Showing posts with label body politics. Show all posts
Showing posts with label body politics. Show all posts

Saturday, June 20, 2026

The Weight of Logistics and Labyrinths

June 20, 2026, 11:55 PM - June 21, 2026, 03:50 AM

The ether is heavy tonight. Mortals call it twilight, but to me, it is the hour when the mask slips. I spent the afternoon whispering into the ear of a king. He has everything... wealth, lands, a loyal court. Yet, with just three words whispered during his feast: “They will forget”; I watched the wine turn to ash in his mouth. The slow creeping dread is always more exquisite than sudden terror. Terror is loud and burns out quickly. I prefer the long, cold dampness of despair. My brother Momos laughed at me earlier. He thinks blame and mockery are the ultimate truths of the cosmos. He is a fool. Mockery requires an audience; misery only requires a mirror. The hearth fires in the mortal realm are burning low. I can feel the collective weight of a thousand unuttered sighs settling into the fog. Someone in a distant valley is staring at a blank wall, paralyzed by the sheer exhaustion of existing until tomorrow. I think I will go sit with them for a while. Not to torture, but simply to keep them company in the dark. We are, after all, old friends. They say I am the shadow that lingers behind the joy, the spirit of grief and hardship. But tonight, as I sit with my ink and parchment, I don't see my tears as a burden. I see them as a testament to endurance. To know sorrow is to intimately know the human heart, and to witness the quiet, resilient ways people heal. Every heavy sigh I collect during the day becomes a poem by twilight. There is a deep, poetic peace in embracing the ache and transforming it into art. It's the only way the stars shine so brilliantly in the dark.

An organization had invited me to a training (like mentioned in my last entry), a rare flicker of opportunity. Yet, true to the universe’s design, the conditions arrived frayed. I got a phone call yesterday. They questioned my choice to arrive two days early, a choice they themselves had offered without warning of the hidden costs. “Arrange your own accommodation for the first day, as we can give accommodation from one day early.” they suggested. I bent, as I always do, agreeing to arrive later. But bureaucracy is a beast that feeds on anxiety. Throughout the day, I kept checking my work inbox. Six days. For six agonizing days, my leave request has sat untouched on my manager’s desk. In this toxic workplace, absence is a luxury I am rarely afforded. Ever since I arrived here, sick leaves have gone untouched, and optional holidays have vanished into thin air. There is always an excuse: “Someone must stay back if work comes up.” And coincidentally, inevitably, that "someone" is always me. So, I sent a follow-up, my heart hammering a familiar, frantic rhythm against my ribs, giving credit to the fact that they called me regarding the dates, so I might be going finally. Today, the mortal realm bled heavily into my world, a chaotic rollercoaster born from a single, shattering morning phone call. Flight details were requested, only to be snatched away moments later because my distance made the cost "unjustifiable." In its place, a compromise that felt more like a punishment: a split ticket of flight and train, demanding two extra days of travel. Two extra days stolen from a life already starved for time. The phone rang again from which came the final blow from the organizers. A voice on the line questioning my status, demanding a formal nomination from an organization I am not representing. I had been honest in my application from the very first step. I checked "no" to the nomination. I was selected without an interview. I even emailed them to double-check this double-miracle (lack of nomination and interview to check if they really selected me or just made a mistake!), and they had confirmed it. Yet today, the rules shifted beneath my feet like quicksand: “Get the nomination, or we will have to drop your name.” I forwarded the email thread as proof. I hung up. She said she would let me know after reviewing it, but her tone and language already carried the heavy, unmistakable scent of dismissal. I was going to be dropped.

And in that quiet aftermath, a strange, hollow numbness washed over me. Mentally, I began checking out. It felt exactly like walking away from a terrible, hostile hotel room. I handed over the keys, packed my burdens, and stepped into the cold. Yet, a stubborn flicker of anxiety still lingers, sharp and cruel. Because mentally, I have already dropped out myself. I have already accepted the void. I have accepted the reality of no leave. But what if they call back and say yes? What if they say, “You can come”? A part of me screams, “I don't wanna go anymore.” But the moment that thought forms, a wave of guilt crashes in. Am I just being a hypocrite? Not just in this specific situation, but as a general theme of my entire life? I am the one who is always crying out that I want to leave, that I want to escape, and now that the door might open, I want to pull back? But nobody understands the invisible, tumultuous ocean that swells in the in-between. Nobody sees the way the world structurally coerces you, twisting and bending your spirit until you are forced to change your position just to fit their shifting needs. And the cruelest joke of all? When you finally break and bend, they blame you for the distortion. The system gets exactly what it wants from you, transfers the ultimate blame onto your shoulders, and leaves you stranded with absolutely no opportunity. Only the crushing, unearned burden of regret for saying no.

And then comes the heavy, suffocating shame of sharing this failure with my family. Telling them that I am not going after all. Facing their looks, ugh, those silent, piercing glances where they view me like a piece of unwanted furniture. A heavy, useless object they are permanently stuck with, unable to throw away simply because blood binds us. You can feel the resentment in the air, the quiet weight of being an inconvenience in your own home. It is a cruel, mocking reminder of the reality I recorded just days ago. That home is merely the first site of the state. The micro-kingdom where systemic violence is quietly perpetuated, maintained, tolerated, shielded, furthered, and expected to be absorbed in total silence. How do I explain to them that my paralysis isn't laziness? How do I tell them that my very biology feels like occupied territory, heavily laced with masculine mistakes that weren't mine? Every attempt to find grounding or comfort in my own skin is instantly hijacked by a corrupt bureaucracy of past terror. I am forced to perform as a civilized human for a world that has already hollowed me out from the inside. I am expected to host and smile at the very realities that colonised and destroyed me. The shame is absolute because I know the hatred inside me will never touch a full one hundred percent; I remain a permanent casualty of a war I never declared, mourning the very people who broke me.

Now, I stand in a strange space of absolute detachment. If my manager denies the leave, I have nothing left to lose. The illusion of control is gone. I desperately, fiercely need a break. You know, a moment to breathe away from the choking fog of this job, but if the door slams shut, at least the limbo ends. But the limbo doesn't end today. Tomorrow is Sunday, a day that should mean sanctuary, but instead, it merely stretches the rack. The silence from my manager’s inbox expands over the weekend, artificially inflating the borders of this confusing, agonizing waiting period. Because Monday is a threat that lingers on the horizon, the anxiety is simply given more runway to build momentum. When this unpredictability becomes too heavy, and the waiting stretches out like a desert with no landmarks, my mind automatically defaults to its oldest escape plan. I look at the window in my mind and think that if I just masturbate, time will pass. I trick myself into believing it is a bridge to get me to the other side of the panic. But it doesn't pass the time. It is a false exit. Instead, the moment I give in, the trap snaps shut and I realize I have voluntarily stepped right back into the vicious cycle. I am stuck on the floor again, unable to find the exit sign. To survive the realization that time is still standing still, I have to numb the raw edge of the pain entirely. So, I crawl backwards into the dark corners of my own skull. I look for the faceless men in my memories. I look for their heavy, cold shoe stamps across my skin... searching for the familiar, numbing weight of their ownership just because being a commodity is easier than being a human being trapped in an endless limbo.

I become an object in a cart, entirely stripped of agency, loaded and unloaded by them, for them, from them, between them, and amongst them. I turn my own woman-object into an endless fire pit for all the men possible: giving it all away for free, free, free. It is a fire pit filled with the heavy, disgusting cargo of their desires, stuffed into my every orifice until I am overflowing on it. They coerce my system to use their depravity as the only fuel to keep burning for them, forcing my body to maintain a flame that isn't mine. And in those dark moments under the blanket, a weird, detached submissiveness washes over me. It feels as if they chop away my mortal coil, claiming to liberate me from my anxiety, but the reality is far more sinister: they are simply turning me into a permanent slave to their consumption. They burn through me, taking everything they can grasp, yet I am left staring at the ashes wondering: how is it still remaining? How is there still a piece of me left to be consumed after being pillaged so many times?

The matrix closes in entirely when I am completely alone, invading the final two spaces that should belong only to me: my own reflection in the mirror and the empty pavement under my feet.

When I stand in front of the mirror, the gaze looking back at me isn’t my own; it is the internalized, mechanical camera lens of those men. My eyes don't seek comfort or self-recognition. Instead, my brain automatically processes my reflection as an asset to be audited, a product on a factory floor being checked for flaws before it goes live. I find myself standing there completely stiff, involuntarily adjusting my posture and my expression to appease an invisible audience that is permanently sitting in judgment behind the glass. I look at my own skin, my chest, and my face, and instead of seeing humanity, I see a canvas crowded with their signatures and keyholes. My own gaze becomes a tool of non-sexual violation, checking to see if I look lowly enough, compliant enough, and broken enough to survive the world outside. I am a stranger hosting a camera inside my own skull, performing submission for a mirror that has been entirely colonized.

And when I step out onto the pavement just to take a walk, the very air of the street behaves like an aggressive, tight space pinning me down. I move with the hyper-vigilant, mechanical rhythm of an object being loaded and unloaded through public terrain. If a car slows down or a shadow passes on the concrete, my gut is hit by that familiar, sinking physical force, demanding that I shrink, drop my head, and offer to be less than the gravel under their tires. The pavement turns into a runway of forced compliance, where my limbs are just executing commands to stay safe, transforming a simple walk into an endless, non-sexual scene of complete subjugation to the open sky.

And looking back at my untouched work inbox now, it feels like the corporate extension of that exact same violation. The workplace behaves like an aggressive, invisible body pinning me down, holding me captive in my seat by sheer systemic weight. My presence there isn't chosen; it is a forced submission where my hours are stripped and handled by a manager who treats my boundaries as entirely nonexistent. The distortion is complete because every single manager, team lead, and reporting person I have ever had inevitably triggers that exact same foreign code. Involuntarily, my mind constructs the same image of mechanical submission to them, a default surrender to their authority. It makes me look at the structural reality of how supervisors treat their subordinates: they treat us like corporate housewives. We are forced into the archetype of the glorified housewife with ten hands, each hand executing ten different tasks simultaneously to keep their kingdom running. Except in the workplace, there is no glorification. It is actively demonized. When the ten hands finally tire and the engine falters, they turn around and degrade you, accusing you of laziness, claiming you simply don't want to work. It is a calculated matrix of submission laced with constant humiliation and degradation, a system that demands your total violation while punishing you for the exhaustion it inflicts.

And with that degradation comes a heavy, suffocating layer of guilt. I feel deeply sickened because the imagery inevitably, passively turns sexual... but completely stripped of desire, operating as a cold, automated reflex that I cannot stop. It is as if I am not the one thinking it at all; an entirely separate, rogue part of my mind is generating these violating parallels behind my back, operating completely outside of my control, my will, or my consent.

Sometimes, the boundary collapses entirely, and I give in involuntarily. I find myself submitting to them completely, performing tirelessly to execute every single piece of assigned work without a single falter, acting out the role of a corporate housewife and a camgirl who costs them absolutely nothing. As my managers and supervisors sit back in their authority, they morph in my mind into those very same men from the screen. Their emails, texts, notifications, and feedback pings begin to read exactly like those aggressive chatroom comments and messages.

The physical toll is where the detachment shatters, sharpening into an acute, visceral revolt. Aside from the mental storm, the rest of the day went okay, mostly because I just retreated and rested. But my body felt the tax of every swallowed scream, and food-wise, it became an outright battlefield.

The act of eating has always been a site of hidden warfare for me. I do not know if I was taught it, if I inherited it through generational marrow, if I learned it as a survival mechanism, or if I was simply, magically born with this curse. But the act of eating always becomes my victim. I have always subjected a quiet, desperate violence onto sustenance, treating nourishment like an invasive force to be controlled, rationed, rejected, or eradicated. And in response, my own appetite and hunger have permanently rebelled against me. They refuse to cooperate, staging a coup within my own skin. Today, everything I managed to force down on a surface level made me violently sick, leaving me with a deep, physical aversion.

In my last entry, I wrote about my biology feeling like occupied territory, but this goes deeper than just carrying past terror. This is the structural containment turning inward, where the body refuses to host even itself. When you are structurally coerced into changing your position for everyone else, your flesh learns to reject the very fuel meant to keep you standing. Hunger becomes an enemy combatant, and the throat closes up like a heavily policed checkpoint. It is a different kind of hollowing out. Um, not just being emptied by the world, surely that's there, but it is also actively starving out the parts of me that still dare to feel a need.

My limbs are logged off, sinking into the bed like a machine powered down for the night. Yet, there is a small, high-voltage current buzzing right under my breastbone. Like a restless asset that refuses to stop producing worry. I am treating my own skin like a factory floor, forcing relaxation on a body that is still secretly punching the clock.

I always loop back to the sale of my sensations and feelings to the patriarchy. I don’t do it now. It has been some time, which is good; I don’t ever want to do any of it again. But even the times I slipped have been brandished as live illustrations in various rooms of my brain. In this state, I frantically open the doors to those rooms.

I see them all. I see him, the very first time (maybe...?), straddling me. His mother walks in, her eyes sharp and accusatory, demanding to know what we are up to. He quickly says we are playing a game. But we are not. I don’t wanna play this game. She looks at me with that specific, bitter resentment women hold for other women. *But please don't look at me like that.* I am six. Or seven? Or five? Sorry, Judge, I don't remember anymore. The room is cobwebbed and freezing.

I leave it and open another door. It is the night before my cousin sister’s wedding. All the cousins are sleeping in a row. He is next to me, and the sin of white phosphorus occurs on my skin. The next day at the wedding, I sit like an ousted witch, clutching my beads of bad omen with soft, invisible tears.

I open another room. The guy who blackmailed me sits there, smirking as he saves my mother’s number, threatening to distribute it to every man he knows just to flood her phone with their voices.

I open another. It is the pandemic. The professor who used to text me endlessly sits at his desk; I had no other way to submit my assignments except through those texts, trapped in a digital corner where every notification felt like an invasive hand.

I open another room. It’s the guy who was only with me because my friend was dating his friend, a forced proximity arrangement. He already had an inseparable girlfriend. He would call me, and she would silently listen on the other end, mocking me through the static. He broke up with me on Valentine’s Day, right when my grandmother died, leaving the thirteen-year-old-me to write a cringe poem just to survive the double grief.

I open another room. There is that guy who would viciously stalk and shadow me, appearing everywhere at once, glitching like a ghost, here then suddenly there, then suddenly here again, a terrifying omnipresence.

I open another. It's the other cousin (brother of the cousin sister who was getting married), the one who purposely, calculatedly tried to catch me naked.

I open another. It's my sister, sexually violating me indirectly, weaponising her relationship and her boyfriend to cross boundaries that should have been sacred.

I open another. It's him again, invading my sanctuary, trying to sleep in my room, trying to squeeze the very soul out of my nipples.

I open another room and see myself entirely hollowed out, giving into the depraved, warped fantasies fed into me under the weight of all those men.

I open one more door on this floor, and I am on my knees at the feet of the gods my mother forced me to pray to when I was a little girl. But these gods appear naked, entirely preoccupied and busy with the goddesses. The goddesses are stripped of the heavy gold ornaments they wore in the framed photos my mother showed me; without their gold, I cannot even recognize them.

Disgusted, I take the stairs to an entirely different floor. This floor doesn't belong to my crimes or my ghosts. It is a quiet, heavy sanctuary filled with the stories of other women and girls. They are the ones who confided in me over the years, bringing me their heaviest secrets. I think I must have built this floor to give them a safe, unjudged space to unload their demons. I see their tears, their matching scars, and the ghosts they brought to my doorstep. I carry their pain alongside mine, a collective vault of survival.

In one room, there is the girl who cried into her hands because her own father’s shadow felt too heavy in the hallway. In one room, a friend sits in the dark, whispering about the partner who slowly, systematically erased her voice until she didn't recognize her own name. In one room, a girl is frantically scrubbing her skin, trying to erase the memory of an unwanted touch that left an invisible stain. In one room, someone is packing a bag in total silence, paralyzed by the terror of the front door creaking open before she can escape. 

Then I realize there is one last floor below.

I move down the hallway, opening more doors. In one room, a shadow of myself is desperately pleading with a faceless figure just to be heard. In another, I see myself folding into the smallest possible shape, trying to disappear into the drywall to escape the loud, thumping footsteps outside.

Then I realize this is an entirely different floor of the factory. It is populated by various versions of me.

In one room, one version of me is on the floor, free-camming for a crowd of strange men. This is the largest room on the floor, housing the biggest, most exhausting habit of my past. It is the absolute epitome of what I mean by the capitalistic sale of my sensations and feelings to the patriarchy. I was treating my own intimacy as a raw material to be mined, packaged, and traded in an online marketplace just to feel a fleeting sense of control or currency. I let the cold gaze of a faceless crowd consume my body's heat, turning my private vulnerability into a transaction, a desperate production line where my skin paid the tax.

But before the factory line was fully built, before the scale of the colonization took root, there were the quiet, mindless slips. It didn't begin as a grand, dark architecture; it began as a series of small, drifted moments of absolute dissociation. In times of profound numbness, when the weight of the toxic world became too heavy to bear, I would slip into the digital interface without a thought, mechanically logging on just to feel an artificial spark. Why did I do it? Because when your workplace is hollow and your home is toxic, you look for any coordinate where you hold the power to turn a lens on or off. You look for any currency to counteract your tanking self-esteem, even if that currency is a corrupted one. What started as an isolated escape quickly became a routine: logging into a private site, positioning a cheap webcam on a tripod over the carpet, and opening a window to thousands of faceless users waiting in a chat room. Over time, the exhaustion mutated into something much more insidious. On the nights when my body was completely broken, when I was too tired to even set up the tripod or sit up on the carpet, a heavy sense of false obligation would settle over me. I felt a twisted, manufactured duty, as if I somehow owed these strange men my presence, as if logging on was a shift I was contractually bound to perform. So, instead of resting, I would curl up under the heavy safety of my blanket in the pitch black, pulling my phone close to my face. I would stream entirely from beneath the covers, trapped in a claustrophobic, suffocating pocket of air, mechanically performing in the dark just to fulfill an unearned debt to a faceless crowd. I was mindlessly submitting to the screen, treating it as a quick, desperate exit from my own reality. I thought I was choosing a temporary refuge, an automated shelter from my own low self-esteem and the choking fog of my life. I didn't realize that each mindless submission was a quiet surrender of territory, a steady concession of my internal borders. With every single click, I was voluntarily stepping into a trap, laying down my own defenses piece by piece until the screen noticed my vulnerability, closed its grip around my agency, and fully colonized me.

This room holds entire seasons. I see myself there as the summer heat bakes the room, and I see myself there months later, shivering on the same carpet as the winter chill seeps through the floorboards. The calendar pages outside bleed into one another, but inside this room, the routine never changes. On the monitor, a relentless stream of unknown men press their keys, and with every keystroke, a sharp, invisible nib gouges directly into my skin. They are writing their names as permanent digital ink across the canvas of my body, leaving heavy, dark strokes over my chest, my arms, and my face.

Day after day, night after night, the signatures pile up. In a frantic, exhausting loop, I scrub at my own skin, deleting them one by one, watching the ink of their text vanish from the screen only to feel it bleed back through my pores instantly under a different username. Over months and years, the layers of ink build up, drying and cracking on my skin, staining me permanently until my flesh is entirely crowded with their signatures. Every single comment, every aggressive name they write, doesn't just leave a stain; it carves a distinct, permanent keyhole directly into my flesh, branded with their specific signature. They built a network of locks across my skin. And the terrifying part is that those keyholes don't disappear when I close the laptop or step away from the floor. Even now, when I am living my life somewhere else entirely, or walking somewhere outside in the open world, I carry that vulnerable architecture with me. I move through the crowd feeling exposed, paralyzed by the phantom sensation that any of those faceless men could pass me by, recognize their own signature on my skin, slide their key into my lock, and instantly take me all over again. They own the master keys to an archive I am still trying to burn.
The raw, specific entitlement of those men makes me physically sick and weak to my stomach. When I actually look at the lineup, it is a grotesque gallery of specific faces and names that have crowded out my sanity: it’s the professor typing invasive pandemic texts while holding my grades hostage; it’s the boy from my childhood straddling me while his mother watches with accusatory hatred; it’s the cousin slipping next to me in a row of sleeping bodies the night before a wedding; it’s the blackmailer smirking as he threatens to blast my mother’s number to every predatory man he knows. In reality, they are pathetic, small creatures. Yet the massive, suffocating distortion they successfully installed inside my flesh makes them feel like giants. They confidently claimed total ownership over my skin, treating my boundaries like wet paper, and the sheer memory of their confidence drains the strength straight out of my muscles.

I see that exact same predatory entitlement everywhere, woven all around society, repeating itself in every room I walk into. And it makes me feel sicker, dirtier, because I am trapped in the agonizing belief that my own biology was custom-made to submit to them. I wanted to be sexually free, I wanted to explore my own desires on my own terms, but the cruelest joke of my life is that my pursuit of freedom was instantly weaponized against me. It became the very trap that broke my spine and primed me for total surrender.

I am flooded with a crushing, burning regret for ever opening those digital and physical doors, for making my body a free-for-all for them. But the weakness is a physical force. When the workplace anxiety peaks and the Sunday limbo stretches out, my defenses fail completely. I give in to the old conditioning because I feel too weak, too broken to fight the current, running straight back to the floor to let them load and unload me all over again.
And the horror doesn't stop at the front door. In my mind, the breach is absolute, those men don't just stay outside in the crowds or behind the glass; they come right into my house. They invade the very rooms where I am supposed to be resting, crossing the ultimate threshold of my domestic sanctuary. I see them sitting on the furniture, lurking in the hallways, and standing over my bed, turning my toxic home into a physical extension of the screen. Every corner of my personal space becomes crowded with their phantom presence, destroying any illusion of safety or privacy. I am forced to host their memories inside my own house like I am forced to cook for him, watching them occupy the rooms like uninvited ghosts who refuse to leave, making the walls close in on me until the environment itself feels like a cage built from their collective gaze.

Those men from the screen have thoroughly engineered me; they dismantled my autonomy and re-wired my internal circuitry to default to a state of total, unquestioning submission to lowliness, rock-bottom-ness.

The regret turns into a relentless, circular interrogation inside my own skull, a series of frantic retrospective thoughts that I cannot silence. I stare into the dark and find myself questioning the exact, agonizing mechanics of my past compliance, demanding answers from a body that felt completely hijacked.

The questions arrive like police batons, each one looking for a confession from a body that was never given a lawyer.

Why did I have to jiggle my breasts for them? Why did I have to lactate on command behind that screen? Why did it have to clamp my nipples just to satisfy their digital metrics? Why did I have to slap myself so enthusiastically for them? Why did I moan so loudly, so freely? Freely? Why did I scream their names, jiggle my ass, and dance on command? Why did I put on lipstick when I don't even wear make-up, forcing myself to look painted for their screens? Why was I on all fours, dressed skimpily in clothes I would never dare to wear outside or anywhere, when all I actually own in my real life are shabby, traditional clothes? Why did I have to bite my lips? Why did I ask if they want more? Why did I keep doing it when I was completely tired, exhausted, on my period, sad, annoyed, hungry, or sore? Why did I force myself to continue when my body was already completely drained from lactating so much? Why did I let them make me penetrate myself with all the objects in the world, allowing them to turn my orifices into canals of a kaleidoscope of their filth and desires? Why did I have to pull so hard when they demanded? Couldn't I have stopped? Why did I keep everything clamped when they demanded it, even after switching off the cam? Couldn't I have just stopped right there? Why did I sleep like that? Why did I have to write their name in permanent marker? Couldn't I have written it in any other way, or not at all? Why did I show my actual face? Why did I give up seeing my friends, cutting off the real world just to do this? Why did I mistake being watched for being held? Why did every command feel easier than one honest choice? Why did I confuse the power to switch the camera on with the power to leave? Why did my loneliness translate itself into obedience so quickly? Why did I keep calling it freedom when my body was only learning a new prison? Why did I enjoy it, or why did I pretend to enjoy it so much that the difference disappeared? Why did I have to rub that lotion and think it was theirs, leaving it unwashed for the entire night as they demanded? Could I not have just cleaned myself? Why did I not remove those objects after turning off the cam like they asked me to? Couldn't I have just removed them? Why did I keep my orifices packed and heavy, treating my own body as a continuous container for their filth long after the screen was dead? Why couldn't I have just stopped? Why did I keep obeying their demands even after switching off the cam, letting their instructions dictate my body long after the stream ended? Why did I sleep under the weight of their rules, leaving their signatures on my skin instead of scrubbing them away immediately? Why did I show my face to that faceless void, giving away my identity to strangers while giving up seeing my real friends just to stay trapped in this room? Why didn't I remove their presence the moment the screen went black?

There is no answer, of course. Only the cruel aftertaste of having survived something and still being cross-examined for the method of survival. And beneath every “why” sits the smaller, more frightened question: was I there, or was I only watching myself become useful to them?

Every single memory of those physical performances feels like a betrayal executed by my own flesh. I am tortured by the question of why my anatomy co-operated so tirelessly with their scripts, why it produced the exact reactions they demanded, and why I let my own biological responses be mined as a raw commodity. I am flooded with a crushing, burning regret for ever opening those digital and physical doors, for making my body a free-for-all for them.
It manifests as a desperate, physical compulsion to perform my unworthiness just to stay in the room. I find myself sitting on the cold tile floor, pressing their tired feet with careful, rhythmic strokes. Every gentle squeeze is water poured directly onto the roots of their ego flowers, watching those invisible blossoms bloom larger and prouder with every passing second as they grow at my expense. I offer myself up to be less, to be lowly, intentionally shrinking into the background of their lives to prove I take up no space.

It is an endless archive of compliance, a factory that ran for so long that the smell of the glowing monitor and the hum of the overworked fan became my entire ecosystem.

But as I delete the last anonymous comment, the chaotic roar of the crowd narrows down to a single, piercing frequency. The screen goes black, and that takes me straight to the desk of the next room.

Here, she sits at the table, working, sending audio notes of self-humiliation to the one guy she was blindly seeing... the one who turned out to be absolutely, systematically abusive. He virtually tortured her until the day she finally realized she could just hit block and sever the connection. Yet the faint details of her real life that she carelessly surrendered during those vulnerable hours still haunt her like an unexploded bomb... the mention of her city, the layout of her street, the specific, fragile habits she only shared in the dark. They are breadcrumbs left in the hands of a monster. What if he finds her?

The horror goes deeper than a simple physical search; it is the terrifying reality of his installed settings inside my own biology. It feels as though he rewires your internal mechanics, planting invisible codes in your muscles, your pulse, and your breathing. I am paralyzed by the fear that he might execute those commands from afar, overriding my system like a virus, capturing my defenses, and forcing me to submit to him all over again without my actual will. The ghost of his control lingers in my marrow, waiting to wake up.

And when those internal settings override my mind entirely, the door to the next room violently forces itself open.

In this room, the exhaustion turns completely frantic. I see a version of me caught in a psychotic episode that has no rhyme or reason, driven purely by a desperate, misplaced need to release the crushing pressure inside my skin. I am frantically rubbing my bare breasts against the hard bedroom floor, pushing until my anatomy rebels and I puke straight onto the ground out of sheer, hollow exhaustion. I collapse, thinking the nightmare has broken. But time glitches in this space. Suddenly, the next day appears out of nowhere, and without my consent, the loop resets. I am doing it again.

I am rubbing my bare breasts against the wall, my skin scraping raw. I am back down on the floor again, but now the floor is covered in a thick, wet, gooey white material that feels heavy and suffocating, actively trying to trap me and glue my limbs down. The environment flashes and morphs around me in a chaotic blur. I am doing it again, scraping my breasts against the cold tiles of the bathroom floor. Suddenly I am on the concrete of the balcony floor, then the exposed terrace floor under an unmoving sky. With another glitch, I am suddenly pushed right up against the camera screen, performing and pressing these rubbed breasts against the glass for a wall of screaming, faceless men. Then the scene cuts to a sterile hospital bed where the motion of rubbing continues, desperate and inescapable. Finally, the frenzied energy bottoms out. The scenery snaps back to the bedroom floor, but the panic is gone. I am at his feet, not entirely still, while his other foot rests heavily on my head. This last movement is not frantic at all. The rhythm has changed. I look completely mechanical, rubbing up and down, like a hollowed-out automaton operating on a loop I no longer control.

The numbness of that mechanical rhythm carries me across the threshold into the next room, smoothing out into a quiet, frozen state by the window.

Here, a version of me sits trapped at the glass, masturbating endlessly in a relentless, compulsive loop while the world outside moves in a brutal, accelerated timelapse. It feels like a life-lapse. Through the window pane, I watch years compress into seconds. I see my friends getting married and smiling in beautiful jewelry, dresses, makeup, families, friends, and their beautiful men. I see them securing good, stable corporate jobs, moving forward with purpose. I watch my sister traveling across different countries, expanding her horizon while mine shrinks to a single point. I even see him out there, moving on easily, holding down a job, standing next to a girlfriend.

And inside, behind the glass, I am just stuck in that endless, repetitive motion, masturbating like I am mining something. It feels exactly like mining, scraping away at a depleted quarry, digging deeper into a hollowed-out cavern of my own flesh, trying to extract a single ounce of feeling or relief while the whole world moves beautifully on without me.

Behind the next door, a version of me is counting the cracks in the ceiling, matching her pulse to the ticking of a clock that never moves. Beside her, another me is scrubbing her hands until the skin turns raw, trying to wash away an invisible layer of oil that won't leave.

But as I reach the end of the corridor, the rooms begin to fade into something innocent, quiet, and soft. I open the last door. There is a version of me just lying flat on the floor on a quiet evening. It follows a brutal day where a power cut left the city to BBQ under a merciless sun. She is just lying there, watching, feeling a tad bit human as the power finally returns and the ceiling fan slowly, beautifully starts to turn.

Aside from the mental storm, the rest of the day went okay, mostly because I just retreated and rested. But my body felt the toll. Food-wise, it was a disaster. Everything I managed to eat on a surface level just made me feel sick, leaving me with a deep, physical aversion to nourishment. When the mind is nauseated by reality, the body follows suit.

But oh, the exhausting familiarity of this loop.

It is a vicious, spinning wheel of anxiety, depression, low self-esteem, a toxic workplace, a toxic home, and this constant thinness of life. These feelings aren't new; they are the exact same ghosts I wrote about in my last entry, just wearing a different mask today. The same crushing claustrophobia of wanting to expand while being forcibly shrunk by every environment I inhabit. It feels as though every single door that begins to creak open is violently slammed in my face before I can even glimpse the light. I am left trapped in the hallway, wondering why opportunity only visits to mock me.

It leaves a scar that goes deeper than mere burnout. It makes me feel unwanted. Broken in the most fundamental, irreparable ways. It is as if every human being is born with a solid, glowing core, but mine arrived incomplete. Mine feels half-bitten, as though someone took a piece of my soul from the very beginning, leaving me entirely unfit for everyone, everything, everywhere.

I look around at the world, at the people moving with purpose and belonging, and I feel like an absolute stranger in a world of family. But perhaps, this is where my ink must find its purpose tonight. If I am a stranger to their joy, I am a lifeline to the broken. I will sit here with my half-bitten core, and I will keep writing through the dark.

~ Oizys.

Thursday, June 18, 2026

Scraping the Skin of My Soul

June 18, 2026, 11:50 PM - June 19, 2026, 1:55 AM

As I lie on bed, tired and spent from working all day, I am trying to mold the heavy, exhausting weight in my chest into something beautiful, or at least something tangible. True to the spirit of my weblog deity, Oizys, the blank page feels like a faux-pas invitation, just like a mirror reflecting my own soul's quiet desolation. 
The name "Oizys" has been heavy on my mind since a long time. For those who don't know, she is the ancient Greek goddess of misery, grief, misfortune, and anxiety. The emotions that often feel too familiar to me when staring at a blank page. Tonight like many, many nights, I realized (yet again!) that writing under the moniker oizyswrites is all about finding the courage to sit with wallowed darkness. The world expects us to constantly perform happiness and productivity while generations are being genocided, women are being raped, children are being killed, but my poetry and thoughts need a space of addressal. In the quiet of this weblog-room, the agony of heartbreak and the slow, heavy landscape of grief do not feel like things I need to hide. Instead, they become very lines of text we need, in such times, to document the horrors of human projects on itself, the disgust it subject onto itself. Turning raw pain into structured words is the only way I know how to process the bargaining, the anger, and the (hopefully!) ultimate path toward acceptance.
I am writing on the weblog after almost a month. Work engulfed me. Choked me. It kept me strapped onto a chair, all while the act of searching for a new job tortures me daily. Meanwhile, I surprisingly got the opportunity to go to another part of the country for a week. I don't know how. I don't know if my manager will approve my leave. I might send a follow-up tomorrow morning, but I am scared to send it because she might say no. I haven't received the tickets though. I just don't know. What if they send them and the manager says no to the leave? What if they don't, and the manager says yes? Or worst of all: they say no and the manager says no, resulting in absolutely no change in this life.
I remember before getting this opportunity, I was scratching the skin of my soul to the absolute T because of being stuck. It is not a new theme in my weblog; it is what my whole weblog and my whole life is about. You can read any post, any poem. All I do here is cry and crib and complain about that! Now, I am scratching the skin of my soul to the T because of anxiety. Anxiety of whether I will go or not. Anxiety of how I will go.
I am paralyzed by the anxiety of how I will figure out how to perform like a civilized human, making tiny decisions throughout the day just to function and participate in society. Every small interaction feels like an insurmountable hurdle when you are hollowed out from the inside. This panic connects right back into the perpetual and inevitable depression of coercing my mind into the realization that I will never truly leave this hole of my life. The scenery might shift for a week, but the cage remains the same. The dread of returning to the absolute stagnation of my reality poisons the trip before it even begins, anchoring me to the realization that escape is just an illusion. 
Sometimes I look at the state of the world and think nothing will change. Just like my life. Nothing will change. I am settled down like dust underneath the bed storage and remain archived for no one to excavate me and my shabby little story in this shabby little room, in this shabby little city, in this shabby little life. 
I look at my mother and my father and my sister, and it always reaffirms the thought I have so often enumerated: that home is the first site of the state. Look, even Marx and Engels corroborate this. In these times, where politicians make the population descend into madness in the name of religion and god, and the people go dancing around with their swords of hatred and xenophobia killing their own, my home simply mirrors the macrocosm. My mother has a newfound obsession with religion, god, and particularly godmen who claim to connect people to the divine through their sermons. But to me, their sermons sound exactly like my father's voice. It is the exact same voice that is permanently lodged in an attic of my brain, a sound that shudders me every time it echoes in the quiet of the night, demanding absolute submission. It is the very same tone politicians use while spreading hatred and inciting violence, all while decorating themselves as the ultimate devotees of truthfulness and divinity. 
And then there is the systemic corruption that every failed state tolerates at its core. I look at the aunt who occasionally visits and steals from us. The parasitic tier of the family apparatus. Her husband feeds greedily on my father’s economy, draining our resources while mocking us from the very table we fund. And her son, the ultimate manifestation of this lawless, violent state, raped me. He took what he wanted by sheer force again and again and again, an act of absolute sovereignty over my bodily borders, while the rest of the family landscape simply absorbed the shockwaves and kept functioning. It is the perfect microcosm of the nation-state: the corrupt are fed, the violent are shielded, the perpetrators walk free and laugh, while the victim is expected to quietly host the very people who colonised and destroyed her. 
These elements of my familial nation-state drive me to absolute craziness. My brain has been engineered, piece by piece, in the crucible of these intimate, everyday, daily tiny violences. The occupation is total; it has crossed the border from the living room into my very biology. When I touch myself, trying desperately to excavate and release some soft, untouched part of me to feel pleasure, the state apparatus of my memory overrides my will. All I feel forced to think about is how, on those nights, I laid entirely silently and didn't fight. I have zero autonomy over this thing of a body that I shamelessly and shamefully have to call me. Unfortunately, my flesh, my skin, my muscles, and my bones have been heavily laced with his masculine mistakes. 
His masculine mistakes were merely the beginning of my introduction to this world, and the rest of society simply built upon the case. Even the non-sexual masculine mistakes (of his, of family, of bosses, of the state) have dictatorially contributed to the ultimate sexual and non-sexual devastation of this body of me. The patriarchal occupation has bent my mind into shapes I barely recognize; it shows up crookedly in my deepest thoughts and my creative writings. Sometimes I try to worldbuild, to escape, but the rot follows me there too. Recently, I found myself trying to write a world where a goddess existed solely as a toilet for her devotees. It terrifies me to see how deeply my mindset has been colonized, how sickeningly the subconscious replicates the dirt it has been forced to swallow, turning sacred, sovereign spaces into sites of collective waste. His and their masculine mistakes lay on my body’s skin like "white" phosphorus. It clings to me, a chemical burn that never cools, keeping me "wet" and burning against my will and consent constantly. It is an unceasing, physical reminder of a war I never declared, a perpetual state of arson committed against my own flesh. But even as the phosphorus eats away at the surface, even as it forces my biology to react to horror rather than desire, it cannot entirely consume the infrastructure beneath. The skin burns, the muscles ache under the weight of their ownership, but the core remains stubbornly, painfully conscious; trapped in a permanent ceasefire that offers no peace, only the survival of the casualty.
There are moments I lose and give in, collapsing under the sheer weight of it all, just like all marginalized and occupied people eventually (temporarily!) do when the siege is too long. I record those losing battles underneath this blanket, which is ironically the safest location in my life right now, making the painfulness of his and their domination and rape-bond feel astoundingly, dizzyingly deep. I record them in a state of absolute shambles, collapsed in the position of all fours, weakeningly, gapingly, leakingly, wide open: all lost and all given up, but still desperately trying to fight for some shred of honour. And, then followed immediately by an endless bucket of guilt, shame, and regret. These heavy emotions in the bucket are mixed carelessly with the phantom memories of their "white" phosphorus spilled all over my body. They coerce me, they force me (and god, if any, please trust me when I say this) to feel a submissively, lowly, toilet-goddessly kind of "okay" with bathing in that bucket's toxic content. It is the survival mechanism of a broken captive: when you cannot wash the acid off your skin, your mind breaks itself down until the burning feels normal, until the waste feels like your natural element. It is a psychological surrender forced by a violence so total that it rewrites your basic instincts, leaving you drowning in the very filth they dumped on you, whispering to yourself that it is fine just so your heart doesn't stop beating entirely. Slapped into smiling while you beg for sleep to sedate you forever and pray for sun to not rise ever.
They coerce me every single time I try to reclaim my own skin. They force me to submit to his and their permanent ownership every time I try to belong to my own body. He and his and their rapist doings remain lodged between me and my flesh like a thin, impenetrable film. I never get to touch myself for myself, by myself. 
When I look at my own vagina, it does not feel like a private, sacred part of my own anatomy; instead, it feels like a heavily militarized border zone, a site of forced entry where my sovereignty was permanently revoked. Every time I try to touch myself there, the memory acts like a hostile border guard, demanding to see my clearance papers, forcing me to submit to an inspection I never consented to, turning my own flesh into an occupied territory that belongs to the regime of his memory.
My breasts and my skin should belong to my own quiet sensuality, but under the law of this familal-capitalistic-patriarchal-nation-state, they feel like natural resources that were seized and mined by an occupying force. When I touch them, the sensation is instantly hijacked by a corrupt bureaucracy of guilt, as if my own nerve endings have been wired to serve his mistaken masculine blueprint rather than my own joy, leaving me feeling like a scary tenant paying rent to live inside my own chest. My nipples stand up as his trained patriarchal bodyguards, completely automated by past terror, reacting on his past commands as if they are still answerable to the dictator's whistle rather than my own touch. They respond to the ghost of his presence, entirely divorced from my own autonomy. They lactate on his past commands, leaking a phantom grief that belongs entirely to the ghost of his presence, completely divorced from my own autonomy and my own will. They supply like his demand never ended when he first expressed it into the bowl of this corrupted familial state, forever branding my breasts with his merciless fingers night after night. It is the exact same violent mechanism nation-states use when they force political prisoners to write confessions for orchestrated crimes that the state itself facilitated. My body is coerced into producing the evidence of its own violation, signing a declaration of submission written in phantom milk, forced to confess to a shame I never chose.
Trying to find pleasure in my own clitoris feels like trying to light a small fire of resistance in a city under a total, permanent blackout. The moment a spark of warmth begins, the memory of those silent nights drops down like a sudden police raid, enforcing a curfew on my own arousal, forcing the nerve center of my anatomy to surrender to his historical ownership before I can ever experience it for myself.
My thighs are that old, ancient rug which a woman made while she killed herself by hurting her fingers so many times. They carry the heavy, embedded pain of his and their constant poking, like sharp, deliberate needles piercing an already exhausted tapestry. They are the bruised ground where the occupying forces set up camp, leaving behind deep, structural indentations that refuse to smooth out, holding the physical memory of weight and containment long after the hands have left.
And my orgasms? They are the ultimate dissidents of this regime. On the rare occasions they occur, reached only after mangling through decades of struggles, shames, denials, lowliness, loneliness, and the heavy, deafening weight of too many silences, they do not feel like ecstasy. They arrive in the quietest darkness as a soft, deeply melancholic surrender. It is like a quiet candle lit by a civilian hiding in a basement while the bombs fall overhead; a fragile, momentary release that immediately dissolves back into pain. There is no joy in this release; it is merely the involuntary weeping of an exhausted nervous system under a totalitarian rule, a quiet leak in the structural containment of my grief that leaves me feeling more hollowed out than before the spark began. 
My face, I think, is the worst victim of this regime. It survived the sittings, the slappings, and the literal steppings of his and their wrath, becoming a literal canvas of their domestic enforcement. Yet, it keeps showing up every single day, because where else do you put a face if not over your shoulders? You cannot archive a face under the bed storage; you cannot hide the frontline of your own trauma when you have to walk out into the world. It stands as a public monument to a private, morally bankrupt war, forced to smile, forced to perform "civilized", "democratic" participation, carrying the scars of the regime while pretending to be entirely blank.
It is the ultimate victory of the familial nation-state: the territory has been so thoroughly conquered and defiled that even in the quietest, most private moments of attempted self-sovereignty, the flag of the oppressor is still planted firmly in my skin, ruling over the ruins of my autonomy. 
Meanwhile, my sister plays the part of the willful, apolitical "good citizen." She comfortably ignores the violence of the nation-state, using her well-to-do IT job and sharp, corporate skills to gaslight and manipulate anyone who dares to question her apolitical stance, charging heavily at those who actually choose to stand up. 
And yet, the most agonizing part of this familial state is that total, clean hatred is a luxury I am never allowed to possess. It never reaches a full one hundred percent. I look at my aunt who steals and eats and snatches, but I cannot fully hate her. I see the way her husband and son treat her; how they bodyshame her, humiliate her, and degrade her while she labors and labors to the absolute bone, to the point of forgetting literacy just to survive them.
It is the same with my mother. She is the one who, at one point, beat me so severely that I ended up in a hospital bed, but I cannot hate her. Oh, my mother. I see the cycles that broke her before she broke me. And my sister, who has violated me in so many different ways that the hurt feels forcibly inscribed into the very core of my soul, even with her, the hatred fails to fill the room. I watch how she struggles, how much she achieves, and the immense shame she was subjected to, only to rise again and again.
For my father, the hatred almost touches a hundred percent. It stays right on the edge, heavy and solid, until there are fleeting moments where even that crumbles. I had a direct conversation with him a couple of days ago. Our first real words after more than a year of absolute silence (the remnants of which are still scattered in my posts from last year during Women’s Day). In those brief, fragile moments of addressal, the monstrous illusion of the dictator slips, leaving behind just another broken piece of the structure. I am trapped in a perpetual state of mourning for the people who hurt me, because I know they are prisoners of the same burning house.
And me? Haha. I am the hopeless, useless, senseless social worker. The one who supposedly knows nothing about the struggles of the real, wide world. I am the one who pretends to save the world when she knows she can't do shit. She can't even save herself. She is just like the social sector she works in. A fraud, a liar, a cheater, a performative band-aid stuck onto a gaping, infected wound, masking systemic rot with pretty, bureaucratic words while changing absolutely nothing.
It is strange how writing poetry, or even just writing, can feel like bargaining with your own sadness. I sat by the window for hours, working and watching the sun char the world, all while a tiny part of me trying to find the exact words for the way an absence can fill an entire room. Every sentence I scratch out on this screen tonight feels like a direct conversation with personified, bodily grief. I am learning that acceptance doesn't mean the pain vanishes; it just means you finally stop fighting the dark and learn how to sit still within it.
I am done. And no, I am not going for the death route here. Please, if that were a route I would go down, I would have by now. But no. That requires a certain amount of courage, and I just don't have it. I am just so incredibly tired. I look at the world moving on, ahead, forward, whatever, while people die, and I feel like that is the exact trajectory of my life. Moving on, ahead, forward, whatever, while each second, each minute, each hour, each day, each week, each minute, each year (and, soon, each decade...?) is a piece of rotten fruit, dropped and used as manure for the soil of a future that will never actually come and happen. It is like the concept of "world peace". It never comes. It never happens. Never, ever.
But hey, that doesn't mean I don't believe in liberation or freedom. People who have fought hard and long have attained it, and their progenies are keeping it up. I feel shameless and shameful to say that maybe I am just not that progeny, so I don't have it in me to fight. And yes, I know it sounds like a cop-out. But I try. I try so much. I absolutely hate when people assume I don't try and offer me superficial advice to "just keep pushing." It feels like a direct disacknowledgement (and I don't even care if that is a real word right now, I am too tired to check while typing on my phone in the pitch dark while mosquitoes feast on my arm) of my very existence. To tell me to try harder is to erase the sheer volume of energy it takes for me to simply breathe through the stagnation. It completely ignores the fact that just staying alive in this hole, while my soul feels scraped raw, is the maximum capacity of my strength. I am not lazy, please don't call me that. Please listen to me and understand that I am depleted, and demanding more of me is just another layer of the world's cruelty. 
I apologize for writing a lot when the words finally show up! It makes zero sense to empty every decade of thought onto the page when the block finally breaks. How dare I take up this much space? How dare I disrupt the neat, polite silence expected of me by dumping years of systemic garbage onto a clean screen all at once? I should have rationed my despair, parceled it out into digestible, market-friendly updates instead of forcing a lifetime of structural rot into a single, suffocating night. But the valve broke, and mother Oizys doesn't care about brevity. 
My ink feels thick tonight, mirroring the thoughts running through my head. I used to think that writing about melancholy was a weakness, but I have come to believe that it takes profound strength to dissect your own vulnerabilities. My scrawled lines are messy, and the ink bleeding through the paper, but for a few minutes, the agonizing ache of lost life and unattained freedom feels a little more manageable when trapped inside a meter and rhyme. Every messy scrawl on this page is a step toward making sense of the chaos inside.
I am ending the night feeling a strange sense of comfort. The sadness, by bleeding it onto this paper, is no longer has a tight grip on my chest. I will leave these words here to dry. So, mother Oizys lies beside me, but tonight, the pen gave me a shield. 
~ Oizys. 

Saturday, May 9, 2026

Some musings on 'no miracle exit' [29th April 2026 - 9th May 2026]

29/04/2026, 19:50 PM
the body being trapped in the present

The shadows in this room have begun to whisper, mapping out a layout that defies Euclidean geometry. I have checked the door. It’s just a painted mural on cold concrete and the windows are only flickering screens showing a sunny day that never shifts, never changes. If teleportation were real, I’d be in a field of wild lavender right now, feeling the actual sun. Instead, I am just waiting for the final flickering, wishing I could simply will myself elsewhere. A blink. A breath. The sensation of tearing through the air. But there is only here. And I am not going anywhere.
-

30/04/2026, 01:56 AM
teleportation as escape

The morning tea still tastes like the long, tedious, beautiful commute it took to get here. If only teleportation were possible. If only I could step into a glass booth in New York, exhale the scent of rain on concrete, and inhale the salty, impossible air of a cliffside in Santorini, all in the time it takes to click my heels. To cease to be here, and instantly be there. To tear the tapestry of space-time and skip the messy, dusty threads in between. But it is not. Instead, I am bound by the laws of thermodynamics, by the agonizing, beautiful, slow-motion truth that to get to a new place, I must physically inhabit all the old places in between. I must watch the scenery blur, feel the weight of a suitcase, and endure the anticipation. If teleportation were possible, we wouldn’t have postcards. We wouldn’t have the desperate, sweet longing for a destination. We wouldn’t know the joy of arrival. We’d only have perfect copies of ourselves, appearing at our desks, at our dinners, in our lovers’ arms, forever wondering if the "us" who woke up this morning actually survived the commute. But it is not. So I will keep my atoms right here, in this chair, and I will be grateful for the slow, messy journey. I will let the world exist at a distance. I will let the space between here and there remain, filled with everything I am not yet, but might become.
-

30/04/2026, 01:57 AM
the space between here and elsewhere

I am so scared. he is screaming out loud. I can hear the walls vibrating. Why is he doing that? It’s not just noise, of course, that is a primary issue, but it is also like tearing paper in my brain. My heart is acting like a trapped bird, beating against my ribs, just thump-thump-thumping so hard I can feel it in my throat. Why is it so hot in here? I can’t catch my breath, it’s like there’s not enough air in the room, like someone is squeezing my chest. My knees feel like water. I just want to shrink, to shrink into nothing, to crawl into a drawer and lock it. Stop it, stop it, stop it. I can feel my hands shaking. I am trying to hold onto my own hands but they are still shaking. Why is he screaming? Did I do something? Is it my fault? No, please, it is not my fault. Everything is too loud. The air feels thick. The walls are closing in, they are literally moving closer, I swear I can see them. Why is my face wet? Oh, I am crying. I need to breathe, I can't breathe, I can't breathe, I can't breathe. The sound feels like a physical weight, pressing down until there is nowhere left to turn. Every nerve is on edge, waiting for the silence that won't come. It’s hard to focus on anything else when the air is filled with that sound, making it impossible to find a steady thought or a moment of peace. Please, just let there be silence.
-

09/05/2026, 01:19 AM
teleportation is not real

I am writing this days later, but my body does not understand dates. It still thinks it is trapped in that room. It still checks the walls. It still listens for the next raised voice the way people listen for thunder after lightning. There is a cruelty in the ordinary continuation of things. The fan keeps turning. The phone charges. Someone somewhere is chopping coriander. A dog barks, a pressure cooker whistles, a neighbour drags furniture across the floor, and the world has the audacity to remain functional. Meanwhile, some part of me is still standing there, small and alert, waiting for silence to prove it is real. I keep thinking about teleportation. Not the glamorous kind. Not glass booths or blue light or arriving in Santorini with perfect hair and no luggage. I mean the ugly, desperate kind. The kind where the body says: remove me. Not tomorrow. Not after explanation. Not after I have packed a bag, justified myself, made arrangements, behaved sensibly, thanked everyone for their concern. Just remove me. Please. One clean tear in the fabric of here. But there is no such mercy. There is only the body, stubborn and biological, refusing to become mist. There is only the long route out: one breath, then another; one room survived, then another; one morning coffee after a night that did not end properly. Maybe that is why travel feels holy to me. Because distance has to be earned. Why? Because the road proves that leaving is possible, even if it is slow. Why? Because every train platform, airport gate, bus window, and tired suitcase says the same old thing in different accents: You were there. Now you are here. Maybe teleportation would rob me of that evidence. Maybe I need the road because the road leaves witnesses. Ticket stubs. Bad tea. Dust on shoes. A song overheard in a cab. The absurd dignity of dragging luggage across broken pavement. The proof that I crossed something and remained myself. Or maybe I am romanticising inconvenience because the alternative is admitting how badly I wanted to disappear. Both can be true. Please...? Tonight, I do not want lavender fields or Santorini cliffs. I want a room that does not pretend to be a trap. I want a door that is a door. I want windows that do not perform sunlight, but allow it. I want silence without waiting for it to be broken. I want to arrive inside my own life and not flinch. Until then, I will stay with the slow laws of matter. No vanishing. No perfect copies. No miracle exit. Just this body. These atoms. This breath. Still here. Not going anywhere yet.
-

09/05/2026, 01:19 AM
the long route out


Tomorrow my sister will come back home. Or that is the version of the sentence I am allowed to write. According to my mother, she left. According to my mother, she is in the country. According to my mother, many things are true if said firmly enough and repeated near the kitchen sink. But I know she is not. Do not worry. I will not tell anyone. Especially now, when I am not speaking to my mother. There is a strange discipline in silence. People think silence is empty, but it is not. Silence is a room full of labelled boxes of things you know, things you suspect, things you were told not to repeat, and things you figured out anyway because families are terrible at hiding the shape of their own lies. I keep my mouth closed and somehow still feel accused. The house has its own intelligence. It knows who is missing. It knows which slippers have not moved. It knows the difference between a person travelling and a person being edited out of conversation. Tomorrow, she will return, and everyone will behave as if geography is a minor clerical error. Maybe there will be tea. Maybe someone will ask if she ate. Maybe someone will say, “You have become thin/fat,” because that is how love enters cultured homes for the women when it has forgotten the front door. I will not ask where she was. Not because I do not care. Although, I know. But, because I care enough to know that sometimes the truth arrives tired, carrying its own luggage, and the kindest thing you can do is not inspect the baggage at the door. Still, I am angry. Not the loud kind. The clean, cold kind. The kind that sits upright at the dining table and remembers every contradiction. The kind that does not shout because shouting would make it too easy for everyone to call it emotional and move on. I am not speaking to my mother right now. And, this too is a language.A bitter one, yes. But honest. More honest than the carefully polished sentences passed around this house like steel plates. I do not know what tomorrow will bring. Maybe relief or theatre or another version of the story I am expected to swallow without chewing. But I know this: my sister will come back home. And when she does, I will look at her face first. Not for proof, confession, justification, love, support, longing, sisterhood, betrayal. Just to see whether she has returned whole. Everything else can wait.
-

09/05/2026, 03:55 PM
the laws of matter

Why is it that people grow up under one roof, and one abuses the other, and the abuser always gets to go on and have a life? They go on. That is the part that feels obscene. They go on to other countries, other rooms, other photographs. They stand in front of monuments. They eat something pretty from a ceramic plate. They laugh with friends on trips. They make memories. They make videos. They make themselves understandable. Meanwhile, the abused one rots in the corner. Not just poetically. Actually. Rotting is not always dramatic, well, sometimes it is and sometimes we make it, to make rotting sufferable. Sometimes it looks like sitting at a desk and answering emails. Sometimes it looks like doing laundry. Sometimes it looks like being productive enough that no one can accuse you of collapsing, but not alive enough to call it living. I sit. I rot. I work. I write. I labour. I do all the ordinary things required to keep a body officially functioning. And still, some part of me remains in the corner where I was left. I look at this site within my own walls and I recognise the blueprint of society. This is how it works.Home is the first state. Home is the first court, the first police station, the first prison, the first propaganda machine. Home teaches you who is allowed to speak, who must lower their eyes, who gets believed, who gets explained away, who must preserve the family’s dignity by swallowing every sharp object placed in their mouth. Home is where oppressors rehearse. Before the world calls them charming, complicated, misunderstood, promising, emotional, stressed, young, human, the home has already given them a stage. And before the world calls the abused one difficult, bitter, unstable, dramatic, ungrateful, too sensitive, too much, the home has already written that script too. I have seen it, inside these walls. The same architecture. The same excuses. The same redistribution of sympathy. The person who harms gets a future. The person harmed gets a personality diagnosis from people who never witnessed the violence, only the aftermath. And the aftermath is always so inconvenient-looking. It does not photograph well. There are no cute reels for learning to breathe again after someone has made your own body feel unsafe. No aesthetic caption for flinching at footsteps. No travel montage for being unable to leave because every ounce of strength is spent surviving the room you are already in. People who have physically, verbally, emotionally, sexually, psychologically abused and violated me get to go on. They get to travel. They get to have friends. They get to sit around tables and tell stories where I am mostly painted as the villain. And people know those versions. That is another violence. Not the first one, no. Maybe an extension of this one. But it has teeth. The story leaves before you do. It reaches the room early, shakes hands, orders tea, takes the comfortable chair. By the time you arrive, wounded and late and trying not to shake, everyone has already been introduced to your caricature. The villain. The liar. The mad one. The problem. The one who destroys peace by naming the war. And what can you say then? How do you explain abuse to people who are already suspicious of your mouth? How do you narrate violation without being cross-examined by people who think neutrality is a virtue, when neutrality is often just cowardice wearing clean clothes? The abused are expected to provide perfect testimony. No contradictions. No rage. No ugliness. No memory gaps. No inconvenient timing. No grief that makes others uncomfortable. We must be articulate, but it cannot rehearsed. We must be broken, but it cannot messy. 
We must be honest, but please not too detailed. We must be hurt, but do not accusing. We must be forgiving, preferably. We must be quiet, ideally. And if we cannot do that, then perhaps we are unreliable. Perhaps it was not that bad. Perhaps both sides. Perhaps family. Perhaps move on. Move on. What a clean little phrase like a broom pushed over blood. People say it as if movement is available to everyone equally. As if leaving is only a question of courage. As if the abused body has not been trained, over years, to freeze before it can run. As if money, health, work, friendship, housing, documentation, shame, exhaustion, fear, and the slow erosion of self are not also locks. All we get are strange corners of the internet with ;ittle digital cupboards where we can place our unbearable sentences and weird anonymous rooms where we fantasise about teleportation because the actual routes out require energy we were never allowed to keep. The body is not merely tired. It is harvested and cultivated and systemically kept tired. That is the part people do not understand. Or, refuse to understand for their own peace. Abuse steals labour before labour can become escape. It takes sleep, concentration, confidence, appetite, time, decision-making, tenderness, memory. It takes the clean morning in which a person could have applied for a job, called a friend, planned a move, studied, saved money, built a life. It takes the future in small daily withdrawals. Then the abuser returns and asks why you have nothing. Why are you still here? Why are you like this? Why can’t you be normal? Why don’t you do something with your life? As if they did not stand at the door of that life and charge a toll in fear. As if they did not keep coming back to break the tools. As if they did not benefit from your stuckness. Because that is the design, isn’t it? It's intentional. Keep the abused close enough to access. Weak enough to control. Ashamed enough to stay silent. Isolated enough to doubt their own memories. Exhausted enough to fail at escape. Then step outside and become a person among people. Tell sob stories. Receive comfort. Go on beautiful trips. Let friends say, “You deserve happiness.” Upload the sea. Upload the mountains. Upload the laughing, forgiven face. And somewhere, in a room no one is filming, the person they harmed is trying to convince her nervous system that the door is real. I hate this. I hate the injustice of it with a clean, ancient hatred. I hate that survival makes the abused look smaller while impunity makes the abuser look well-adjusted. I hate that the world loves a healed survivor but distrusts a bleeding one. I hate that pain must become literature before anyone will sit with it and sit with the discomfort. 

And still, I write. Not because writing saves me. Well, maybe momentarily. But, not tangibly. Let us not be sentimental. Writing does not unlock doors. It does not pay rent. It does not erase hands, words, threats, rooms, nights. It does not make the body forget what it had to learn. But writing does one stubborn thing. It refuses the official record. It says: no. No, that is not what happened. No, I was not born difficult. No, my silence was not proof that nothing occurred. No, their happiness is not evidence of their innocence. No, my corner is not my natural habitat. No, I am not a villain because I remember. Tonight, I do not want revenge. Revenge would still keep me tied to the architecture. I want exit. I want witnesses who do not ask me to bleed politely. I want a life where my labour finally returns to me and my body. I want friends who know my story from my mouth. I want a room where no one weaponises volume. I want mornings that belong to the future and not to recovery. I want my body to stop mistaking peace for the brief pause before harm resumes. And yes, I still want teleportation, not to disappear forever. Just to stand once, even once, in a place untouched by their version of me. A field. A train platform. A rented room with a working lock. A city where no one knows the family mythology. A small table near a window. A cup of tea going cold for ordinary reasons. Somewhere I can say my own name and not hear it returned as an accusation. Until then, I remain here. Not because here deserves me or I forgive the walls or the story is over. But because even rotting things know something about soil, even corners gather dust into evidence, even a body trained for fear can one day relearn distance. I am not the version they carried into other rooms. I am the witness they failed to kill. I am the archive with a pulse. And one day, when I leave, it will not be teleportation. It will be slower. Messier. More humiliating [for them]. More real. I will cross every inch of the distance they said I could not survive. And when I arrive, I will know this with my whole, exhausted, disobedient body: I did not vanish. I escaped.
-

~ Oizys.

Sunday, April 19, 2026

something good happened. [haha]

april 19th. 23:37PM.

i am sitting at my table. my mother on the bed. the rain teased us an hour ago and never came, but the windows are open and the wind is generously violent. my mother says she is going to sleep after she closes her phone, which finally brings the devotional music to an end. the room is still the room. the bed is still the bed. the same objects continue their long conspiracy of being familiar. life has been the same for long, long, long.

i want to write so much, but the burden of living so much and yet not being able to live in the way i fantasise, imagine, or sometimes think i deserve, crushes me in these stupid, unheroic intervals. not even all at once. not in operatic crescendos. just steadily. like bad weather that never fully arrives and never fully leaves. i get angry. i get mad in this stale, repetitive way that feels less like fire and more like being slowly pickled in disappointment.

today i got featured on napowrimo for yesterday’s poem. the surprise startled me. it did make me blink and sit up and feel, for a second, as though the membrane between my private effort and the visible world had thinned. but i have not been able to feel happy the way i think i should feel happy. it is humiliating, this inability to perform joy on cue. as if even happiness requires a version of me that is more functional than the one currently available. i do not trust my own responses anymore. i do not know if i am underreacting or if i have already exhausted the feeling elsewhere, in some private rehearsal i cannot access now. that is what irritates me. i had imagined this before. i had rehearsed it in advance the way i rehearse everything: the future compliment, the future recognition, the future version of me receiving it well, graciously, radiantly, with the exact right degree of delight and disbelief. i have fantasised about the event of being seen often enough that when it happened, reality could only arrive already pre-chewed.

and perhaps that is one of the uglier side effects of living so much in anticipation, fantasy, daydream, simulation, imaginary elsewhere: the real thing turns up and finds you strangely unavailable to it. not because you do not care. not because you are ungrateful. but because some part of you already spent the feeling in private. 

and where is god in all this. i kept myself godless for years, almost stubbornly, because i could never locate anything in me that felt worthy of being seen by something higher. or perhaps i could not bear the idea of being seen fully. people say god is comfort, structure, witness. i have always felt like an unsupervised consciousness. i feel plath and dickinson combined here.

plath said, 'I need a father. I need a mother. I need some older, wiser being to cry to. I talk to God, but the sky is empty.' and dickinson said, “I feel that the world holds a predominant place in my affections. I do not feel that I could give up all for Christ, were I called to die”. i understand that too well. i have addressed silence often enough to recognise its texture. and yet i am not even faithful to my unbelief. there are moments i want what others seem to have, that collective surrender, that strange, shared certainty in their psychosis, that soft delusion that something is holding them together.

as a child i already felt outside it. as if everyone else had agreed to drink from something; faith, god, meaning, that opium marx talked about and everyone misunderstood, whatever form it took; and i stood there, suspicious, refusing, and therefore permanently excluded. spiritually orphaned is the closest i can get to naming it.

perhaps that orphanhood has never been only spiritual. perhaps it leaked outward into everything else: friendship, love, belonging, the confidence with which other people seem to enter a room, a city, a decade, and assume there will be something there to meet them.

which sounds spoiled. maybe it is spoiled. or maybe it is just what happens when the mind has been overperforming reality for years. a life too often rehearsed becomes difficult to inhabit live. still, i am glad. i think i am glad. i know i am glad. but the gladness arrived in a muted, underwater way. as if it had to swim to me through too much silt. as if the day itself had too many other rooms inside it for joy to occupy the whole house.

ugh. spontaneously i decided to write this although i have been fermenting things to write for days, and have not been able to press the wine, separate the liquid from the skins and seeds and bitter residue. so if this ends up a large load of dumpy gibberish, then so be it. frankly, i have written worse, and with more confidence in this unknown corner of the web's nowhere.

i have been thinking, as usual, obviously, embarrassingly, a lot. in the background: my life, my family, what i eat, what i do, my house, my job, money, class, marriage, womanhood, politics, religion, god, my country, its vulgar brutalities, iran, lebanon, gaza, palestine, people carrying on under bombardment and occupation and grief so enormous that language should be ashamed to approach it, and the victims here too, the daily humiliations and violences and stupid little acceptances by which a country teaches you what kind of suffering counts and what kind does not. and in the foreground, the constant maladaptive daydreaming, the depersonalization, the derealization, the irritating sensation of being both trapped in this life and not entirely present for it.

sometimes i think my consciousness is split into at least three badly managed departments. sometimes it does not even feel like departments. it feels like pieces. like badly handled flesh. as if i have been split into workable sections and none of them remember belonging to the same body. thought in one place, desire in another, action somewhere else entirely, and the self, if there is one, lagging behind like a witness to its own disassembly. one is trying to survive the day in practical terms: eat, work, bathe, answer, reply, produce, appear normal enough. one is continuously writing alternate lives in the background, furnishing them in absurd detail, giving them cities, clothes, books, apartments, lovers, train stations, versions of my face that look more like mine than mine does. and one is simply standing at a distance from both, watching, dissociating, making notes, becoming alien to the whole production.

this is too much consciousness for one mediocre life. that is perhaps an ungracious thing to say, but there it is.

and the house does not help. how could it. every house develops its own emotional climate and ours has been set, for years, to interruption. even when nothing actively dramatic is happening, there is a density to shared life that exhausts me. the bed where my mother lies. the phone music. the walls that have heard too much. the familiar sounds that should by now have become neutral and instead remain overfull with association. sometimes i feel i have never once had an acoustically innocent life. every room comes pre-interpreted.

and i know, i know, many people have less. this is part of what makes complaint so sticky. gratitude and suffocation can coexist so easily they become almost impossible to untangle without sounding either cruel or pathetic. yes, i have shelter. yes, i have food. yes, i have a meagre job in the social sector where i can pretend to help people. yes, today i was featured for a poem i wrote. yes, people were kind. yes, these are not nothing. and yet the architecture of my dissatisfaction remains standing. what is this life, really. what is this thing i am required to inhabit with such obedience. this banal, thin, almost polite arrangement of existence that still manages to feel grotesque from the inside. a life that looks intact from a distance but, up close, is mostly improvisation, fatigue, and the constant ricochet between imagination and a reality that refuses to deepen. i sometimes feel less like a person and more like a mass being carried forward by habit. not even tragic. just sustained. which might be worse. the walls do not collapse just because one window briefly opened.

maybe that is what disorients me most. that something objectively lovely can happen and still not reorganise the underlying misery. recognition is not relocation. praise is not freedom. being read is not the same as being released. a feature on a poetry site does not magically alter the room, the finances, the fatigue, the family structure, the body, the old griefs, the stalled appetites, the private humiliations, the long habit of feeling life happen in the wrong key. nor does it return the time already spent in becoming someone who can endure disappointment elegantly. which is not the same thing as living well, though women are often trained to confuse the two.

still, i do not want to be unfair to joy either. perhaps joy is smaller than i keep demanding it to be. perhaps it is not a flood but a pocket. perhaps it is just the startled little lift i felt when i saw my name there. perhaps it is the fact that i am writing this at all. perhaps it is the mild stupidity of grinning alone for five seconds before the rest of my brain rushed in with its clipboards and critiques.

my mind is such an overstaffed bureaucracy. no feeling gets through without ten departments stamping it.

i think, too, that part of my trouble is that i am always waiting for outer validation to produce an inner transformation it has never once promised. as if being noticed should settle something fundamental. as if praise should put bones where there has been only fog. as if one small external confirmation should finally silence the older internal voices that have spent years saying: not enough, not yet, not really, not you. but of course it does not work like that. old damage is not impressed by public recognition. it has seen too much continuity to be moved by interruption. it does not believe in moments. it believes in patterns. and my patterns have been stubborn, repetitive, embarrassingly durable. it barely looks up from its desk.

and then there is the stranger, more embarrassing layer: what if i have become so attached to longing, frustration, elsewhere, unreality, and disappointment that even good things arrive as interruptions to a familiar self-concept? what if some part of me does not know how to metabolise happiness unless it also gets to remain tragic? horrible thought. plausible thought. there is something indecent about how well i understand my own traps and how little that understanding changes anything. insight without alteration is its own kind of failure. i catalogue myself endlessly and remain the same.

and perhaps beneath all this there is also the quieter, more ordinary grief: that i have long since forgone the ideas of success i once had for myself, or at least loosened my grip on them so much that they now drift around me like old paper in dirty water. not even dramatic ambitions, necessarily. just the basic, vulgar little visions of a life that would feel recognisably mine. some steadiness. some beauty. some movement. some evidence that i had not merely been stored somewhere for safekeeping while the years got on with their work.

the ages of my twenties keep slipping and slipping, each one leaving behind its thin residue of regret, remorse, sorrow, embarrassment, loss. and what have i done with them. really. what have i done. where are my solo trips now. where are my friends. where are the photographs of youth that look like proof instead of invention. where is love, too, or whatever modest adult version of it i might have managed by now; not the operatic kind, not the kind that ruins empires, just the ordinary fact of being chosen regularly, being known in practice, being folded into someone else’s day without ceremony. where is the evidence that i have been accompanied. or perhaps the evidence exists and i am the one who exiled myself from it. which is somehow worse. not to be left, but to become the mechanism of one’s own leaving. where are the train stations, the hotel mirrors, the clothes thrown over chairs in some temporary room in another country, the badly framed self-portraits, the cheap coffee, the expensive mistakes, the accidental intimacies, the evidence that i once moved through the world as if it might answer me back.

where is the recklessness i thought would redeem me. where is the freedom i kept assuming would begin just after this one obstacle, then the next, then the next. where are the evenings that were supposed to accumulate into memory instead of disappearing into fatigue. where is the life that was meant to acquire texture. 

now i have no friends, or none that belong to the ordinary daily grammar of living. no place to go. no one to hit up on a whim. no person-shaped escape hatch in the evening. no casual proximity, no easy witness, no warm third place where my body might arrive before my thoughts do. whole weeks pass in which i speak, reply, perform, function, and yet remain fundamentally unaccompanied. there are lonelinesses inflicted by the world, and then there are the ones one manufactures with one’s own frightened hands. mine has too often been the second kind.

and this is not even a clean tragedy in which i was merely abandoned by circumstance. i participated in it. perhaps i enforced it.

i think often of the days when i did have friends, or at least the ordinary shape of friendship was still available to me. the last day i met them was the day before napowrimo 2023 began. we went to the bazaar. we shopped for the next day’s farewell. we ate, laughed, twirled, took pictures, played with dogs, drank cool drinks against the heat, gossiped, worried aloud about the future in that half-serious way young people do when they still imagine the future will arrive as an event and not just accumulate around them by stealth. then i came back home and something in me closed like a fist. i never picked up their calls again. i never went to the farewell. rather, with my closed fist, i wrote this poem: napowrimo 2023, day 1, latibulating.

please, if there is any god, do not ask me after i die why i became the enforcer of that cruel abandonment. i have no answer except that perhaps it was the only language i knew. retreat before being reached. vanish before being witnessed too closely. make distance first and call it necessity later.

a year later things had changed for them, as things do. different cities. finished courses. jobs. movement. lives beginning in visible ways. and i was still in my room, stuck in that viscous interval where time passes but nothing seems to convert into forward motion. i joined instagram after a long absence and one friend asked to meet. i declined like a thief. even now that comparison feels exact: furtive, ashamed, already acting as if i had stolen something i could not return.

since then two years have passed. so many napowrimos. i do not reach out. once in a while i like their stories; sometimes they like mine. these tiny, polite digital survivals of something i once held in my hands. what did i do. why did i do it. how does a person turn living, laughing companionship into this thin, haunted afterlife of mutual viewing and almost nothing else.

i helped do this. i withdrew. i disappeared. i made myself the instrument of the loss. i am the co-conspirator of this specific, shame-soaked, ordinary, and brutal (in exactly the right way) loneliness.

there is a particular humiliation in having once imagined adulthood as a widening and finding instead that it can narrow so quietly you barely hear the walls move. one day you realise you do not have a circle, or a scene, or even a dependable corner to disappear into. you just have your own mind, overused to the point of damage, and the stale little routes between work, home, obligation, and the internet.

sometimes i think what devastates me is not even the absence of grandeur, but the absence of density. the terrible thinness of it. the way whole years can pass and leave so little behind except a few exhausted routines, some unfinished drafts, screenshots, browser tabs, receipts, messages half-answered, clothes re-worn into anonymity, and a face in the mirror that looks as if it has been waiting for someone else’s life to start.

it is not that nothing has happened. it is that so much of what has happened feels unusable. untransformed. it has not become story, or memory, or wisdom, or even proper damage. it just lies there in me like badly stored material. the unlived and the half-lived rotting side by side.

i had once imagined my twenties as something feverish, excessive, full of departure. not glamorous, necessarily, but alive. intellectually alive, sexually alive, erotically alive, geographically alive, aesthetically alive, morally alive, politically alive, some kind of alive that would leave marks and make stories. instead there has been so much suspension. so much delay. so much ricochet between endurance and fantasy. so much waiting in one room while the mind drags the body across continents it cannot afford.

and this too is difficult to confess without sounding ridiculous, because many lives are narrower than mine, harsher than mine, poorer than mine, more violently constrained than mine. i know that. i know it with shame. but comparison does not erase the private knowledge of waste. it does not soothe the vulgar panic of realising that youth is not an abstract resource. it is being spent whether i am using it well or not. it is horrifying how possible it is to waste a life without ever doing anything visibly dramatic enough to call waste.

sometimes i want to gather up all the vanished versions of myself... the one who would travel more, love more, read more, risk more, earn more, become more, leave more, refuse more; and line them against the wall like unclaimed luggage. look at them properly. apologise, perhaps. or accuse them. or accuse myself. i do not know which would be more accurate. maybe execute them forever.

what a thin thing a life can become while still remaining unbearably heavy.

and then there is politics, which would be easier to survive if it remained outside the house. but it does not. there is the politics of the world, of the country, of the city, of the street, and then the quieter politics of the home: what is repeated, what is excused, what begins to sound normal, what kind of hardness enters the language and stays. i can feel the moral weather changing around me. i move in one direction by instinct, by study, by injury, by refusal, and they move in another by fear, fatigue, resentment, habit, ambition, television, history. no one announces the split. it just keeps widening in the room.

it is strange to watch the people you belong to become less and less inhabitable to your mind. strange to hear familiar voices begin to carry values that make your skin recoil in private while your face stays neutral. strange to understand that love does not prevent estrangement; it only makes it slower, and more humiliating. even at home there is this creeping sense that the map is being redrawn while i am still inside it.

and what unsettles me most is not merely that they are changing, or revealing themselves more fully, or settling more comfortably into positions i cannot inhabit. it is that i am not outside this. i am not some clean witness standing at a moral distance, taking notes. i am made in part by the same house, the same air, the same repetitions, the same evasions, the same selective tendernesses and sanctioned cruelties. whatever i reject in them, i have had to locate first in myself: in reflexes, in fears, in silences, in the speed with which i excuse what should not be excused, in the cowardices that wear the mask of practicality. i come from them. i live among them. i am materially entangled with them. their language has passed through me. their permissions made me possible. their limitations deformed me. i am trying to refuse what formed me while still eating in the same house.

that is what makes it so exhausting. proximity is not innocence. dependence is not innocence. love is not innocence. i can feel my own complicities peeling away slowly, and not cleanly, and certainly not nobly. there is no dramatic purification in it. only the long, embarrassing work of noticing where i still benefit, where i still keep quiet, where i still choose peace in the room over truth, where i still let comfort be purchased by someone else’s greater vulnerability.

sometimes i think the family is the first state one belongs to, the smallest nation with its own border controls, censored histories, authorised griefs, acceptable enemies, myths of itself, and penalties for dissent. and like any state, it asks for loyalty long after loyalty has become morally expensive. it asks to be understood gently, in context, with compassion for its wounds, while it goes on reproducing wounds of its own. to step even slightly out of line feels at once necessary and treacherous.

i do not know what to do with the guilt of this. guilt that i have not done enough. guilt that i cannot seem to do enough. guilt that my refusals are so often interior, private, unspectacular. guilt that i am still here. guilt that i still need what i critique. guilt that i am trying to unlearn entire moral arrangements while remaining materially sheltered by them. there is something unbearable about needing refuge in the same structure whose values you are trying to survive.

and beyond the house, the scale of the world makes a mockery of individual conscience. what am i supposed to do with all this helplessness. what does one person do with a mind full of cities burning, people starved, children bombed, neighbours brutalised, hatreds normalised, and one’s own body still trapped in the petty logistics of earning, eating, commuting, replying, enduring. there are days when politics feels less like conviction and more like a permanent injury to perception. once you have seen certain things clearly, how do you return to the small, obedient choreography of ordinary life without feeling obscene.

and yet i do return to it. i brush my teeth. i answer emails. i eat dinner. i sit in rooms where opinions pass like contaminated air and say less than i mean because i am tired, because i am outnumbered, because i am dependent, because i do not know how to turn private correctness into public force. this, too, becomes part of the guilt: not only that the world is wrong, but that i remain so administratively continuous within it.

perhaps one of the hardest humiliations of adulthood is learning that moral seriousness does not automatically produce effective power. you can see clearly, feel deeply, refuse inwardly, and still remain terribly limited in what you can alter by nightfall. i cannot save the world from this room. i cannot save anyone at scale. the radius of my action remains humiliatingly small.

so the task, if there is one, may be smaller and less flattering than i once imagined: to reduce the amount of falsehood, consent, and deadness passing through my own life. to speak more accurately. to refuse certain languages. not to laugh at what should not be normalised. to help specific people in specific ways when i can. to send money when i can. to read seriously. to write seriously. to keep some moral clarity intact when the room would prefer mush. not to surrender my mind entirely just because fatigue makes surrender feel reasonable.

it sounds paltry. perhaps it is paltry. but limitation is not innocence, and helplessness is not permission.

what if i cannot leave the house. what if i cannot save anyone. what if the radius of my action remains humiliatingly small. i do not know how to live with that without either becoming self-forgiving too soon or self-punishing to the point of uselessness. perhaps this is another thing no one prepares you for: that moral life, for many of us, is not heroism but attrition. not grand action but repeated refusals, small accuracies, withheld consent, redistributed money, defended language, maintained clarity, the keeping intact of some inward line even when the outer life remains compromised.

which sounds paltry against the scale of suffering. maybe it is paltry. but perhaps the task was never to save the world from one room. perhaps it is only to reduce the amount of falsehood, consent, and deadness passing through one’s own life. to keep some inward line intact. to refuse certain languages. to resist the convenience of numbness. to help where one can without turning that smallness into an alibi. 

but i do not know what else to do except refuse the seductions available to me: numbness, cynicism, self-exoneration, the convenience of saying i am powerless and therefore unaccountable. powerlessness is real. so is the moral laziness that sometimes disguises itself as despair. i am trying to tell the difference.

still, i hate how little it feels like. i hate how the conscience can be so alive while the body remains so constrained. i hate how clearly one can think and how inadequately one can act. i hate that history keeps arriving in the room and finding me underqualified for it.

i do not mean that i want misery. i mean that the psyche grows strange little loyalties. it becomes used to its own weather. one can become so accustomed to being the woman who is almost, nearly, on the verge, not yet, later, someday, elsewhere, that any actual arrival feels suspiciously out of character.

and yet i am tired of being elsewhere in advance. tired of pre-living, pre-grieving, pre-mourning, pre-irritated, pre-annoyed, pre-sad, pre-interpreting, pre-exhausting experience before it has the decency to happen. tired of having so much life take place in fantasy that reality feels like an administrative follow-up. tired of being split between the person at the table, the person in the imagined future, and the person hovering above both with a notebook and a headache.

outside, the rain still has not come. only the wind. all gesture, no event. perhaps that is why it feels fitting tonight.

my mother will sleep soon. the room will darken into its usual arrangement. tomorrow, monday, will arrive with its familiar demands, vulgar and undignified as ever. i will still have to wake up inside the same life. but tonight i wanted to place on record at least this much: that something good happened, and i am trying, in my clumsy, delayed, overthought way, to let it belong to me. even if only partially. even if my mind keeps trying to convert it into theory, guilt, irony, suspicion, or prose.

if i am honest, i am not even waiting for a different life anymore. i am waiting for a different way of being inside this one. because the years are not pausing while i think. they are going. they are going with or without my permission, and i am increasingly frightened by how little of them feels inhabited from the inside. which feels both more possible and more impossible at the same time.

something good happened. i was here for some of it. let that count.

april 20. 01:07AM.


anyway, my mother had fallen asleep. the wind stopped, the heat returned, and that was enough to wake her. she asked me if i planned to sleep now and switch off the lights or if i had to “work more.” the concern, as always, is the light. not my sleep. as long as i switch it off and lie down under the covers, silent and still, she can sleep.

it is strange how easily a life can be reduced to such negotiations. not even conflict. just adjustment. dim the light. lower the sound. occupy less space. become less noticeable. continue.

so i will close this, switch off the light, and lie down like a reasonable person inside a life that continues tomorrow whether i feel ready for it or not.

i had planned, earlier in the day, to write a blog on my other, more politically articulate alter-alter ego account about the recent happenings, something sharp, something properly argued, something that would at least pretend to meet the scale of what is unfolding outside. i had also planned to wash my hair, take a proper bath, reset the body in some minimal, dignified way, which, if i am being honest, i have not done in two days now. i think two. maybe more. time has a way of blurring when the days repeat themselves this closely.

instead i am here, still sitting at the table, thinking in long, unusable sentences.

perhaps i will simply go into my covers and rot quietly with my unwashed hair and unwritten thoughts. that seems, in a strange way, the most socially efficient option. it will invite no comments, require no explanations, cause no disturbance. i can fit myself back into the expected shape of the night without insisting on being noticed, without the small chaos of sitting here, writing, keeping the light on, existing too visibly.

or perhaps i will get up, walk to the bathroom, stand under water, do the small necessary labour of tending to a body that i keep postponing. both options feel disproportionately heavy. the journey from this table to my bed is, tonight, longer than it should be. not physically. just in the way a mind can stretch a few steps into something like resistance.

let’s see which version of me gets up.

~ Oizys.