Skip to main content

We Are All Worth Two Days of Mourning



I once met me who stopped by
just to narrate a dream,
"After the two days of mourning,
my friend just went to work,
accepting that I won't be at there 
today or the coming days.
On her way she stood at the cafe,
staring at the picture on the
glass window, of coffee
being spilled out of the cup 
in the weirdest way,
I saw her smiling, probably
of the joke that I made of the picture.
But she kept going, smiling
at people that we were familiar 
with on the way.
She had the sympathetic conversation with the ice cream seller at the crossroad, 
And their words carried my name 
as the most important syllable.
She did this for two days,
and just let her life going
with some occasional
mentioning of my name 
like a guest role.
So did my maid,cat,and books.
Their new caretakers sympathised 
for being abandoned unexpectedly
and got thrilled at their new ownership.
My picture was framed and kept 
at the most attractive
corner of the house,
they looked at me and talked to 
me like taking a pill.
I felt happy at the anniversary
and the second anniversary 
and the anniversary after that,
but never for another.
They were all dull and boring
and less genuine like
the food served at those.
All went with their lives,
except some who
also did the same
after one or two years,
of drinking and other addictions.
And I saw faces,of me,you and many at the wall watching
how invisible we became 
in the lives we were so visible
and smelling the seasonal 
roses that we get 
and shaking hands with
people we forgot likewise.
And that time the cookies 
tasted different".
And thus she patted my shoulders
and whispered
"We are all worth two days of mourning"

A.C

Comments

Popular posts from this blog

Revising Utharam: The Weight of Forgotten Truths

I think more than ghost stories, most people are afraid of the unknown. The  unknown when transforms into a more fearful truth can devastate a person’s entire existence. V.K Pavithran’s  1989 movie Utharam is based on Daphne Du Maurier’s short story “No Motive”. It follows Balu’s quest to uncover the truth behind the mysterious and unexpected suicide of Leena, his best friend Mathew’s wife and someone he considers family.  Balu’s investigative skills as a journalist lead him to some strange and unexpected revelations about Leena’s past. He discovers that Leena had a completely different personality and a  shocking, forgotten history. Despite being a generous person and loving wife of Mathew, Leena lived a seemingly perfect life, content and unaware of her repressed memories. Her life as a poet and a loving partner to Mathew appeared nothing short of perfection. Yet one fine day she decided to take her life in the spur of the moment.  Unlike most mystery movies ...

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...

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 ...