ART ITSELF HAS A FLOW, CREATIVITY, AN INNOVATIVE TREND. ANNA FOLLOWS THE STYLE OF ANANDRAOJI PAINTER. THE STAGE RECOGNIZES THE IMPORTANCE OF TRENDS IN DRAMA AND IN DRAPERY TOO. ANNA IS A MASTER OF IT. I AM VERY MUCH FOND OF ANNA”S DRAPERY AND WRITING. HIS HAND MOVES SWIFTLY AND DELICATELY OVER THE CANVAS AND THE PAPER BUT EQUALLY OVER HIS FRIENDS” BACKS”“. "PU. LA. DESHPANDE".  
व.पु. काळे हे महाराष्ट्राला एक कथालेखक आणि कथाकथनकार म्हणून सुपरिचित आहेत. व.पुं चे वडील पुरुषोत्तम श्रीपत काळे यांचं रूढ अर्थाने चरित्र म्हणता येईल अशा पद्धतीने वपुंनी चरित्र लिहिलं नसलं तरी वडिलांना केंद्रस्थानी ठेवून अंत:करणपूर्वक लिहिलेलं पुस्तक आहे, ’वपु सांगे वडिलांची कीर्ती.’
वपुंचे वडील उत्कृष्ट नेपथ्यकार होते. नाटक आणि चित्रपटांसाठी पडदे रंगवणं हे त्यांचं काम. वपुंची आई (वपु आणि त्यांची बहीण आईला ताई म्हणत), त्यांची मोठी बहीण सिंधूताई आणि वपु स्वत: असं हे चौकोनी कुटुंब. वपु आणि सिंधूताई वडिलांना ’अण्णा’ असं संबोधत. अण्णा मुंबईला व्ही. शांताराम यांच्या राजकमल कलामंदिरमध्ये नोकरी करत. मुंबईला मित्राच्या घरी ते राहत. कुटुंब मात्र पुण्याला होतं. महिन्या दोन महिन्यांनी दोन दिवस रजा घेऊन किंवा एखाद्या शनिवार-रविवारी ते पुण्याला येत. त्यावेळेला वपु आणि त्यांची बहीण शाळकरी वयात होते. नंतर त्यांच्या वडिलांनी मुंबईच्या एका चाळीत घर घेतलं आणि वपु, सिंधूताई व ताई मुंबईला रवाना झाले. आता सगळं कुटुंब एका ठिकाणी राहू लागलं.
वपु अणणांबद्दल सांगताना कधी वर्तमानात असतात, तर कधी भूतकाळात जातात; मात्र अण्णांच्या जीवनातील घटना-प्रसंगांचं वर्णन करण्यापेक्षा अण्णांची स्वभाववैशिष्ट्यं सांगण्याकडे त्यांचा कल दिसतो. नेपथ्याचं काम अण्णा किती तन्मयतेने आणि कुशलतेने करत याबद्दल ते सांगतात. तसेच एक वडील म्हणून त्यांचं आपल्याशी कसं नातं होतं, हेही सांगतात. मिश्किलपणा, काहीसा हळवेपणा, ओढग्रस्तीच्या आर्थिक परिस्थितीतही त्यांचं आनंदी राहणं, काटकसरीपणा, कष्टाळूपणा, वक्तशीरपणा, कधीही कोणाबद्दलही तक्रार करायची नाही किंवा केलीच तर ती वेगळ्या पद्धतीने करायची
. त्यांची स्वभाववैशिष्ट्ये वपु नोंदवतात.
अण्णा केवळ नेपथ्यकारच नव्हते तर ते लेखनही करायचे, मंगलाष्टकं रचायचे. वेगवेगळे अल्बम्स करायचा छंद त्यांना होता. वपुंच्या काही कथांची शीर्षकंही अण्णांनी सुचवली आहेत. ते रोजनिशी लिहित. त्यांच्या नेपथ्यातील बारकावे, जिवंतपणा आणि कुशलता दर्शवणारे काही प्रसंग वपुंनी सांगितले आहेत. ललितकलादर्शसाठी अण्णांनी केलेल्या कामाचा उल्लेख आणि त्यांचा त्या संस्थेशी असलेला ऋणानुबंध याबद्दलही वपुंनी लिहिले होते. राजकमल आणि ललितकलादर्श या दोन्ही संस्थांच्या यशस्वितेमध्ये अण्णांचंही योगदान महत्त्वाचं होतं; पण त्या संस्थांनी अण्णांची म्हणावी तेवढी दखल घेतली नाही; उलट व्ही. शांताराम आणि भालचंद्र पेंढारकर यांनी अण्णांच्या बाबतीत जी अनास्था दाखवली त्याबाबतची नाराजी वपुंनी व्यक्त केली आहे.