Eye Level

​He knows when I am sad

before I do.

I don’t know how.

Maybe it’s the way I come through the door,

or something in the air around me

that I can’t smell but he can.

He just comes and puts his head

on whatever part of me is closest

and stays there,

heavy and warm,

until feeling changes.

Nobody else does that.

We lie here most afternoons,

his paw across my arm like he forgot it,

like it landed there by accident

and neither of us moved.

I whisper things to him

I wouldn’t say out loud —

not secrets exactly,

just the true version of things.

He doesn’t tell anyone.

He doesn’t look at me differently after.

He just blinks his slow blink

and breathes.

I think he knows about the dream I have sometimes.

The one I don’t tell Mum.

Where he is very still

and I am calling him

and he doesn’t come.

I always wake up

and put my hand on his side

just to feel it rise and fall.

He is always there.

So far, he is always there.

The vet said he is healthy.

I heard them say it.

But I also heard the word years

used in a way that made me

count quietly on my fingers

and then stop counting.

I don’t think about it for long.

You can’t, not really,

when he is right here

smelling of outside and himself,

when he is chewing the corner of something

he absolutely should not have,

when he runs at the field

like running is the whole point of having a body.

He taught me that, I think.

To be where I am.

I am still learning most things.

What is fair. What is kind.

When to speak and when to just be there.

He already knows all of it.

He has always known.

I watch him sleep sometimes,

his legs moving slightly,

chasing something in a dream,

and I think:

he has his own life inside him

that I will never see.

That used to make me sad.

Now I think it’s just true,

and true things don’t have to be sad,

they just have to be respected.

Mum says I’m growing up.

I think this is part of it —

learning that the ones you love

have whole worlds

you cannot follow them into,

and loving them anyway,

completely,

without needing to go everywhere they go.

He is waking up now.

He stretches so hard his whole body shakes.

He looks at me.

Let’s go, his eyes say.

I don’t know where.

It doesn’t matter.

I get up.

I always get up.

Shirtless Couple

The window frame cuts the scene cleanly — a line drawn between stage and real life. A man and woman stand side by side: skin, ribs, breath. They look outwards, and there is no performance. No heroes pose or theatrical vulnerability in their nakedness. We only see exposure, quiet and unadorned.

And yet the image refuses to stay neutral.

The moment the eye settles on the woman, something quickly changes. That change is the point. The man’s shirtlessness is ordinary, invisible — the kind of thing we barely register on a hot afternoon or during physical labour. The woman’s identical lack of covering carries a different charge though. It asks a question the man’s body is never made to ask.

John Berger once wrote that men act while women appear — more precisely, that women are trained to watch themselves appearing. This image interrupts the habit. The woman is not embarrassed, apologetic, or conscious of being out of place. She stands with the same ease as the man beside her, which can be unsettling.

Judith Butler’s concept of gender as performance offers a useful lens: what seems natural is often just repetition that has hardened into the appearance of inevitability. The impulse to cover the female body is not deep instinct. It is learned code, social reflex — one that decides which bodies can be unremarkable and those that must be managed, guarded, or explained.

The discomfort, then, belongs to the viewer. The scene itself is calm. It is our inherited expectations that begin to wobble. The man can be shirtless without the world rearranging itself. The woman, occupying the same state without apology, reveals how uneven that permission has always been.

Dream Like

At 3:00 a.m., the apartment becomes softer and stranger, a room held together by shadow and silence. When the woman rises from the couch, it’s not clear if she is fully awake, or lost to sleep. She moves as if carried by quiet willpower, still wrapped in the afterglow of a dream that has not quite let go of her body.

That is what makes this hour feel so strange. The self we know in daylight — the one that speaks clearly, chooses quickly, and keeps itself composed — has not yet returned. What remains is something porous, more instinctive, less edited. Carl Jung might have called it a crossing into a deeper shared world, where boundaries between inner life and outer reality begin to loosen. In the dark, there is no need to perform identity. There is only movement, hesitation, breath.

As she walks towards the bathroom, half-lit by a stripe of streetlight, her body seems dreamlike itself. Marcel Proust understood this in a different way: those in-between moments, when we are neither fully asleep nor fully awake, can feel like the truest kind of time. Memory, dream, and waking life blur into one another. The mind does not organize itself so much as drift through a haze of overlapping impressions.

Even the apartment joins in this quiet dissolution. The refrigerator hums. The pipes stay still. Chairs and corners lose their familiar names and become shapes in the dark. Everything feels slightly unfamiliar, as if the room itself has slipped out of ordinary use and become a private landscape of shadows. Her half-dressed body fits that atmosphere perfectly. She is exposed, but not in the way daylight exposes us. This is a different kind of openness — one without audience, without explanation.

That may be why this moment feels so intimate. It is one of the few times we meet ourselves without the pressure of being someone. In that threshold space, identity let’s go. The woman is both ordinary and ungraspable, grounded in her body and drifting in thought. She is in transit between two worlds, and neither world has fully claimed her yet.

For a few minutes, there is only the dark, the hum of the apartment, and the strange freedom of being nobody in particular.

Private Mannequins

The late afternoon street moves like a current, full of errands, speed, and half-light. And then, against all that motion, the old woman stops the flow. She stands bent slightly before a shop window, looking at the mannequins with a focus so fixed it almost feels sacred. This is not the casual glance of a shopper. It is something more exact, more private. Her eyes rest on the synthetic body in front of her with the seriousness of someone studying a truth no one else can see.

That is what makes the moment so compelling: the woman becomes unreadable even as she is being watched. To the people passing by, she is just another figure on the street, a pause in the rush of the city. But from the outside, she feels like a sealed room. It is tempting to invent a story for her — to imagine she is measuring the clothes against an older version of her own body, or thinking about a life she once lived differently. But that urge to explain is really our own discomfort with not knowing. We want to turn strangers into stories because mystery unsettles us.

Walter Benjamin understood the city as a place of fragments, where private life keeps slipping into public view and then disappearing again. This scene carries that same feeling. The woman’s stillness has the tension of a film still, as if something important has just happened or is about to happen, but we have arrived in the middle with no context. Her attention may be on the mannequin, or it may be somewhere else entirely — in memory, in thought, in a place unreachable from the pavement where she stands.

That is what makes street life so haunting. Every person carries a world we cannot enter. The city is full of closed books, and most of what we see are only covers, gestures, surfaces. The woman’s vigil before the window reminds us of that distance. She remains opaque, just like the mannequins she studies. And that opacity is not a lack. It is the part of human presence that refuses to be solved.

Ellipses

​This kitchen isn’t now—it’s layers of heat and metal, air heavy with old hungers. Standing at the stove feels ancient, predating her heartbeat. The knobs resist like they remember other hands, lost to the valley’s fog. She twists one; blue flame unfurls—a flickering petal she watches, trance-like.

She’s learning fire’s moods—she’s also reclaiming them.

Underfoot, Bachelard’s “vessel of time” seeps shadows. She’s a recurring rhythm, no newbie watcher. That pause before the flame? Yes burn-fear, but also vertigo—her hand a shadow of every woman here before, feeding the same heat. Jung’s archetype whispers: this is etched deep, her life a borrowed thread in the pattern.

The cat slices through differently. History baggage—or just pure pull to warmth? Girl sees lineage; cat feels now. It hugs light-dusted corners, wary of the sudden blaze—ancient duty, instinct’s edge.

Room’s no museum—it’s repeating. Her moves: half-heirloom, half-new. Alone, yet crowded with ghosts of intent. Flame climbs, cat freezes, knobs fight. Moment loops back, tweaked—the girl, lone sentinel in a space that’s seen it all.

 

City Distracted

​Traffic light flips from angry red to green go-ahead, but our young protagonist at the curb? Frozen. Everyone else surges across—shoes pounding pavement in perfect sync—but he’s lost in his phone’s glow, a glitch in the city’s flow. This is less about bricks and bustle and has rather become a global battle of screens versus streets.

Simmel nailed the city-dweller’s “blasé shield” against the overload. But for today’s youth, it’s shattered into fragments. They’re embracing the city—but they’re also running a louder one in their pocket. Horns blare, brakes hiss, bodies press in sweaty waves… all background noise to the “elsewhere” pulling their eyes.

Here, the city stops being a place—and becomes a series of nonstop pings. Urban speed? Sure, but the real drag is half-being here while your brain tunes another channel. Byung-Chul Han’s burnout society shows up in clashes (crashes?), a low hum of exhaustion—juggling realities till you’re drained.

Being young and city-bound means partial presence. Streets used to spark chance encounters but now they’re just hallways to scroll through. Light snaps red again. He blinks, shocked by the standstill he missed. The city didn’t pause—it churned on, mechanical and merciless, while he gazed through it. Sidewalks? Mere lobbies for a life lived in the gaps.

Yellow

​In Dehradun afternoon’s slanted light, yellow is a colour that packs a punch. It drapes the narrow parapet wall between buildings like scorched parchment. From her balcony, Urmi Aunty watches a stray cat prowl it—liquid-slow, precise as a tightrope walk in slow motion. No crowd, no cheers. That’s what makes it sacred: pure balance, untouched by eyes.

Inside, the house hums with finished tasks—utensils silent in their racks, floors damp and cooling, air thick with echoes of old talks. Aunty is moored by routine, a renter in her own habits. Woolf dreamed of a room of one’s own, but this one’s overflowing with her. Loneliness? It’s not empty chairs—it’s too much unshared time, golden pressure with no escape.

The cat’s her foil—ego shed for the walk, ignoring the street’s din below. It owns the city’s edges; she feels caged by roles, like de Beauvoir’s sanctuary-turned-prison. Threshold woman: domestic hush meets wild glare.

Balance isn’t stillness, she muses—it’s endless tiny fixes. Cat slips into shadow; yellow clings to her skin like warm ink. She stands silhouetted, as day’s boundaries repeat and dusk creeps up the valley.