secondly - i know that life is going to be very interesting and exciting. if it doesn't...then i will make sure it gets interesting and exciting.
this afternoon, i got my 7th tattoo. hello pain...and itch :)

this was her photo on the poster i bought eons ago
Born Audrey Kathleen Ruston (May 4, 1929) in Belgium, she’s the only child of Briton Joseph Victor Anthony Ruston and Dutch baroness Ella van Heemstra. She was a proficient ballerina and also had a successful career as a thespian. In January 20, 1993, she succumbed to cancer, died and was interred in Vaud, Switzerland. She has often been called one of the most beautiful women of all time – and in my humble opinion – is the number one Hollywood fashion icon – unequaled, unparalleled, unrivaled.
I met with Mumai yesterday (which means I have accomplished another item from my wishlist) and my God it was a very productive afternoon. She saw stuff that was cheap and looking at all the furniture made me want to get myself a TV stand soon.
We also talked about things that I would like to remember:
Thank you for an afternoon filled with laughter, wisdom and...to much sunlight! See you soon, love.
COOKIE MONSTER SEARCHES DEEP WITHIN HIMSELF AND ASKS: IS MEREALLY MONSTER?
BY ANDY F. BRYAN
Me know. Me have problem.
Me love cookies. Me tend to get out of control when me see cookies. Meknow it not natural to react so strongly to cookies, but me haveweakness. Me know me do wrong. Me know it isn't normal. Me seedisapproving looks. Me see stares. Me hurt inside.
When me get back to apartment, after cookie binge, me can't standlooking in mirror-fur matted with chocolate-chip smears and infestedwith crumbs. Me try but me never able to wash all of them out. Me don'tthink me is monster. Me just furry blue person who love cookies toomuch. Me no ask for it. Me just born that way.
Me was thinking and me just don't get it. Why is me a monster? No oneelse called monster on Sesame Street. Well, no one who isn't reallymonster. Two-Headed Monster have two heads, so he real monster. HerryMonster strong and look angry, so he probably real monster, too. But is me really monster?
Me thinks me have serious problem. Me thinks me addicted. But since whenit acceptable to call addict monster? It affliction. It disease. It burden. But does it make me monster?
How can they be so callous? Me know there something wrong with me, butwho in Sesame Street doesn't suffer from mental disease or psychologicaldisorder? They don't call the vampire with math fetish monster, and mepretty sure he undead and drinks blood. No one calls Grover monster,despite frequent delusional episodes and obsessive-compulsivetendencies. And the obnoxious red Grover-oh, what his name?-Elmo! Yes,Elmo live all day in imaginary world and no one call him monster. No,they think he cute. And Big Bird! Don't get me started on Big Bird! Heunnaturally gigantic talking canary! How is that not monster?Snuffleupagus not supposed to exist-woolly mammoths extinct. His veryexistence monstrous. Me least like monster. Me maybe have unhealthyobsession, but me no monster.
No. Me wrong. Me too hard on self. Me no have unhealthy obsession. Melove cookies, but it no hurt anyone. Me just enthusiast. Everyone hassomething they like most, something they get excited about. Why not me?Me perfectly normal. Me like cookies. So what? Cookies delicious.Cookies do not make one monster. Everyone loves cookies.
Me no monster. Me OK guy. Me OK guy who eat cookies.Who me kidding? Me know me never actually eat cookies. Me only crumble cookies in mouth, but me no swallow. Me can't swallow. Me no have no esophagus. Me no have no trachea. Me only have black fabric throat. Menot supposed to be able to even talk.
Me no eat cookies.
Me destroy cookies.
Me crush cookies.
Me mutilate cookies.
Me make it so no one get cookies.
Everyone right. Me really is cookie monster.
There’s about a couple more weeks left before I turn a year older. Usually (or unusually) each and every year just before my birthday, I get all too sullen, almost always in a manic-depressive mood. I am like a pendulum swinging wildly on opposite poles. That kinda makes me sound like I have bipolar condition. But that’s not the case – or at least I need to get myself diagnosed first before I start dishing out a press release wahaha.
Here are a few things I want to ‘accomplish,’ ‘gain’ or ‘achieve’ when I turn ‘26.’
I saw the movie ‘Water’ (released in 2006) which starred Lisa Ray as the tragic Kalyani, Seema Biswas as Shakuntala and Sarala Kariyawasam as the child widow Chuyia. The movie was directed and written by Deepa Mehta and is the third installment in her elemental trilogy. It was preceded by Fire (1996) and Earth (1998). As the title would suggest, it pertains to something that never stands still – which in this case, would be the shift in ideology and emotions of two of the main female characters in the movie.
The film talks about a rather taboo subject in India – the treatment of the widows. According to the Sacred Texts, a woman only is left with three choices when her husband dies: she must burn with his remains, remarry his younger brother (with the family’s approval, of course) and lastly – live the remainder of life in self-denial. Because of this, the women are taken to ashrams (an institution for widows – which in this case would be found in Varanasi, a holy place for Hindu pilgrims, sitting in the left bank of the Ganges River), where they are supposed to atone for their sins which caused their husband’s demise. Sending them to the ashram would also mean alleviating the widow’s family of emotional and financial burden. The movie was set in 1938, when India was under the colonial rule by the British. Despite this, the locals were still following unchallenged hypocrisies mistaken as traditions. This was also the era when a man named Mohandas Gandhi dared to defy some of the country’s long standing customs.
Chuiya was taken to the ashram at a tender age of eight. During that time, it’s a commonplace in several parts of India to have a young girl married to an older man. Chuiya was convinced that her stay in the ashram will be temporary, but she’s almost immediately, sternly initiated into the life and ways of a widow by Madhumati (played by Manorama), the ruler of the house, where Chuiya was forbidden to enjoy any form of pleasure in life – including eating sweets and mingling with people outside of the ashram.
This forsaken place is where Chuiya meets the enigmatic yet isolated, Kalyani, a role impeccably portrayed by Lisa Ray – she is the only widow who hasn’t cut her hair – all for one reason – she’s secretly being taken to houses lying on the other side of the river, as a prostitute. Chuiya was instrumental to Kalyani’s desire to resist the injustice of being a widow, as she meets Narayan (played by John Abraham), who first became a friend to the young Chuiya. After the first meeting, Narayan immediately fell for Kalyani, and since he’s been educated in the city, his points of view are a bit more modern and does not believe that widows shouldn’t have the chance to find their happiness by remarrying.
Madhumati soon learns about the tacit connection between Kalyani and Narayan and all hell breaks lose in the ashram. Madhumati rushes to Kalyani’s secluded hut, shears her waist-length hair and locks her up until she ‘comes to her senses.’ Prior to this, Kalyani has confronted Madhumati why she cannot remarry, the latter said it will disgrace all the widows in the house to seven lifetimes of being reborn as jackals, but also said that she’s being ferried across the river for survival – making Kalyani their source of income.
Shakuntala breaks her silence and frees Kalyani, over the protest of other widows. As a quiet act of rebellion, Kalyani slowly walked out of the house, leaving everyone else speechless. She meets with Narayan and he asks her to marry her. When the two headed toward the other bank of the river, Kalyani recognized the portico and asked Narayan of his father’s full name. ‘Seth Dwarkanath,’ uttered Narayan. The sound of the name alone left Kalyani distressed and ordered him to turn the boat around, unable to mention the reason for her change of mind.
Narayan’s father revealed that he has used Kalyani as a prostitute. The lovers are now, so suddenly, apart and forlorn – Narayan storms out of the house. The next day, he arrives at the ashram to take Kalyani to Calcutta with him, only to be told that she drowned herself in grief the night before.
The next day, Chiuya was insisting to go home, Madhumati told her that by a hijra (eunuch) will take her to her parent’s house, only to send the poor, little soul to another house, making her the next prostitute for Narayan’s father. Shakuntala soon learns of this, and tried to rescue Chuiya from the misfortune, but she got to the shore in time for Chuiya’s return. The child was traumatized by the incident, Shakuntala was left with no other option but to wait by the shore until dawn so she can take her to the train station.
At the station, Gandhi was preparing to board the train, but before this, he left his countrymen a message: ‘For a long time, I believed that God is Truth, but now I know that Truth is God. The pursuit of truth is invaluable for me, I hope it’s the same thing for you.’
In an act of despair, Shakuntala runs along the train, asking people to take Chuiya with them and give her a new life. Narayan sees her and quickly grabs Chuiya. In a sense, Chuiya’s character is one that embodies reform and rebirth – as she is given the prospect of a better life outside Varanasi.
I have only seen Lisa Ray in ‘I Can’t Think Straight’ before I stumbled upon ‘Water.’ And though she was a lot younger in her work as Kalyani, she was luminous and she personified her role - and took long, grueling hours studying the widows in Varanasi (the film was filmed in Sri Lanka but Ray went to India months before to observe their behavior). It is through the significance of her character and its moral obligations that she moved to the forefront and captured the attention of the audience. She’s tragic yet she’s the hope for change, as she breaks the norm of the widow house. She gave her all in the performance and what was translated in the screen was an imperfect yet unsullied character that added to the dimension and depth of the movie.
‘Water’ is so compelling and immensely intriguing, that despite its heartbreaking quality, is emphatically one of the most lyrical movies I have seen in years. It was nominated for an Academy Award for Best Foreign Language Film in 2007.
and the day came when the risk to remain tight in the bud was more painful than the risk it took to blossom.
i should have been a pair of ragged claws.
i hope the exit is joyful and i hope never to return.