Skip to main content

Pain


Let my pain grow older and wiser,
When the death knell tolls,
I will built a coffin for her,
To be in solace,
To descend and not to levitate,
Because I sneeze pain,
I hear pain, I touch pain, and I walk pain.
I hear pain from
Deep down the abyss of hell,
Producing cries of unknown.
I see my body giving birth to uncanny prickles,
I touch the warm waters that gifted me blisters.
From the dark corners of beautiful gardens,
I see eyes of pain with beckoning signs.
When too much of fakeness engulfs my existence,
I see Pain commuting in public bus,
Looking out at the old footpaths.
Pain clutches tightly to the windows
Of the young widow,
with one week of nuptial happiness.
Pain borns when rain rapes the land,
Heavily pouring down in red and yellow.
Pain takes the form of old abandoned toy in the cellar,
Trying to get free of the dust.
The flowers of unrequited love in multiple pockets cry out in pain.
And when summer gets murdered by autumn, pain falls down from ashoka trees.
Sometimes,
Really many times,
I embrace pain and squeeze it,
Till it suffocates.
Because,
When pain is loved, it loves us back.

A.C

Comments

Popular posts from this blog

The Lost Daughter - An Ode to Motherhood and Flawed Mothers

 Mothers are always praised and glorified for the sacrifices that they make and are called supermoms, if they find a balance with their family and work life. Movies have always portrayed mothers as either sacrificial or supermoms. But do all the mothers choose the same road?  Maggie Gyllenhaal's 'The Lost Daughter' speaks for all the flawed unnatural mothers. People who become mothers at an early age, who feel traumatized by the whole new version of themselves, who live in fear of losing their original identity in the run for creating one for their children, who make choices selfishly regardless of their children's needs. Leda in the movie, in fear of losing her individuality in the love for her children, takes a decision to focus on her career. She finds it as an amazing experience and embraces everything that she desired, peeling off the perfect mother image that she is supposed to keep.  When women are considered to have innate motherness in them, people don't re...

All I Want for Us is to Feel Again

  We were young girls Who used to play at the beach,  Hugging, we watched the sun drowning.  We danced till the candyman went home,  Our skirts swayed with the wind,  Cajoling us to stay a bit longer.  We never thought this picture would fade away.  I know this would never come back,  But I want to feel again.  I want to go back where my heart is.  All I want is to be free and feel again.  The colours and smell still linger with me,  I miss the happiness I felt,  The aches that watered me.  My skin misses the way it felt,  My hair misses the gentle kiss of the beach wind The bookstores and beach waters wait for us,  They send a thousand silent sirens to us,  When will we feel it again?  The recklessness of age,  the courage of freedom,  the music in our brains,  And the limbs that never stopped.  The yellow city lights Gladly kissing the fine roads,  absorbed our shadows,...

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 ...