Skip to main content

Forty of Cell Ten


Robert came last week.
Saw him Shouting things unfamiliar,
as they dragged his healthy body over.
Calm down Robert,
This place will be your home now.
A home where you feel homesickness,
A home with walls of instabilities.
Unattracted by this principle of home,
Calmness was a distant reality to Robert.
The stale breakfast and lunch was indifferent to him.
The bedbugs embraced him with stories of former inmates.
The garden seemed graveyard to him.
His mouth at times pronounced beautiful female names with drools.

A lone walker along the aisles of the Building,
He looked through the giant gate that never opened.
He talked to the trees that never replied.
He sang of things unheard-of,
He longed for a normal life like the guards.
He who cracked knuckles frequently
has lost his name,
Now he is number forty.
Forty of cell ten.
Forty who came last week.
Forty from?

Forty died yesterday.

Sally came today.
They dragged her over while shouting things unfamiliar.
Next week she would probably
Become Forty of cell ten.
Said the Twenty in chains for thirty years.

A.C

Comments

Popular posts from this blog

Shuli’s Love

  Shuli washed her hair twice that day. One for her love to cleanse  all impurities of reality  and one for herself. She took a nap twice  that day. One for love that took  her melatonin, And another to forget. Shuli laughed twice that day. One on behalf of her tainted  Love, And another on her botched brain  cells. She cried a quarter that day. Half a quarter filled with anger, and the other half with shame. She danced twice that day, One for lost time on love, And another for her love for dance. Shuli wrote twice that day, One for her heart and  Other for her brain. She gave two hugs that day, One for her wet pillow And another for herself. Shuli played hostess twice  that day, One for her pain and  the last for her sanity.

The Women of Rifle Club

Over the decades, Malayalam cinema has often used female characters to uphold male protagonists, reinforcing the power dynamics in favor of men. This pattern, normalized and celebrated as long as the hero “wins” the situation, has shaped narratives for years. However, in recent times, audiences have begun to unlearn this ingrained bias, recognizing it as something that needs to be critiqued rather than celebrated.  Aashiq Abu’s Rifle Club breaks away from this mold, igniting the fiery tension of a wild war in the Western Ghats. What sets this film apart is its portrayal of women— each female character is uniquely strong and layered, claiming her identity with confidence. From being mocked for being “just a woman” to owning the scene, characterisations of women in Malayalam cinema are beginning to emerge as unstoppable forces. Society often perpetuates the stereotype that women, being emotional, are inherently weaker or less stable in grave situations. Instead, the movie shows that ...

Laapataa Ladies aka Ladies Lost in Patriarchy

Kiran Rao’s “Laapataa Ladies” is a social satire that offers entertainment as well as empowerment. The movie humorously portrays the grave realities of a patriarchal society with the help of a simple story and background. As the name and the trailer suggested, it revolves around two newly married brides who get lost on the way to their in-laws’ home. While Jaya, whom Deepak accidentally brings home instead of his wife Phool, seizes this opportunity to follow her dream, Phool undergoes profound personal growth during the time. This period shows multiple women discovering themselves. Some learn to do things that they love for themselves while others learn to explore and embrace their talents.  Even though Jaya and Phool are two contradictory characters, they are both equally victims of patriarchal conditioning. While Jaya is ready to break and act against all the norms of society from the very beginning by uttering the name of her husband to everyone’s disbelief, Phool learns to do t...