Skip to main content

Disappearance


 

It's funny to think of people who disappear, 

They disappear into nothingness

Without a warning

Without leaving a sign. 

I wonder what ponders in their mind

During the moments before the disappearance. 

They would think of coming back, 

Maybe not. 

Would they go with a proper plan

Or place or a specific medium

to travel? 

They would probably go for minimalism, 

For it would lessen the burden, 

the burden of all worldly pleasures

The burden of all relationships. 

Maybe they would survive, 

The disappearance period. 

Or they will disintegrate and 

Dissolve into seasons. 

Or they will be transported to another universe, 

Where all seasons come together

And day and night 

Come simultaneously. 

They would experience a new sense of freedom, 

Freedom from the monotonous life, 

From the caricatures of commoners, 

And the ties of restrictions, 

From the questionable ways, 

Inspiring thousands to disappear. 

I desire to examine their wonderful minds, 

Its design and architecture, 

the procedure they follow towards the process, 

It would be a marvelous piece of chaos

Of do's and don't's 

Of priorities and secrets. 

It's okay to disappear, 

from everything that tires you, 

From everywhere you no longer 

belong to, 

From every system, you no longer believe in, 

It's not giving up, 

It's giving others a chance to think, 

Of what would have gone through

these people's minds

Of how you failed them, 

Of what wrong you have done to them. 

Disappearance is good. 


A. C

Comments

Popular posts from this blog

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...

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 ...

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 ...