the salary arrived. so did the sinkhole.

It is Friday, May 15th, 2026.

Five days since I wrote that all roads lead to rot, and unfortunately, the road has not developed better civic planning since then. It is still the same road, same potholes, same suspicious corner, same emotional drainage system clogged with old leaves, shame, salt, and things I should have said in 2017, 2019, 2021, yesterday, this afternoon, ten minutes ago. I would like to report progress, but progress has not submitted its attendance. Maybe it took casual leave, or maybe it resigned or maybe it saw my life and said, respectfully, madam, this department is beyond my jurisdiction. 

Monday began with a training. Technically, my manager was supposed to take it while I assisted her. Technically, I had prepared everything for her. Technically, I had even pushed her on Saturday to prepare, like a fool with hope and basic professional ethics. She did not. Then Sunday night, while I was busy being poor in the quiet and dark, she sent two texts asking me to join early on Monday to help her out. Help her out. Haha. A phrase so small, so polite, so corporate-y, it should come with its own knife. Monday arrived. Like, always. She started the session, and then, with the grace of someone dropping a dead animal at my feet, very conveniently dumped the whole thing on me. Not last minute. Worse. After the minute had already passed. After the train had left. After the public performance had begun and I was standing there with no rehearsal, no consent, and no escape hatch. And then it continued. Monday. Tuesday. Wednesday. Three days of taking a training I had not agreed to lead. Three days of smiling into the camera, arranging knowledge into digestible portions, pretending surprise labour is the same thing as opportunity. Three days of doing everything. There is a special violence in being competent. People discover you can carry weight, and suddenly the weight becomes yours by tradition. Meanwhile, over the past weekend, my salary had not come. Sunday passed like a badly written insult. The banks, displaying their usual talent for comedy without compassion, debited whatever peanuts I had left as a penalty for low balance. Low balance. The account was hungry, so they fined it for being hungry. What a cruel joke. No, not joke. Joke implies timing. This was just cruel capitalism wearing a clown nose and holding a receipt. Then finally, Monday night, after a long day of unconsensual labour, I saw the money had been credited from my organisation. For one stupid second, I felt relief. A small animal lifting its head. Haha. Immediately, the utility bills marched in like creditors at a funeral. Paid. Paid. Paid. The salary arrived and was swallowed before I could even pretend to be a person with options. Now I do not know what to do with the remaining peanuts. Save them? Spend them? Worship them? Put them under a glass case and label them: Evidence of Almost Freedom? Money does this ugly thing where it becomes both survival and accusation. If I save, I am responsible. If I spend, I am reckless. If I buy one harmless thing, the future clears its throat. If I deny myself everything, the present sits in the corner and rots.¹ So here I am, financially adult and emotionally feral, wondering whether peanuts should become savings, food, joy, phone case, emergency fund, retirement fund, temporarily-escape-from-family fund, abandon-my-family fun or proof that I am still allowed to want. And because the universe enjoys garnish, Thursday started with a multi-team meeting. The three-day training was finally over. My face had done its professional smiling. My voice had carried three days of material it was never supposed to carry. My brain was sitting in the corner like a wet towel. Then our director thanked my manager for working so hard and taking the training. Ha. Cute. Cruel cherry on top. There she was, being publicly blessed for labour that had passed through my throat, my screen, my panic, my preparation, my improvisation, my body, my mind, my hands. I watched credit climb the hierarchy like a well-trained monkey. Nobody thanked me. Of course nobody thanked me. What was I thinking? That would have disturbed the seating arrangement of the universe. The senior must shine. The junior must become (un)human infrastructure. The work must appear from somewhere, like office electricity or women’s patience. This is the social work's corporate version of domestic labour: invisible until it fails, inherited when inconvenient, credited to someone else when successful. I wish I could say I was surprised. I was not. That is what made it worse.

Anyway. Because the mind is a strange animal and refuses to suffer in a straight line, Wednesday night I returned to The Law According to Lidia Poët. The trainings were over. The emails had documented their little theatre of stolen credit. My body was tired in that corporate-social-work way where even the bones seem to have attended calls. Finally, I had a little time to myself. So naturally, I used it to become unreasonable about a fictional prosecutor. Jacopo? No. The prosecutor. Pier. Pierluigi Fourneau. Or, as Lidia called him as her "Young Warner". Or her schnauzel. The prosecutor had me hooked. There is something very annoying about being hooked. It makes a fool of all your intellectual furniture. Suddenly I am not a woman with critical faculties. I am a Victorian fainting couch with internet access. I went researching him. Then I watched two of his other films² that night, like a person conducting scholarly work and absolutely not like a woman chasing the aftertaste of one very specific chemistry. The films had charm. They had their own mood, their own appeal, their own little atmosphere. For a while, they worked. Then the spell thinned. Whatever spark I was trying to follow was not really there. Because it was not only him, was it? That is the irritating truth. It was not only the face, the voice, the posture, the period clothing, the courtroom seriousness, the restrained longing doing its quiet damage. It was the charge between them. The particular weather created when Lidia and the prosecutor stand near each other and do not say the actual thing. That has stayed. It has stayed so stubbornly that I keep rewatching their scenes. Again and again. Night and day. Day and night. Like a devotional practice, except the temple is Netflix and the deity is unbearable romantic tension. By now, I know the scenes too well. The dialogues. The pauses. The facial expressions. The music entering at exactly the wrong-right moment. The way one look shifts the entire emotional furniture of a scene. The way a sentence becomes less important than the breath before it. The way restraint can sometimes feel more intimate than touch. The kisses. The looks and smiles. Every rewatch gives me something else. A detail I missed. A change in expression. A hesitation. A small cruelty. A softness pretending to be wit. A look that arrives half a second too late. A silence that does not know how to leave the room. And, yes, the giddy pleasure. The ridiculous private sparkle of it. I know it is fiction. I know it is choreography. I know there are writers, actors, lighting, music, editing, all the machinery of feeling doing its work behind the curtain. I know I am being handled. I can see the strings. Still, I keep offering my wrists. There is something almost embarrassing about how deeply a fictional almost-love can enter the bloodstream. Maybe because it is safe. Maybe because it asks nothing from me. Maybe because nobody in my actual life is looking at me like that... with recognition, challenge, danger, tenderness, and the terrible inconvenience of wanting. Maybe I latch onto shows because they give me scenes my life refuses to stage. In Lidia Poët, even longing has architecture. It has corridors, offices, courtrooms, gloves, lamps, carriage rides, glances. It gets music. It gets dialogue. It gets a face across the room. My longing gets browser tabs. My longing gets a broken phone case. My longing gets me, sitting here after midnight, memorising someone else’s charged silences because my own life has made desire both dangerous and impractical. And yet, I do not want to mock it too much. This tiny obsession has kept me company. It has given my tired brain somewhere beautiful to go. It has reminded me that I am still capable of being moved, charmed, struck, made foolish, made awake. That some part of me still responds to spark. Still recognises chemistry. Still wants the look, the scene, the music, the impossible almost. Maybe that is why it has not faded yet. The other films were charming, yes. But charm is not the same as haunting. Charm passes through the room. Haunting learns your name.

But the trouble with haunting is that it does not stay politely inside the show. It follows me out. At first, it feels harmless. Sweet, even. A little private theatre behind the ribs. A spark. A charged scene to revisit when the actual day has been all training, bills, stolen credit, and corporate digestion. The brain says: here, look, beauty. Look, tension. Look, someone wanting someone with their whole face while pretending not to. And then, quietly, the floor changes. The giddiness starts to rot at the edges. I know this pattern. I know it too well. The attachment begins as pleasure, then turns into comparison, then into lack, then into a pit with excellent acoustics. Suddenly I am not watching a romance. I am standing outside my own life, watching what it does not contain. No one looks at me like that. No one waits for me in a corridor of consequence. No one turns toward me with restrained disaster in their eyes. No one writes my longing into music. By MDD, I mean both things, because of course my brain could not stop at one acronym. Major Depressive Disorder, yes, the official beast with paperwork. But also Maladaptive Daydreaming, its glittering cousin, the one that does not drag me down so much as decorate the pit and invite me to live there. The daydreaming does not feel like imagination then. It feels like teleportation-relocation. One minute I am in my room, and the next I am living inside a scene that has better lighting, better dialogue, better stakes, better tenderness. I build corridors from glances. I extend conversations that never happened. I replay a look until it becomes a country. And for a while, the body loosens its grip. The real world thins. My actual life goes quiet in the background like a tab I forgot to close. That is where the DPDR slips in. Depersonalization-derealization disorder. Not as a separate disaster, but as the bill for leaving too often. The more inhabited the daydream becomes, the less inhabited I feel in my own body. My hands become props. My room becomes set design. My face becomes a character I vaguely recognise but do not fully own. The fictional world gains texture, and my real world loses temperature. And then the MDD, that old bureaucrat of the soul, opens its files. It begins gently, almost reasonably. See? This is what life can look like. This is what desire can do to a face. This is what aliveness looks like when properly lit. And now look at you. Look at your room. Look at your unread messages. Look at your body. Look at the broken phone case. Look at the salary that arrived only to vanish into bills. Look at the Saturday already being trespassed upon by work. Look at the years. Look at the stuckness. Look at the absence. Depression has never needed originality. Repetition is its main skill. Then the DPDR enters like bad fog. The world gets a pane of glass over it. My own hands become slightly theoretical. My face in the mirror looks like someone I have been assigned to maintain. The room becomes too flat and too far away at the same time. I can hear myself thinking, but from another room. I can move, answer, type, drink water, exist, but existence feels like a badly dubbed film. And the show becomes more real than me. That is the humiliating part. A fictional almost-touch has more texture than my actual evening. A glance between two actors feels more inhabited than my own body. Their silence has gravity. Mine has dust. Their longing has editing, music, consequence. Mine has tabs open and a mild headache. So I keep rewatching, partly for pleasure, partly for proof. Proof that I can still feel. Proof that somewhere inside the fog, the signal has not died. But every proof becomes evidence against me. If I can feel this much for a scene, why can I not feel properly inside my own life? If my chest can tighten because two fictional people stood too close under warm lighting, why does my actual future feel wrapped in plastic? If desire still lives in me, why does it have nowhere to go except a screen? This is how the sinkhole opens. Not dramatically. Not with a scream. Just one more rewatch. One more scene. One more detail noticed. One more minute of being pulled toward a life with movement, stakes, beauty, and someone across the room who sees you as both problem and possibility. Then I pause the show. And my own room returns. My own life returns. The same arrangement. The same stuck furniture of the self. The same body I keep trying to inhabit like rented accommodation. The same old fear standing at the foot of the bed, asking if I enjoyed my little outing. This is why I both love and fear these attachments. They rescue me. Then they show me what I needed rescuing from. They make me feel alive. Then they make my life feel unlivable. They pull me out of numbness. Then leave me with the full bill of having been numb. And I know this sounds excessive. I know sane people watch a show, enjoy the chemistry, maybe make an edit, maybe send a thirsty message to a friend, then proceed with their lives like emotionally regulated mammals. I, meanwhile, open one fictional door and fall through the architecture of my entire deprivation. Very normal. Very casual. Five stars. Would dissociate again. I do not escape reality. No. Never. I just return to it less assembled.

Anyway. The phone case is still broken. Of course it is. It has become one of those stupidly faithful objects that stays because I do not have the courage to replace it with something honest. A cracked little witness that's ugly, loyal, safer than confession. I keep thinking about the sapphic flag phone case, still. Not constantly, not dramatically, not like a heroine pressing a forbidden letter to her chest under moonlight. More like an app running quietly in the background, draining battery. A small wish. A small colour. A small yes I keep refusing myself because in this house where I reside, even colour can become evidence. A phone case is never just a phone case. It is a trial waiting for a prosecutor.³ Who bought this? Why this colour? What does it mean? Where did you see this? Who told you? Why are you becoming like this? Since when? Because families are very modern until your object begins to speak a language they did not approve. Then suddenly everyone becomes archaeologist, police, priest, and unpaid detective. So the broken cover stays. The safe thing. The ugly thing. The thing that says nothing and therefore survives. Just like me. I am ugly and I say nothing. And, unfortunately, I survive. I wish I were less good at surviving. This is a terrible thing to say because survival is supposed to be noble. Women are fed this word like jaggery wrapped around medicine. Survive. Adjust. Manage. Endure. Be strong. Be mature. Be practical. Be grateful it is not worse. Be glad you are educated. Be glad you have work. Be glad nobody has chained your ankle to the bedpost. Be glad the cage has wonky Wi-Fi that doesn't work only for you so you have to buy your data separately. And I am glad, sometimes. I am not completely foolish, you know. I know the world is brutal, and I know there are worse rooms, worse fathers, worse mothers, worse brothers, worse sisters, worse uncles, worse aunts, worse silences, worse locks, worse oppressors. And, I know comparison is the national sport of emotional invalidation. Still, knowing other people are drowning in deeper water does not make your own lungs decorative. I am tired. Not beautifully tired. Not aesthetically tired. Not poet tired. Not the cinematic kind where a woman removes one earring and looks devastating under yellow light. I am tired in the spreadsheet way. Rows and rows of small unfinished things. Cells filled with pending. Useless colours marking them pending. Body pending. Courage pending. Departure pending. Desire pending. Honesty pending. Future pending. Life pending. There is something obscene about being mid-twenty-something and feeling already archival. Like I am not living, have never lived, but only preserving evidence for a case no court will ever hear. 
Exhibit A: the broken phone case.
Exhibit B: the body that alternates between hunger and punishment of embarrassment when I do eat.⁴
Exhibit C: the tabs I keep open as if research can become rescue.
Exhibit D: the private list of things I will do when I leave.
Exhibit E: the sentence, when I leave, carrying the entire weight of a religion.⁵
But what if I do not leave? There it is. The honest rot laid bare under the decorative moss. What if I do not leave? What if the box of things I will do when I leave becomes a pathetic, loser museum of the woman I kept postponing? What if all my rebellion remains beautifully theoretical, well-written, occasionally funny, and completely unusable in this stupid head of mine and a copy of it here, in this weird little corner of the world wide web? What if I keep becoming more articulate about the cage and never actually become less caged? I hate that question because it has no manners and it shamelessly enters without knocking and sits on my bed. Today was not even dramatic enough to justify all this. That is the insult. Nothing happened. No grand fight. No cinematic breakdown. No one said the cruel line that would make a clean villain of them. The day simply passed over me with its usual dull hands. Work, phone, food thoughts, body thoughts, tabs, messages, heat, humidity, perpetual fatigue, my mother's devotional songs, the faint humiliation of still being myself in this rotting flesh. Maybe that is why I am writing. Like always. Because nothing happened, and still I feel like I survived something tremendous. Maybe the event is not always external. Maybe sometimes the event is waking up inside the same life and not immediately turning into stone. I keep thinking of Lidia Poët again. Not just the law, the fight, the forbidden rooms. Of course, that is the central point, though. I keep thinking of her forward motion. Even when she suffers, the story lets her move. Or, more aptly, she moves her story forward. She enters rooms, she argues, she demands, she fights, she risks, she desires, she loves, she fails with choreography, and she still continues. Her world resists her, yes, on this screen, it gives her scenes. My life, by comparison, feels like a loading screen. A buffering woman. A spinning circle wearing moisturizer. 

And yet, beneath all this melodrama, some tiny stubborn thing remains alive. Annoyingly alive. Cockroach alive. Government-office-file alive. It keeps making lists. It keeps saving poems. It keeps laughing at terrible jokes all alone in the small, dark room. It keeps wanting pizza, sea air, impossible softness, a room with a lock, a body that is not treated like a public institution, a love that does not require a courtroom, and one ridiculous phone case in colours nobody is allowed to interrogate. This, I suppose, is hope...? Not the clean kind. Definitely, not. Not the motivational-poster kind, either. Not the “everything happens for a reason” kind, which should be banned and replaced with free snacks. My hope is smaller and more suspicious. It looks like keeping the browser tab open. It looks like drinking water after punishing the body. It looks like writing the sentence even when the sentence is ugly. It looks like admitting I want things. It looks like not mocking myself immediately after admitting I want things. Okay, fine, it looks like mocking myself only a little. At 20:55 PM, I am still here. Still stuck. Still carrying home inside me like contraband. Still afraid that my life is not a phase but the whole arrangement. Still saving possible selves in invisible carts. Still not buying the phone case. Still wanting it. Maybe that matters. I hope, it matters. Wanting. Even wanting badly. Even wanting secretly. Even wanting in a house where desire must learn to move like a shameful thief. Rot is still here, yes. But maybe rot is not the only thing loyal to me. Maybe want is loyal too. Maybe the little sapphic flag in my head, the one I have not bought, the one I have not allowed to become plastic and visible and stupidly real, is not only fear. Maybe it is also proof that some part of me still knows colour. Still recognises itself. Still presses its face against the shop window of the future and says, very quietly, not yet, but mine. Not yet. But mine.

As I write this, she, my manager, has texted again. After work hours, of course. Respecting time would be too vulgar, too modern, too dangerously close to recognising me as a person. Some work needs to be done ASAP. As she had already promised it. Naturally. ASAP: the social work's corporate mantra of poor planning, passed down from one panicked person [usually the manager] to another [the underdog] until it lands in the lap of whoever [mostly, the underdog, again] has the least authority to refuse. The funny part is, it is not even my job. Not really. But somehow the inconvenience has found my address. Now I will have to either ask the concerned person humiliatingly late at night, as if I am the villain in their Friday, or ask tomorrow, on an off Saturday, and become the tiny unpleasant notification in someone else’s weekend. This is how bad management spreads its shame. Someone does not plan. Someone does not prepare. Someone does not communicate. Then the failure travels downward, wearing urgency as perfume the gives you a migraine the moment it hits your nostrils, until the most junior person is left holding a burning plate and apologising for the smoke. I hate this part most: the forced borrowing of another person’s time. I hate that I must become the messenger of someone else’s chaos. I hate that I must sound polite while carrying a request I do not respect. I hate that my options are either to inconvenience someone else or absorb the inconvenience into my own body, which is apparently where all unclaimed work goes to die. There should be a word for this. Not burnout. Burnout sounds too final, too respectable, like a candle in a poem. This is more like being nibbled. Tiny bites of time. Tiny bites of rest. Tiny bites of Friday evening, Saturday morning, salary, self-respect, appetite, softness, desire. Nothing large enough to make a case. Everything small enough to be dismissed. Just do this once. Just check once. Just ask once. Just join early once. Just help out once. Just manage for today. Just stretch a little. A whole life can be stolen in “just.” And I know what will happen if I say no. Maybe nothing dramatic. Maybe no punishment anyone can screenshot. Just a change in tone. A slight coolness. A note in the invisible ledger. Not a team player. Not proactive. Difficult. Uncooperative. Needs attitude adjustment. The old words wearing office clothes. So I sit here, at 23:25 PM, writing about being stuck while the proof of stuckness arrives in real time. A message on my phone. A task outside my role. An urgency I did not create. A Saturday being quietly dragged toward sacrifice. And me, still deciding whether to obey, delay, soften, apologise, resist, or perform that sophisticated modern dance called “setting boundaries” while standing on a floor made entirely of consequences. Maybe I will reply tomorrow [that being, Monday]. Maybe I will say, “I’ll check this during working hours.” Maybe I will type it bravely and then stare at it like it is a bomb and then erase it. Maybe courage, for tonight, is not sending the message immediately. Maybe survival is letting one ASAP remain slightly less ASAP. Maybe rebellion begins as a notification left unread. Actually, I read it. Or maybe I am romanticising avoidance because I am tired. Both can be true. Most things that keep me alive are morally untidy.

~ Oizys.

¹ This too echoes: “The less you eat, drink and read books; the less you go to the theatre, the dance hall, the public house; the less you think, love, theorize, sing, paint, fence, etc., the more you save-the greater becomes your treasure which neither moths nor dust will devour-your capital. The less you are, the more you have; the less you express your own life, the greater is your alienated life-the greater is the store of your estranged being.” ― Karl Marx and Friedrich Engels.
² The Mascarpone Collection.
³ Good reference.
⁴ An addendum for Exhibit B: A Hunger Artist by Franz Kafka.
⁵ An addendum for Exhibit E:
When I leave, I will buy the phone case.
When I leave, I will breathe normally.
When I leave, I will decorate myself without fear.
When I leave, I will not explain every harmless thing like it is a crime scene.
When I leave, I will become the version of myself who exists without whispering.

scream is my father tongue.

scream is my father tongue,

a jagged thing, sharp as splinters,
rooted deep in the marrow of bloodlines
that are too loud to be silent.
It starts in the chest, reverberates in the throat—
no softening, no apology.
It is a language woven in fire,
a tongue of anger and pride,
of warmth and war,
too thick for my mouth to swallow whole.

I hear it in the rustle of my mother’s apron,
in the crackle of old radios where his voice is more than sound—
it is history, the echo of a man still trembling
in the space between words and silence.
I inherit the sharpness of it,
the unspoken weight it carries.

But what of my voice?
A river too shallow to carry the same depth.
What do I say when words feel
like stones, heavy with the past?
When his voice looms behind me,
my own too light to fill the air between us?

In the face of his storms,
I learn to speak in whispers—
quiet, careful, as if my words are fragile glass,
afraid to shatter against the roar of a history
that was never mine to tame.
It’s not rebellion, not yet.
It is distance,
a distance like a mountain between my tongue
and his.

But within me, there grows a need,
a hunger to find the language
that is uniquely mine,
not dictated by the past,
not bound to the weight of his rage or silence.
I search for a word that feels lighter,
that can glide like feathers across the skin,
that can breathe without carrying
the weight of a hundred years of wars,
of things never spoken aloud.

Some days, I feel the urge to break free—
to toss the old language aside like a garment too heavy,
too stifling.
Other days, I carry it,
wrap it tight around my chest,
like a blanket passed down from grandmother to mother to me,
uncomfortable yet familiar,
a shield in a world where my voice often feels too soft
to make a mark.

I carve my identity in fragments of language,
in words stolen from books,
in laughter shared with friends who understand
the complexity of this inheritance.
I do not discard it; I adapt it.
I twist it, bend it to fit the contours of who I am becoming,
a voice that knows when to rise
and when to rest,
a voice that is soft but not without strength.

I stand before him,
knowing that I will never be fully free
from the weight of his tongue—
but in that freedom, I find my voice.
It is my inheritance, my heritage.
Not in the scream,
but in the quiet courage to speak in a way
that belongs to no one but me.

My words are the bridge
between past and future,
silent yet singing,
a new tongue forming in the spaces
between his shout and my whisper.

- Oizys.

Mother-Daughter Dance

12/03/2025

It has been a handful of days. It seems like I am falling into the pattern of my old habits. Bad habits. Destructive habits. But with something different. There is a whole lot of thinking. Not just ruminatory thinking. But, contemplation. Planning. Actionable thinking. And, as usual, I am scared. Because, whatever has happened has changed something within me. It has broken me in a manner I have to restructurize myself. I don't know where to begin. It has been so painful today. I have medicated all a lot of my distinct pain with three different medications that put me to sleep for 6 hours but my gut is still in a twist. The panic attack has not seen a full stop. It keeps springing. Like it is in a marathon. Sometimes, it jumps and sometimes just crawls. It has been going on since yesterday. It is too much. I can't ignore but accept the fact that the worse might be yet to come. The fact is when your roots are rotten, how much can you heal above the ground? The screams I screamed that evening, is still vibrating within me. Like a echo that refuses to fade. The sound of my voice, raw and filled with desperation, lingers in the air of my mind like an endless reverberation. It’s as if the night itself has absorbed my agony, and with each passing second, it presses deeper into the corners of my thoughts, echoing over and over again. No matter how far I run, those screams follow me, pulling me back to that place. It’s a sensation I can’t escape, a haunting that refuses to release its grip on me. And, I don't know how to stop it. It has taken over my body now. I would wish to alter every thing but I cannot afford that level of delusion right now. The weight of it presses down, suffocating me with every breath I take. My mind is a battlefield, torn between the desire to escape and the realization that no matter how much I wish for things to change, the reality is far too unyielding. I can’t outrun it. I can’t silence it. And yet, I’m stuck—stuck in this web of overwhelming emotion and endless turmoil. To pretend it’s not there, to try and ignore it, feels like a betrayal of myself. But facing it head-on seems impossible. How does one fight something that’s already taken root so deeply inside? I wish I could wake up from this nightmare, but the truth is, I don't even know where the dream ends and the nightmare begins anymore.

And, I wish, us, mother and daughters could escape it but we are stuck in the eternal loop of being one entity revolving around him and trying hard to establish our own individualities leading to conflicts between us. It's as if we are tied together by some invisible thread, tangled in a web of shared pain, yet each of us trying so desperately to break free. The three of us, mother and daughters, caught in this eternal struggle for space, for identity, for something that’s our own, yet always tethered to him. Each of us pulls in a different direction, but the force of his presence keeps us bound together, no matter how far we try to go. It’s like we are all orbiting around him, struggling to break free from the gravity that keeps pulling us back. But every time one of us tries to step away, it feels like we are being yanked back into the same pattern—this cycle of expectation, of sacrifice, of needing to fit into roles that never truly belonged to us. I can feel the weight of the tension between us. The constant push and pull. It’s suffocating. We love each other, but sometimes, love is not enough to break free from the chains that bind us. The fights, the misunderstandings, the silent resentment—it all stems from the same root: a shared history that we can't escape and can't seem to rewrite. And so we continue, trapped in this loop, each of us yearning for independence but finding only conflict instead.

It, I think, starts with my mother. Mother, before she becomes a mother, is first turned into an extension of the father. Extension of a man. Not a woman anymore. Just an agent of man. And, when she is made to borne daughters, the daughters inherit that same fate, the same pattern. We are born into a world where our existence is shaped by what others see us as—extensions of him, reflections of what he needs, what he wants. It’s like our identities are already written before we even take our first breath. And my mother, who once was her own person, now exists as a mere agent of his desires, his expectations, a vessel for his continuation. She doesn’t know where her own needs and desires end, because they’ve been swallowed by the role she’s been forced to play. The role of mother, of caretaker, of sacrifice. But underneath it all, I can sense her lost pieces, the parts of her that used to be full of life, of rebellion, of dreams that didn’t fit into the mold of “wife” and “mother.” I wonder, was she ever allowed to simply be herself, or was she always just the extension of him, as if she was never allowed to exist beyond his shadow? And then, the daughters. We come into this world knowing no other way but to carry the same burden, to be raised in the image of what he needs. We're taught to be extensions of him too, not allowed the space to form ourselves, to find our own voices, to stand as individuals. Our identity is given to us by default, and the struggle is already there from the start—the quiet understanding that we are not meant to be whole, but pieces of something else. Each generation becomes a little more fractured, a little more lost, as we try to carve out what’s ours amidst the pressures, the expectations, and the roles that are thrust upon us. And with each passing day, I wonder if my daughters will feel the same weight, or if they’ll find a way to break free from the cycle we’ve been trapped in for so long.

And, if the daughters harbour thoughts of freedom, the mother's heart splits into two. She is both secretly happy and covertly angry. Yes, because the desire for freedom in her daughters is a mirror, a reflection of what was once denied to her. On one hand, she feels a flicker of joy, a quiet pride, because part of her—deep down—wants them to break free, to live lives that aren’t tethered by the same chains that bound her. She sees their potential, their strength, their ability to dream beyond the roles she was forced to play, and for a fleeting moment, it feels like a redemption. Like, through them, maybe she can live out the freedom she never had. But then, there's the anger, the bitterness that rises like bile in her throat. Because in her daughters' yearning for freedom, she sees what she was never allowed to have. She sees what she gave up, what was stolen from her. There’s the deep, unspoken ache—the guilt that she didn’t fight harder for herself, and the resentment that she was forced to sacrifice so much, just to survive, just to fulfill her duty as a mother and a wife. And then the truth settles in: as much as she loves her daughters, as much as she wishes for them to soar, it is terrifying. Terrifying because it brings up her own regrets, her own feeling of being trapped in a life she never truly chose. Seeing them chase freedom is like confronting the life she could have had, but never will. And so, she feels torn—both proud and resentful, both loving and bitter. The complexity of it all weighs on her, and it spills into the way she reacts. The contradictions of her emotions play out in the smallest of moments—her advice, her silence, her expectations, and the way she can never fully let go. Her heart is split in two, forever caught between wanting more for them and being afraid of what their freedom will mean for her.

Then, the daughters have to fight the battle of whether to set themselves free or stitch their mother's hearts. And so, the daughters stand at a crossroads, torn between the desire for their own lives, their own paths, and the weight of the unspoken burden to protect their mothers from the pain their freedom might cause. The battle is silent, but it's constant—a war fought in the heart, in the quiet moments when they look at their mothers and see the cracks, the quiet sorrow, the sacrifices that have shaped her into who she is. How can they walk away from that? How can they break free without leaving her behind, without shattering what little is left of her? They know that every step they take toward their own lives feels like another cut to her heart. And yet, to stay bound to her—to live the life she lived, to carry on the cycle—feels like a betrayal of everything they could be. It is a cruel paradox. To love her is to feel the pull to keep her whole, to stitch her heart back together with the threads of their own dreams, even if those dreams are fragments of what they could have been. But to set themselves free is to risk tearing that fragile bond even further, to risk the pain of separation that could break them both. They are caught between wanting to honor her, to make her proud, and the knowledge that, in the end, they can never truly be free until they break away from the expectations she never got to escape herself. In the quiet of their own minds, they wonder: Is it possible to break the cycle without breaking her? Can they be whole without causing her to unravel? The cost of freedom feels so high. And yet, the cost of staying the same, of stifling their own desires, their own selves, is even higher. The question remains—can they find a way to heal her wounds, to stitch her heart, while still setting themselves free? Or will the very act of their liberation be the thing that drives the final wedge between them?

14/03/2025

It is the story of every mother and her daughters. They exist as roots entangled in a barren soil, each one yearning to stretch upward, to reach for the sun, but held back by the weight of the earth beneath them. The mother, weathered and worn, is the deep root—the one that has been buried for so long, its once-strong branches now twisted and bent, struggling to grow free. She tries to guide her daughters, offering them the nutrients of love, but her own roots are so tightly bound to the darkness of the past that they cannot escape, and neither can her daughters. The daughters are the fragile shoots, pushing through the soil, eager to reach the light, but with every inch they rise, the roots above them constrict, pulling them back, dragging them into the earth’s suffocating embrace. They are desperate to bloom, to become something more than what they were born into, yet the mother's shadow looms large, and the weight of her silent sacrifices presses down on them like an unyielding stone. They exist as thorns in a vine, each trying to pierce through the pain of the past, but unable to break free of the vine that holds them together, each one cutting into the other as they try to escape. The deeper they struggle, the more the blood of their shared history stains their hands, yet the vine keeps pulling them back, forcing them to remain entwined, even as their hearts scream to be free.

I fantasize for a happy ending. But, we all know how this curtain falls—slowly, quietly, as the weight of untold stories sinks in. The dreams of freedom, once bright and vivid, fade into the haze of compromise, of quiet resignation. The mother's hands, once full of hope, become trembling, fragile from years of holding on to what could never truly be hers. The daughters, too, become shadows of what they could have been, their wings clipped by the invisible ties that bind them to a past they cannot escape. The curtain falls not with the final note of a triumphant song, but with a sigh—a breath held for too long, now escaping in a rush. The space between them, once filled with possibilities, now sits heavy with unspoken words, with the ache of love that could never be fully realized. They are all still standing, still bound to each other in the dance they never asked for, playing their parts, but never fully free. The curtain falls, and with it, the hope that someday, the weight of the past will lift, that someday they will find their way out of the darkness, only to discover that perhaps, this is all they can ever be. And, in the silence that follows, a quiet truth lingers—sometimes, survival is the only way paved for us. Even when it feels like the ending was never quite what you imagined.

Here I am again. Counting the tablets in my hand. The pain is back. Because, the panic is coursing through my veins. The body is throttling with all the bottled up screams. I am unable to contain it. Tired to having my panic attacks on mute under a thin blanket. Squeezing out the screams from the eyes to not wake up anyone. To not be an inconvenience. I have ended up with a soul that is chock-full of headaches. And, a throat that feels like it’s constantly on the verge of choking—tight, constricted, as if every word I’ve never said is stuck there, unwilling to escape. It burns, the weight of unspoken things, and I can’t find the relief. My mind is foggy, tangled in a mess of thoughts that race, but never reach clarity. Every inch of me feels like it’s on the edge, always fighting to stay composed, yet constantly being pulled apart from the inside.

- Oizys.

Faultlines of Writlurk

She wakes from the dirt,
claws at the bones of this rotting empire.
No soft hands here.
These hands,
they pry the sky open like a mouth, make it spit its secrets.
and count the threads of broken promises.
And, the truth that lies buried
Beneath the pavement, forgotten, rotting.
On your streets that are your mouths that swallow hope whole
The world spins around her like a butcher's wheel—
but she doesn't look away.
Doesn’t blink.
You tell her to smile,
but she shreds that too,
a map to nowhere in her teeth,
a galaxy of blood.
You call it history—
but it's just the dust in her throat
and the light that flickers when she breathes.
Don't ask her to dance with you.
The floor is on fire and her boots are made of revolution.
She does not bow,
she stands
and the earth cracks beneath her.
You see her?
Good.
But your eyes—
they are not enough.
The moon?
Her reflection,
a mirror to the fractured silence she shouts from.
Watch her rise.
You can't drown what was never meant to stay under.
The cage rattles.
She sings,
and you call it: chaos!
It’s not chaos.
It’s creation.
You hear her?
No?
Good, you’re not supposed to.
She speaks in tongues you can’t translate.
She doesn’t need your translation.
You tell her to be quiet,
but her silence?
It’s an inflicted weapon.
You’re afraid of what you cannot hear.
She spits into the sun,
and it flinches.
A flicker of light trying to burn her back
but she wears shadows like a second skin.
You thought she’d fade,
but she tastes the sky and it’s sour,
a memory of men who thought they owned it.
The sky is now a bruise, bloated and waiting to burst.
Her mouth is a graveyard,
her teeth, shards of forgotten gods,
and when she smiles,
it’s not for you.
It’s for the wind that hums like a hungry ghost
sweeping through the ruins of what they thought they built.
You called it civilization—
she calls it a coffin with a velvet lining.
She turns it inside out and wears it like a cape.
Who needs wings when you’ve got roots
that drag the earth with them?
She bleeds ink and fire,
writes in the veins of her mother,
her grandmother,
her great-grandmother,
and each word is a knife that slices through time,
through your idea of time,
through your neat little boxes.
She gnaws on the neck of silence
and swallows the dark whole.
You told her to speak sweetly,
so she carved a tongue from razor blades
and let it taste the salt of their tears.
She wears the pulse of a thousand broken promises
and hums through the ruins of your comfort.
Her breath is made of glass shards
and razor blades dipped in the blood of gods you’ve forgotten.
She doesn't ask for your forgiveness
because she knows better—
you don’t have the hands for it.
She doesn’t make sense.
She never will.
And that’s the part that cuts you the deepest—
she refuses to be understood.
You want her to fit in your neat little boxes,
to wear the labels you’ve stitched into the seams of your own rage.
But she is the thunder
before your storm
and the one that eats your sky.
You don’t see her—
not really.
You never have.
You only see the idea of her,
and the idea of her burns you.
She is not your idea.
She is the nightmare you wake up screaming to,
the one you wish would leave,
but she is already in the walls.
So scream,
scream all you want.
She isn’t listening.
She doesn’t need to.
She is not the one who’s been silent.
You have been.
She is the scar on the horizon where the sun should have risen,
a thousand forgotten cries stitched into her skin like tattoos of violence,
each one a story you never bothered to hear.
Her body—
a map of erasure,
the imprints of every hand that reached
and tore,
twisted,
pulled,
and never let go.
She is the hollow echo
of what was stolen,
the thing you covered with sweet words
while her blood watered the roots of this world.
They called it conquest,
but it was theft.
Every inch of her was mined,
plundered in the name of something holy—
a religion that didn’t see her,
a god that never whispered her name.
Her hands were shackled with the promises of progress,
her mouth gagged with the silence of centuries.
Still, she spoke,
but her voice was a thunder you couldn’t understand,
a crack in the sky where the storms of history rained down.
You marked her,
branded her like cattle,
and called it civilization.
But her scars?
They are pins,
stars on boards etched in blood
that trace the journey of every woman
who was never allowed to breathe without submission.
She is the soil turned to ash
beneath the boots of your armies,
the crushed hands of those who built your temples
and never saw the light.
Her pain was the oil you burned
to light your mansions,
and you drank from the well
of her tears without ever seeing her thirst.
She is the stone you tried to carve
into something you could own,
and when you failed,
you burned her body
and called it the funeral pyre of progress.
You think you erased her.
But her name is the soil you stand on,
the air you breathe,
the pulse you ignore in your chest.
She is the dark beneath the skin of your city,
the rust in the gears of your machines,
the echo that shatters your glass towers
and makes your foundation tremble.
She is the truth you bury in your backyard
while you laugh at your own reflection.
Her revolution doesn’t need a flag.
Her revolution doesn’t need a name.
Her revolution is in the cracks,
the fractures where you never looked,
the silence that grows louder the more you ignore it.
She will rise,
but not from the ashes you think you’ve left behind.
She rises from the things you refuse to see,
from the hands that were never allowed to touch
and the mouths that were forced to swallow their own rage.
And when she opens her eyes,
they will burn brighter than the lies
you built your empire on.
Those lies of yours that hang in the air like smoke,
choking the breath out of the world.
The air smells like burnt paper and broken promises.
She is already here,
and you will never stop her.
She is the skin scraped raw by the weight of forgotten years,
the quiet ache beneath every cry
that was never acknowledged.
She is the broken foundation of your “progress,”
the cracks you erased to keep your structure upright.
Progress by roads that are paved with her stolen teeth.
Her breath is made of all the lost moments,
and when she inhales,
the world shudders in regret.
But you never see her—
you only see the shadow of your own reflection
dancing in the chaos.
You thought she was a whisper.
But her whisper is the sound of walls cracking
under the weight of your good intentions.
Every word she spoke was another bruise
you inflicted in the name of change.
Her body is not your project,
it was never meant to be your territory.
You used her with your systems,
pulled her apart with your rules,
stole the fire from her eyes
and made her bow to your vision.
The laws of your sovereign are chains,
forged in silence, rattling with every step she takes.
You stole from her with your ideals,
and made her work for the dreams of others
who never bothered to ask.
You planted your flag in her soil
and watched her bend
while you stood back and called it progress.

Your progress is nothing but a slow rot,

eating through the skin of the earth.

She is the girl you buried under piles of indifference,
the one you swore to forget,
the one you buried without her story.
But herstory was never meant to be erased.
It is the cry that will break your walls
and turn your structures to dust.
She is the cracks in your perfect image,
the fracture in your narrative,
the one you tried to suppress
and thought you could silence
with every promise you never kept.
She doesn’t need your forgiveness,
she doesn’t need your pity.
She’s already swallowed your excuses
and spit out your blame.
She wears the skin of every woman
who was told to shrink,
to stay still,
to fall into line,
to stay quiet under your gaze.
But her skin is not fragile anymore—
it is the shield made from every setback,
every slap,
every taunt,
every prejudice,
it's thick with rage
you thought would break her,
the shield that turns every hurt
into something stronger.
You tried to bury her with your silence,
but she is the echo that rattles your walls.
She is the cry that follows you in your sleep
and tugs at your breath.
You thought you quieted her,
but every lock you put on her voice
only made her words bolder,
like a warning you couldn’t ignore.
Her fire is the storm you never anticipated,
the wave you never prepared for,
the light that will expose everything you’ve hidden.
She will not be the calm after the storm—
she will the storm now.
She will become the spark that lights the match
and burns away the things you thought would last,
you proudly built on her backs,
your property.
your world.
You cannot control her,
you cannot erase her,
you cannot make her forget.
She is the truth coded deep
in the fabric of your structure,
and when she decrypts,
it won’t be with your permission,
it won’t be with your consent.
It will be with the power
of every person
who has ever been held back,
ever been forgotten,
ever been silenced
and told to be still.
But she will not be still.
She will never be still again.
Her rage is not a roar—
it is the flicker of a dying candle
just before the flame gives out.
It is the last breath you take
before the tide pulls you under
and you realize
she was never drowning.
She was always the water.

- Oizys.

Some thoughts: Okay, happy International Women's Day. Things are still bad, in a simmering stage after a lava explosion. It might get worse, who knows... At home, I am talking about. Of course. I kept thinking about writing something, a poem maybe, for today. But, I was unable to track down a theme, a particular focal point to nail it. So, I went on with the wonky flow of my mind. And, this is it. My goal is the journey of fight. And, I am merely picking this day up to depict it. Throughout this journey, every fighter's battle is to impart the truth, the absolute truth that the way human life instils autonomy in you as a form of dignity in civilized society, the same way, that same human life instils that same level of autonomy in her as a form of dignity in civilized society. And, the struggle is of some people unable to swallow this pill. We have the date marked, celebrations organized but is your mindset aligned? That would be the question to ponder. When you ponder, you'll realize that if it has already aligned there would've been no need of marking such dates, celebrating such days. Since it is not, people glorify it to reach audience, seek people's support. Make it pink and pulpy and shiny. The gore is yet to touch you because you sit your rosy bubble of life. Such is the inequality in life.

International Women's Day, Maught, and Post-Rage Melancholy

04/05/2025

There is a Scottish word, maught. It means might. My father told us today over tea and some puffed rice. His organisation is giving its female employees an amount to spend on Women's Day, 8th of March. I often think, what will I do? What will I get on Women's Day as a woman? Even though I took a long journey to accept I have become a woman. Being a woman has become important to me more than ever. And I have grown closer to my mother. Is it a result of the former? Or is the former the result of this new closeness? Who knows which came first? I find it tautological. As mother and daughter, our talk, by and large, revolves around food. Not the surface-level dinner-table conversation. The hunger, the cooking, the process, the lack, the glut. We both are vegetarians in a family where some others are overt non-vegetarians. And some, covert. The hunger is so vicious, stuck in our chests forever. The cooking has bound us forever in the little soaked kitchen. Outside of which, we have no escape, so we cling on to each other. I often think how much strength she must have conjured up over the years to cook while keeping her hunger shut. How many scraps she must have had to gather to pay her debts to the glut. All while burdened with the responsibility of plenty. The lack that isn't lacking. The glut that isn’t gluttony. Because in a world that offers too much but never has enough—that is what being a woman is like. Could it be that Eve came out of her mother's rib after a long-drawn hunger stuck in there, a vortex is born? And Adam was angry.  He was angry because, after all, how could he, the first man, fall short of a rib? And so, he cursed her. Out of malicious frustration—a sort of tragic possessiveness. He cursed her to give birth from her belly, not from her ribs. And the rib was forever lost, buried under layers of flesh and blood, tangled up in a woman’s womb.  The belly, hopeless belly, on its knees, has to cradle, not the freedom of glut, but of the burden Adam chose to place. And that is, in all likelihood, why I took so long to accept being a woman. The world will never let us be (just) women. It will never free us from the weight of what it means to be womanly. Womanly—to be both a source of life and a symbol of sacrifice. A force of nature wrapped in skin. Cursed to be both tender and unbreakable? I wish this Woman's Day, not for a token of privilege, but for the space to be—unburdened, no qualifiers. Some space to lay this hollow one-rib-less chest bare. Let out this vortex of layers of glut and hunger without feeling like a culprit who released a poison in the city. Give up the echo of cursed expectations dragging me back into the kitchen of my ancestresses.

05/05/2025

I fell asleep writing all of this last night, cramped up in a corner. And woke up in my own pool of blood. The excruciating pain was no stranger, but its hellish outburst today was especially of Mark. It ended up being so bad, I gave into the despair and fell into medication. Oh, the magic of medication. It lets you live, numbly and dizzyingly and drowsily.

06/07/2025

The day was almost good. I don't think I ever had a second day of my periods without any pain. We all have a first. It was so good that it all felt like a dream. An illusion. Or, one of my fantasies. Retrospectively, I prayed it should have been one of those days. Because what followed this lack of pain left a scar so deep, broke a chasm so hard. There is no point of return. The lack of pain brought the flurrying rage that was simmered by being unheard, spat at, humiliated, and disrespected. The rage burst in nerves and defiled my silence. Silence that was embedded in every bit of my woman, my mother's woman, my sister's woman. That look on his face, his voice, and his manipulation churned my stomach and accelerated my bile. The audacity, the gall of him, declaring that I had no right. We had no right. It is the singularity and open-endedness in his statement that forced us to lay our odium bare for him. It is the threat of us having no right but also, in the same breath, the accusation of us being the upper hand. It is the threat of burning us down but also, in the same breath, an accusation of us doubling down on him. It is the threat of stripping us of anything we have but also, in the same breath, the accusation of us taking everything away from us. It is the threat of being a disenfranchised daughter in his life but also, in the same breath, an accusation of never having been enough, of never having measured up to some invisible standard he sets, an expectation that seems to shift and bend with his moods. It is the threat of erasing us, yet the accusation of us trying to erase him, as if we are both the victim and the villain in the same twisted dance. It is the threat of silence, the absence of warmth or presence, yet the accusation that we seek to silence him, to remove his voice from the narrative of our lives, as if we ever had the power to begin with. The evening branded a paradox on us, mother and daughters—we are disempowered, never allowed to fully exist in the way we wish—neither here nor there, neither fully seen nor fully free. The whole night, each breath felt like we were swimming in the tension of impossible expectations, and each blink towards sleep felt like a betrayal, no matter which side we turned.

See, the thing about a woman speaking up is it changes every card on the table. In this time or era, if she endures and silently complains while sobbing and enduring some more, you will still have the whole room to acknowledge her, patronise her, guide her, and make her endure some more. But if she speaks up. Oh. The entire room shifts and turns, and suddenly she is the problem. She is the disruption. She is the threat to the carefully curated peace, the one who dares to unravel the illusion of compliance, of quiet suffering. In her voice, they hear not the plea for understanding but a challenge to the status quo, a defiance that makes them uncomfortable, makes them question their own complicity. She becomes the loud, the aggressive, the unreasonable, the one who can never be satisfied. And yet, in her silence, she is expected to be grateful for the crumbs of acknowledgement, to be content with the scraps of respect that are given to her, as though her worth is only validated in her suffering, in her submission. But when she speaks, when she stands tall, she is no longer the meek recipient of pity. She becomes the one who demands, who claims what is rightfully hers. The room no longer welcomes her voice but fears it, for it exposes the cracks in their own carefully built narratives. And in this fear, they try to silence her, not because she is wrong, but because her truth is too loud, too raw, and too real for them to ignore.

Standing up for yourself as a woman is a double-edged sword. On one side, it’s an act of liberation, a reclaiming of your voice, your autonomy, your power. It’s the breaking of chains, the finally vomiting out of the ancient rage that binds you to expectations, to roles, to histories written by others. It’s the moment when you decide that your worth isn’t up for negotiation and that you won’t be silenced any longer. In standing up, you are showing the world that you will no longer be defined by its narrow and shrewd ways, but by the expansive nature of your own truth. But on the other side, that same act of standing up is almost always like a knife pointed towards your own belly. You are stamped as "too much," "too loud," "too demanding"—as though your assertiveness is an affront to the world. It’s a tightrope walk because the very qualities that are celebrated in them are seen as threatening in us. The same strength that would earn them admiration might lead to our vilification. The same self-assurance that’s revered in others might be twisted into accusations of arrogance, aggression, or selfishness when it comes from you. It’s exhausting, this delicate act. To be strong, but not too strong. To be independent, but not isolated. To speak your truth, but not be twistedly perceived as a threat. And even when you walk this razor-thin line, you’re left wondering: If I’m punished for being myself, is it worth standing tall at all?

My mother's words brought a balm for these cut-inflicting thoughts. She said this was long overdue. She was shocked; I could scream in front of him. She remarked, My screams were just like his, and that would be his rude awakening. She also said this might bring forth a change. She has always been a hopeful realist. And, I think, that is what kept her going through all those days and all those nights, all those slaps and all those screams. But my stomach keeps churning. I keep thinking, what if it gets worse? Because, perhaps, that's how life has been for me. Whenever something bad happens, it is followed by some more horrible happenings and then some more with the seven circles of hell freezing over me.

I lay on my bed in a dark and hot room beside my mother. I searched for her palm while I was splitting into two. One, desperate for comfort, for the familiar warmth of her hand, yearning for the simple reassurance that she would hold me steady, grounding me in a world that felt like it was crumbling. That part of me, still a child in many ways, wanted to sink into the softness of her presence, to feel protected from the chaos swirling both inside and outside of me. Scared, shivering, and feverish child me. The other, sharp and restless, like a larva coming out of a cocoon, itching to break free, was fighting against everything she endured—against the silence we had both learnt to endure, against the passive submission that had become a second skin. This part of me felt suffocated by the unspoken, trapped in the weight of expectations that came with being her daughter, being a woman, being expected to keep things together even when I was falling apart. It was as though my very being was being torn between the need for her and the need to escape with her, to break free from the cycle of quiet acceptance that had defined my life. Our lives. I reached for her hand, and for a fleeting moment, her warmth was unsettlingly welcome—but even then, the internal conflict raged within me. In that touch, I felt the comfort of familiarity and the pain of knowing that, just like her, I might one day come to accept the very things I was rebelling against now.

Anyway, happy International Women's Day in advance for us. Could there be a more poetic ending than this?

- Oizys.

[The Will to Change: Men, Masculinity, and Love by bell hooks]