Skip to main content

 I ask of you to pause.

To think with care, free from the incessant noise of the world.

Close your eyes—not to escape, but to truly see.

Behold the chains that bind us,

each link a delicate yet cruel masterpiece,

forged with the intent to hold us in place,

to tether our restless souls to a rhythm not our own.


They keep us, without mercy,

on a relentless treadmill of routine,

our steps measured, our pace steady,

but our hearts yearning for something beyond the ceaseless motion.


Reflect on this:

Have we not endured enough?

Suffered the theft of our thoughts,

the quiet pillage of our inner sanctuaries?

Ideas, once luminous and unbridled,

now dimmed, dulled by the grinding gears of conformity.


But then I speak.

And in that act of creation,

a searing heat unfurls within me,

curling, consuming, reshaping.

It fills the hollows carved by silence and suffering,

an untamed force reminding me of what it means to be whole.


Clarity—sharp and unyielding—

pierces through the fog,

exposing the cracks I’ve hidden,

the fractures I’ve feared.


Yet through them, I shine.

Not despite the cracks,

but because of them.

For it is through brokenness

that light finds its way in,

and through that light,

I rediscover the fullness of my being.


Comments

Post a Comment

Popular posts from this blog

ABSURDISM, EXISTENTIALISM, FREE WILL, POSTMODERNISM

 After the war, Introduction The first world war threw society into a state of disillusionment, and a fracturing of the staunch belief in morals became prominent, sparking literary advancements that challenged romantic ideals, advocating for a new perception of stability and sensibilities. In the poem Gerontion by T.S. Elliot, the modernist stance of fragmentation and the pursuit of purpose lies in man’s actualization of himself. Meanwhile, Samuel Beckett’s waiting for Godot written in the post-war environment of World War II can be viewed as an attack on modernism, rejecting its ideological claims to legitimise purposeful meaning that interprets the world of Estragon and Vladimir with a Grand Existential Narrative . Nonetheless, both these arguments provide a post-war lens that views life without inherent importance nor singular purpose/essence, resulting in the rise of ‘absurdism’— a search for answers in a world that offers no true answer . In this essay, the aforementioned conc...
Post a Comment
Read more

Bredlik

 https://yeahwrite.me/writing-help-bredlik/ Bredlik isn’t as easy as it looks, folks. It’s a very tight form with very tight parameters. Technically bredlik is four lines (two rhyming couplets) in iambic tetrameter, or two stanzas of four lines each in iambic diameter with an ABCB rhyme scheme. The other thing that bredlik has going on is that the original poet took inspiration for the poem not only from the incident but from the fact that it happened in a re-enactor setting. So he used 18th century spellings (or reasonable facsimiles thereof) for some of the words.
Post a Comment
Read more

Manglish and its Cina Particles

"The ubiquitous word lah ( [lɑ́]   or   [lɑ̂] ), used at the end of a sentence, can also be described as a particle that simultaneously asserts a position and entices solidarity.  Note that 'lah' is often written after a space for clarity, but there is never a pause before it. This is because originally in Malay, 'lah' is appended to the end of the word and is not a separate word by itself." SNEAKING SUSPICION: "lah" was originally from the Cantonese practicing south of China. The land of Malaya had relations with China since the Ming dynasty, when China was the protector of the Malaccan Sultanate (maybe even from the 5th-6th century), and the use of la as a sentence-suffix particle got integrated into the Malay language its formation, probably during the second phase is Early Modern Malay (1500-ca. 1850) that witnessed the indigenization of Arabic loan words, changes in the affix system, and a rather liberal word order.  Confirmation alternatives: ...
Post a Comment
Read more