Saturday, 13 December 2025

Not a Temple, Definitely a Gutter!


Gutter or Temple? A Moral Metaphor for Society

Today, while coming back from college, I was sitting in the bus when I overheard a conversation. An auntie sitting nearby, who seemed educated and thoughtful, asked a simple question: What would you be, a temple or a gutter?

From the way she spoke, I understood that her meaning was spiritual. The temple, for her, represented purity, goodness, and a higher , place, while the gutter symbolized dirt and something undesirable. It is a comparison we have all grown up accepting without questioning.

I realized something very basic yet deeply ignored. The gutter is what keeps the temple clean. A temple is visited by many people every day, and with people comes waste. Someone has to carry that away. The gutter does that work silently. We call it impure, yet without it, the temple would not remain clean for long.

This made me think about how we define purity. We often judge by appearance and status, not by function. The gutter looks dirty, so we label it impure. The temple looks sacred, so we glorify it. But in reality, it is the gutter that performs the act of cleaning.

That is where this metaphor goes beyond places and enters society. Many people are treated like gutters. They question, they expose, they absorb blame, and they do the uncomfortable work of keeping society honest. They are rarely respected. At the same time, some people are turned into temples. They are admired, praised, and placed on a pedestal, even when society is simply dumping its responsibility and moral mess onto them.

In this blog, I use the gutter and the temple as a moral and social metaphor. It is not about spirituality alone, but about how we assign value to people. Sometimes, what we call impure is actually doing the work of purification. And sometimes, what we worship survives only because someone else is carrying away its dirt.

I realized later that what struck me was not the question itself, but the meaning behind it. When the auntie spoke about choosing between a temple and a gutter, her idea was clearly spiritual. For her, the temple meant purity and goodness, while the gutter stood for dirt and something to be avoided. That is how most of us are taught to think.

But the more I thought about it, the more the meaning reversed for me.

In my understanding, the gutter is the one that carries away society’s dirt. It does the work no one wants to acknowledge. It takes in the waste, the blame, the mess, and keeps everything else clean. In human terms, the gutter is the person who speaks uncomfortable truths, calls out hypocrisy, and refuses to pretend. These people are often labeled bad, rude, negative, or problematic, even though they are the ones preventing rot.

The temple, in contrast, becomes the place where people dump their dirt. Glorified figures, respected personalities, leaders, gurus, and idols often function like temples. People project goodness, morality, and holiness onto them, not necessarily because they deserve it, but because society needs somewhere to place its guilt and responsibility.

When I map this onto human behavior, a clear pattern appears. The gutter is ethical but hated. The temple is admired but often hollow.

History keeps repeating this. Whistleblowers are called traitors. Rebels are judged as immoral. Truth-tellers are silenced. Meanwhile, charismatic or powerful figures are placed on pedestals, becoming temples where people unload their moral confusion.

Being a gutter is not easy. You do not get worship or praise. You get dirt, accusations, and isolation. But you also stop decay from spreading.

Being a temple is much easier. People clean themselves symbolically by dumping blame, sin, and responsibility onto you. You remain pure in public imagination, even when reality says otherwise.

If I have to choose, I would rather be a gutter. Cleaning society feels more honest than being worshipped by a society that refuses to clean itself. And perhaps the most dangerous people are those treated as temples, because once we start worshipping them, we stop questioning them.


The Family 

In families, this metaphor appears very clearly. There is often one person who plays the role of the gutter. This person notices patterns, names emotional neglect, questions control, or speaks about abuse and silence. They are told they are ruining peace, creating drama, or being disrespectful. Slowly, they become the problem in everyone’s eyes.

At the same time, there is usually a temple figure. This could be a parent, an elder, or a “good” family member whose image must remain untouched. The family dumps its fear, denial, and shame onto silence in order to protect this figure. Even when harm exists, it is easier to blame the one who speaks than to question the one who is respected.

The gutter carries the emotional waste so the family can look clean from the outside.

Sexual Abuse

This metaphor becomes even more uncomfortable when we look at sexual abuse.

In many cases, the survivor is treated like a gutter. When a woman speaks about abuse, society often responds by questioning her character, her clothes, her timing, or her intentions. She is asked why she spoke now, why she stayed silent before, why she trusted someone. All this questioning is a way of dumping society’s discomfort onto her.

Meanwhile, the abuser often functions like a temple. If he is respected, educated, religious, successful, or powerful, people rush to protect his image. They say he has a good reputation, a family, a future. Society dumps its fear of accountability onto the survivor so that the temple remains untouched.

In this process, the survivor carries the dirt that society refuses to clean.

Politics 

Politics might be the clearest example of this metaphor.

Whistleblowers, activists, and journalists who expose corruption are treated like gutters. They are called anti-national, disruptive, negative, or dangerous. They are blamed for instability, not the corruption they reveal. Society throws its frustration and fear onto them.

Politicians, on the other hand, are often turned into temples. People project hope, morality, and even divinity onto leaders. Their mistakes are justified. Their crimes are explained away. People dump responsibility onto them and then feel morally clean just by supporting the right side.

As long as the temple stands, people feel safe, even if the structure is rotten inside.

Across families, gendered violence, and politics, the pattern remains the same. The gutter is punished for revealing dirt. The temple is protected because it absorbs society’s need to look clean.

Writing this makes me realize that the question is not whether we admire gutters or temples. The real question is whether we are brave enough to recognize who is actually cleaning and who is simply being worshipped.


Thursday, 4 December 2025

Hell is empty and all the devils are here.





Ever since I started reading books, the first name anyone ever recommended to me was the Shatter Me series by Tahereh Mafi. It has 11 books in total (6 main books and 5 novellas).

This is not a review blog because if I start writing about Aaron Warner, I will probably end up writing more pages than Tahereh herself.

Aaron Warner has always been the one character I truly resonate with. He is my favourite kind of character. Delusional, intense, and beautifully complicated. If he ever calls me delusional, I would honestly take it as a compliment because I aspire to be delusional like him.


There are many lines spoken by Warner, but the one that pulled me into Tahereh’s universe was something I saw in a reel years ago.

The line was: “Hell is empty and all the devils are here.”

I loved it instantly because it was tattooed on Aaron’s skin. At that time, I did not think deeply about it. I simply assumed Tahereh had written it.


Later, I found out it is originally from Shakespeare’s play The Tempest.

And obviously, being Aaron Warner’s girl, I felt the need to read the original source to understand the context behind the words he chose to mark on his body.

So I picked up The Tempest. Some parts made sense to me and some parts were such heavy, English that I just stared at the page without understanding a single thing.ut something did become clear to me. The meaning of the line changes completely once you know where it comes from.

The Tempest: When the Line Appears










The line appears in Act 1, Scene 2. It is spoken by Ariel, but he is actually repeating what the terrified sailors shouted during the magical storm created by Prospero.

They believed they were about to die.

So in Shakespeare’s story, the line is born from fear, panic and helplessness. It captures a moment when humans think hell has opened and released its devils into their world.


Prospero, the rightful Duke of Milan, is betrayed by his brother Antonio. He and his daughter Miranda are exiled to an isolated island. There, Prospero learns magic and gains the loyalty of the spirit Ariel. When the story begins, Prospero summons a violent storm to bring his enemies to the island. The play deals with betrayal, revenge, illusions, forgiveness and the darker sides of human nature.

In the middle of this chaos, the sailors scream the iconic line, believing evil forces are attacking them.


Meanwhile, in the Shatter Me series

Aaron Warner Anderson lives in a dystopian future controlled by the Reestablishment. Juliette has a deadly touch she cannot control. Warner becomes obsessed with her from the very beginning, and obsessed is honestly too soft of a word.


He gets shot by Juliette in the shoulder and still smiles because to him that one bullet means she chose to keep him alive. That moment alone explains his mind more than any analysis ever could.


Warner’s childhood shaped the darkness inside him. His father abused him psychologically, emotionally and physically. Every bit of softness inside him was punished until he was forced to build himself into something cold enough to survive.He did not choose to be a devil. The world chose it for him.

There is also the machete scene where Warner kills almost ten men while protecting Juliette. The writing becomes almost magical realistic, as if the violence happens in slow motion inside a dream. The entire series has that surreal poetic tone. It makes every moment feel bigger than reality.


Warner’s Tattoo









In Shatter Me, the line “Hell is empty and all the devils are here” does not appear in fear. It appears as identity. Warner tattoos it on himself because he knows exactly what the world thinks he is. A monster. A devil. A threat.

He is not running from the devils like the sailors in The Tempest. He has become one because he survived things that should have destroyed him.

That is what struck me the most.

In The Tempest, the line is spoken by someone who is scared of the devils.

In Shatter Me, the line belongs to the one everyone is scared of.


One side is fear.

The other side is evolution.

One voice trembles.

The other stands unshaken.


Shakespeare wrote it as a cry for help.

Warner wears it as a reminder of everything he endured.



LYHFM

Fan art by @TABBIESART




Thursday, 27 November 2025

Aristotle's generation of animals

 If you are an English literature student, you know the drill open Aristotle’s Poetics, revise mimesis, catharsis, hamartia, close the book, go cry. But today, for reasons unknown to the gods, I took a tiny detour and opened Aristotle’s Generation of Animals.

This blog is basically everything I learned  and everything I cannot unlearn ,from Aristotle’s deeply confident, wildly incorrect, and highly imaginative theories of reproduction. 












Aristotle’s Reproduction Theory, or “Men Provide Divine Fire, Women Provide Vibes”

Imagine You open Aristotle’s Generation of Animals, expecting maybe some neutral biological observations, some ancient Greek curiosity, maybe even a few cute descriptions of animals laying eggs.

Aristotle comes in with the confidence of a man who has never been wrong in his life  and begins the entire subject of reproduction with a cosmic TED Talk on “form” and “matter.”

The Male = Form, Fire, Blueprint, Soul

According to Aristotle, when a man contributes semen, he isn’t giving a biological substance (because Aristotle thinks semen has no actual matter in it).

Instead, he believes:

  • The male gives the form
  • The form shapes the whole organism
  • The form carries the “vital heat,” the organizing force
  • Basically, the form tells the universe:
    “This is going to be a boy. With eyebrows. And a nose. And personality.”

To Aristotle, the male is not just contributing DNA 
he’s contributing the cosmic architecture of life.

This is not biology.
This is Greek mythology wearing a lab coat.

The Female = Materia, Raw Material, Building Blocks of Life

Now comes the female role in reproduction, according to the same man:

  • Women provide matter
  • Which, in his theory, is basically modified blood
  • They give the material, but not the instructions
  • They are the passive ground on which the male’s “form” can act

In Aristotle’s imagination, this looks like:

  • Man = divine sculptor
  • Woman = clay

He saw women’s bodies as biological construction sites, waiting for a man’s “blueprint” to activate them.

And the funniest part? He says all this with zero irony.
The same man who dissected animals with careful detail suddenly turns into a spiritual motivational speaker when talking about males.

“Men give the soul. Women give the building material.”

That’s the essence of his theory.

In modern terms, it sounds like:

  • Men: “I bring the software, the code, the operating system, the Wi-Fi.”
  • Women: “Here is the hard drive….?”

If you've ever wondered where centuries of sexism got their pseudo-intellectual justification well, Aristotle basically drew the blueprint here.

It’s genuinely wild how confident he was about ideas that are scientifically incorrect, yet philosophically poetic.

He really thought reproduction worked like:

Man: Here is the divine fire.
Woman: Here is the pot. Let’s cook a baby.

Aristotle’s famous claim that “woman is a mutilated man” is one of those moments where you can almost feel the cultural distance between his world and ours. He genuinely believed that women lacked the internal “heat” needed to transform blood into semen, which led him to conclude that men were the fully realized model of humanity while women were an incomplete version. In his framework, men became the “heated,” active principle, while women were cooler, more passive, and therefore not able to perform the same biological function. Reading this today, with our understanding of genetics and reproduction, the theory feels more like a window into ancient limitations rather than a deliberate insult. It’s almost easy to imagine gently telling Aristotle that biology isn’t a hierarchy of “more” or “less,” but a shared process where both bodies contribute equally. His mistake, though enormous in hindsight, comes from a world without microscopes or medical science  a reminder of how far knowledge has grown, and how deeply old beliefs were shaped not by malice, but by the boundaries of their time.






Wednesday, 7 May 2025

Book Review: Not Here to Be Liked by Michelle Quach


“She never meant to start a movement. She just wanted what she earned.”



Michelle Quach’s Not Here to Be Liked is a witty, sharp, and emotionally layered YA novel that blends feminism, identity, and the complexities of falling for someone who represents everything you’re fighting against. It’s Emergency Contact meets Moxie, but with

its own smart, modern take on girlhood, ambition, and the messiness of growing up.


The Plot

Eliza Quan has always believed that hard work, passion, and talent would get her where she deserves to be like becoming editor-in-chief of her high school paper. But when Len DiMartile, a popular ex-jock with zero experience, runs for the same position and becomes everyone’s favorite, Eliza realizes something deeper is at play systemic sexism.


Frustrated, she pens an essay that unintentionally sparks a feminist movement, pushing Eliza into the spotlight as a reluctant leader. Things get more complicated when the school decides Eliza and Len should work together to promote civility only for Eliza to discover that Len might not be the clueless antagonist she thought... and worse, she might actually like him.


Why It Works

Eliza’s voice is sharp, intelligent, and painfully real. She’s not perfect she’s driven, sometimes prickly, and fiercely protective of her ideals. Watching her navigate public pressure, internal conflicts, and her unexpected feelings for Len creates a compelling and deeply relatable journey.


Len is also more than he first appears. He's awkward, kind, and genuinely wants to grow which makes their slow-burn, push-and-pull relationship feel earned rather than forced. The novel dives into how gender and race intersect, especially in leadership and visibility. Eliza’s struggle isn’t just with sexism it’s with letting herself be seen as soft, confused, or emotional Len doesn’t magically “get it” overnight. His evolution is messy, making the story feel authentic.


Favorite Part?

The tension between Eliza and Len. It’s filled with banter, vulnerability, and mutual challenge. They're opposites, but their connection grows from tension into understanding and it’s addictive to watch.


Not Here to Be Liked is for anyone who's ever felt underestimated, spoken out and been misunderstood, or fallen for someone when it was least convenient. It’s both empowering and vulnerable a reminder that real change and real relationships are rarely easy, but always worth it.



Smart, swoony, and unapologetically bold.



Saturday, 19 April 2025

Movie Review: Alai Payuthey – A Timeless Tale of Love, Conflict, and Connection



Movie Review: Alai Payuthey – A Timeless Tale of Love, Conflict, and Connection





Director: Mani Ratnam
Language: Tamil
Released: 2000
Cast: R. Madhavan, Shalini, Vivek, Swarnamalya
Music: A. R. Rahman

“Love panniten… but sollala.”

Those five words echo the entire soul of Alai Payuthey, a film that captures the raw, unfiltered truth of young love—the excitement, the rebellion, the beauty, and the heartbreak that follows when the world becomes too real too soon.

Plot Overview

Alai Payuthey begins with the exhilarating rush of first love between Karthik (R. Madhavan), a spirited software engineer, and Shakti (Shalini), a calm and grounded medical student. Their love blossoms in the chaos of Chennai’s traffic, train stations, and fleeting glances. But when familial disapproval becomes a barrier, they marry in secret, believing that love is enough to sustain them.

What sets this film apart is what happens after the happily ever after. The film takes us into the intimate, often painful terrain of married life, where romance meets reality, and love faces its greatest tests—not from villains or fate, but from egos, silence, and distance between two people living under the same roof.

Themes & Emotions

Mani Ratnam doesn’t just narrate a love story he feels it. He explores how love evolves once the thrill wears off. The film delicately questions: What happens when the butterflies fade? Can love still breathe through routine, misunderstandings, and personal ambitions?

Watching Karthik and Shakti struggle, argue, make up, and then pull apart again is deeply personal and painfully relatable. Their fights are not cinematic they are real. Their silences speak louder than their words.

Performances

R. Madhavan is charming, impulsive, and endearingly flawed. His portrayal of Karthik is so genuine, you root for him even when he messes up. This was his debut, and yet he owned the screen with confidence and vulnerability.

Shalini, as Shakti, brings grace and emotional intelligence to her role. She is not just a "love interest"; she is a woman with depth, career dreams, and expectations of mutual respect in her relationship.

Together, their chemistry is both electric and heartbreakingly tender.

Cinematography & Direction

Mani Ratnam’s visuals are like poetry. From sunlit trains to rain-soaked streets, every frame pulses with meaning. The way he uses colors, shadows, and space makes Chennai not just a backdrop, but a living, breathing character in the film.

Music by A. R. Rahman

If love had a soundtrack, it would be Alai Payuthey. Rahman’s music isn’t just in the background—it flows through the film’s veins.

  • Snehithane melts hearts with its sensual grace.
  • Pachchai Nirame is a visual and musical celebration of love and color.
  • Yaaro Yaarodi brings in the energy of Tamil weddings and traditions.
    Even in silence, the echoes of Rahman’s melodies linger.

English Dub / Watch Experience

Watching Alai Payuthey in Tamil is like hearing a song in its original melody. But the English version, Saathiya (inspired by it), also carries its charm. If you’ve watched both, you’ll notice the nuances—the cultural textures, the emotional beats that feel sharper in Tamil, the softness in expressions, and the rawness of dialogue. The soul of the story survives translation, but Mani Ratnam’s touch in Tamil is irreplaceable.

Why It’s Close to the Heart

Alai Payuthey is more than a movie it’s a memory. For those who’ve been in love, questioned love, or lost love, it strikes a chord. It doesn’t give you perfect answers; instead, it gives you moments moments that linger long after the credits roll.

It teaches us that love isn’t about perfection it’s about presence. It’s about showing up, even when you’re tired, angry, or unsure. It’s about loving not just through butterflies, but also through broken dishes and silent nights.


Rating: ★★★★★ (5/5)
A masterpiece that grows with you. Every time you watch it, you find something new just like in love.




Saturday, 29 March 2025

Etched in Time: The Story of Tattoos from Ancient Rituals to Modern Ink

 Etched in Time: The Story of Tattoos from Ancient Rituals to Modern Ink





Tattoos. They’re not just art. Not just rebellion. Not just trend.
To me, they’re stories. Symbols of survival, love, loss, power, belief, transformation.

I've always loved tattoos — the way they can silently scream who you are or whisper a memory only you understand. But the more I fell in love with tattoos on skin, the more I wanted to know about the ink behind the ink. Where did it begin? Who first decided to turn skin into a canvas?

So I went down a rabbit hole into the history of tattoos — and it blew my mind.


 Where It All Began: The Ancient Inkers

Tattoos are older than most civilizations.

The earliest known tattoos were found on Ötzi the Iceman, a 5,300-year-old mummy discovered in the Alps. His body had 61 tattoos, made by rubbing charcoal into tiny cuts. It’s believed they were for therapeutic purposes, like ancient acupuncture.

In ancient Egypt, tattoos were worn by women — possibly as protection during pregnancy or childbirth. Mummies dating back to 2000 BCE had intricate ink patterns that still hold mystery.

Meanwhile, Polynesian cultures gave us the actual word tattoo (from tatau). Their tattooing practices were sacred, detailed, painful, and deeply spiritual. Every symbol had a meaning. Every placement told a story. To be tattooed was to be marked by honor.


 Tattoos Through the Ages: Power, Punishment & Pride

In ancient Greece and Rome, tattoos weren’t always glorious. Criminals and slaves were branded — marked for life. The ink became a punishment, a label of ownership. And yet, some Roman soldiers and early Christians wore tattoos as signs of loyalty or resistance.

In Japan, tattooing evolved from punishment to one of the most breathtaking art forms: irezumi. Full-body tattoos of dragons, koi fish, and cherry blossoms became cultural masterpieces — often worn by firemen, gamblers, or samurais. And yes, sometimes the Yakuza.

In indigenous cultures — from the Ainu of Japan, the Berbers of North Africa, to Native American tribes — tattoos had healing, religious, and tribal meanings. They were more than skin-deep — they were a way of carrying your ancestors with you.


The Sailor Era: Ink Hits the Sea

Fast forward to the 18th and 19th centuries — tattoos go global.

When sailors started exploring the world, they came back with exotic ink and new tattooing styles. In places like England and America, sailor tattoos told stories: anchors, swallows, ships, names of loved ones. Each tattoo was like a badge of the journey.

Even royalty got curious — King Edward VII got inked in Jerusalem!


The Modern Machine & the Rise of Tattoo Culture

In 1891, the electric tattoo machine was born. That changed everything.

Suddenly, tattoos became more accessible — and yes, more popular, especially among circus performers, rebels, bikers, and the misunderstood.

Throughout the 20th century, tattoos were often stigmatized — linked with crime, rebellion, or counterculture. But they were also a quiet language of resistance. LGBTQ+ communities, punk rockers, soldiers, prisoners — they all used tattoos to claim identity.

Then the shift came.


 Today: Tattoos Are Art, Identity, and Liberation

Now? Tattoos are everywhere. On doctors, dancers, CEOs, students, poets. They're not about rebellion (unless you want them to be). They’re about choice. And expression. And healing.

Minimalist tattoos. Fine-line florals. Bold tribal sleeves. Portrait realism. Abstract splash art. Script, dates, symbols, scars turned into beauty.

Every tattoo has a backstory — and honestly, that’s what I love most.


 Final Thoughts: My Skin, My Story

Tattoos are more than trends. They’re timeless.
From a mummy in ice to modern-day artists on Instagram, ink has always meant something — even when the world didn’t understand it.

For me, every tattoo is a piece of my soul stitched into skin.
Whether it’s ancient protective sigils or a flower for someone I miss — it’s there, etched in time.

And maybe one day, someone will look at my tattoos the way I look at Ötzi’s and wonder: What was the story behind this one?



The Egyptian Book of the Dead: A Guide to the Afterlife I Can’t Stop Thinking About

 The Egyptian Book of the Dead: A Guide to the Afterlife I Can’t Stop Thinking About





Okay, so imagine a book… but not just any book.
A book that isn’t meant to entertain or inform in the way we usually expect.
This book was created to guide your soul through the afterlife.

Yes, I’m talking about the Book of the Dead — ancient Egypt’s most mystical, haunting, and fascinating creation. And let me tell you, reading about it felt like holding a torch and walking through a corridor of shadows, gods, and secrets.




 Not Just a Book — A Map to Eternity

The Egyptian Book of the Dead isn't really one book — it's more like a collection of spells, prayers, instructions, and illustrations. Its purpose? To help the dead navigate the dangers of the afterlife and reach the Field of Reeds (basically, Egyptian heaven).

It wasn’t written for fun or storytelling — it was a soul’s survival guide.

The ancient Egyptians believed that life after death was filled with obstacles: terrifying creatures, judgment trials, and riddles only the prepared could pass. That’s where the Book of the Dead came in — it told you what to say, what to do, and even what to become (like a bird or lotus) to stay safe.


 The Heart-Weighing Moment: Gave Me Chills

One part that truly stuck with me? The Weighing of the Heart.

In the Hall of Ma’at, the dead person’s heart is weighed against a feather — the feather of truth. If the heart is heavy with sin, it’s devoured by Ammit, a part-lion, part-hippo, part-crocodile creature. If it’s light, your soul gets to pass on in peace.

It’s such a symbolic, terrifyingly poetic moment.
A literal judgment of your life, written by ink and stars.


 Gods, Spells & Symbols Everywhere

Reading about the Book of the Dead is like being dropped into a mythological dream. There are spells for transforming into animals, crossing lakes of fire, avoiding decapitation, and praising gods like Ra, Osiris, Anubis, Thoth, and Isis.

It’s filled with:

  • Spell 125 – The famous “negative confession,” where the soul claims all the good it has done ("I have not stolen, I have not murdered...").

  • Magical amulets – placed on the body to protect it.

  • Hieroglyphs and papyri – so beautiful and cryptic they almost feel alive.


Why I’m Obsessed

There’s something so… intimate about this book.
It’s not written for crowds. It’s personal. Meant for one soul at a time, guiding it through its greatest journey — the one after death.

And even though it's ancient, it made me think about life right now:
What would my heart weigh?
What truths am I carrying with me?
How much magic still lives inside the words we write today?


✨ Final Thought

The Book of the Dead doesn’t scare me — it fascinates me.
It’s proof that humans, no matter how old the civilization, have always been searching for meaning beyond this world. And the Egyptians? They turned that search into art.

One day, I hope to stand in front of one of those papyrus scrolls in a museum or — even better — in the land where it all began: Egypt.
To see the glyphs. To imagine the chants. To feel, even for a moment, the power of a people who believed that death was only the beginning.



Not a Temple, Definitely a Gutter!

Gutter or Temple? A Moral Metaphor for Society Today, while coming back from college, I was sitting in the bus when I overheard a conversat...