Showing posts with label # On Love. Show all posts
Showing posts with label # On Love. Show all posts

Tuesday, 14 February 2017

Tom Stoppard Breaks Down Love.

And, it was glorious. Well, decidedly more glorious than your dating prospects.

It’s to do with knowing and being known. I remember how it stopped seeming odd that in biblical Greek, knowing was used for making love. Whosit knew so-and-so. Carnal knowledge. It’s what lovers trust each other with. Knowledge of each other, not of the flesh but through the flesh, knowledge of self, the real him, the real her, in extremis, the mask slipped from the face. Every other version of oneself is on offer to the public. We share our vivacity, grief, sulks, anger, joy… we hand it out to anybody who happens to be standing around, to friends and family with a momentary sense of indecency perhaps, to strangers without hesitation. Our lovers share us with the passing trade. But in pairs we insist that we give ourselves to each other. What selves? What’s left? What else is there that hasn’t been dealt out like a deck of cards? Carnal knowledge. Personal, final, uncompromised. Knowing, being known. I revere that. Having that is being rich, you can be generous about what’s shared — she walks, she talks, she laughs, she lends a sympathetic ear, she kicks off her shoes and dances on the tables, she’s everybody’s and it don’t mean a thing, let them eat cake; knowledge is something else, the undealt card, and while it’s held it makes you free-and-easy and nice to know, and when it’s gone everything is pain. Every single thing. Every object that meets the eye, a pencil, a tangerine, a travel poster. As if the physical world has been wired up to pass a current back to the part of your brain where imagination glows like a filament in a lobe no bigger than a torch bulb. Pain.

Hat-tip to Brainpickings for this.

Thursday, 11 June 2015

New Beginnings. #MicroFiction

If you had to put some distance between you and your past, then 8,000 kilometers felt like a safe bet. So, for a week, he missed every deadline. Stealthily he searched for jobs in Iceland and two months and a turbulent flight later, he was there. 

A different country. Heck, a different continent. A new time zone. Strange new faces. Strange new voices inflecting on vocal notes he hadn’t heard before. He would have much preferred closure but escape was a close second.

As he waited for his baggage to arrive, he marvelled at his reflection in a giant Johnny Walker ad. You kissed your old life goodbye without second thoughts. That’s something you make a toast to.

And then, he saw her again.

Upon closer inspection, he found there was little in common. Blonde, not black hair. A chin piercing, not cheap earrings picked up at Linking Road. No hint of a speck-like mole on her neck. All this Scandinavian woman shared with her was an overbite. And even though he felt he had escaped, he now knew, no matter where he went, he was going to find her.


Wednesday, 13 May 2015

Love. After Instagram.

This is something I've been toying with before I was active on Instagram/WhatsApp.

To see her was to want her. To want her was to love her. To love her was to become a slave to her heart. And to my own desires.


After I discovered Instagram, the lines morphed into:

To see her was to watch her pictures on Instagram and then to want her. To watch her pictures online meant to turn on my cell phone's data. To turn on my data meant lesser battery and bigger bills. To do all this. To do even more and still not complain. And still watch my heart slow down at her sight meant I loved her. To love her was to become a slave to her heart and my desires. Never mind the additional burden of a bigger cell phone bill.

PS: Saw something similar to the pre-instagram part in Jonathan Franzen's The Corrections. Felt over the moon. Now if only she cared about Franzen.

Friday, 17 April 2015

George Clooney and Vera Farmiga Show You the Right Way To Break Up with Someone.

Breakups. They happen to us all. The sad part is no matter how significant or meaningful the relationship was, the way people break up with each other is usually ugly. Words are tossed around without any thought. Unfortunately, those who get their hearts broken spend countless days deciphering those same words. Trying to find greater meaning in 'It's not you, it's me'. 

And this is exactly why I love this breakup scene from Up in the Air. The director Jason Reitman shows two ‘adults’ in a romantic situation and how it comes to a close in an ‘adult’ manner. 

Ryan Bingham (George Clooney) is a cold-blooded bastard. He joyfully fires people for a living and with recession looming in the background, his business is booming. He flies a lot and ends up meeting Alex Goran (Vera Farminga). She is just like him. She tells him to think of herself as a ‘female version’ of him. Notice how the director gives her a traditionally ‘male’ name. Alex is not your traditional enabler female archetype.

At the end of the movie, Ryan realizes that his life is empty and meaningless. So he rushes to meet Alex. To declare his love for her. To his surprise, he finds Alex is married. With kids. And is even seemingly happy. He is crushed. So when she finally calls him back, you expect an apology. But this is a Jason Reitman movie. What you see instead is an explanation.
We see how Alex is indeed Ryan’s counterpart. She parrots an explanation Ryan could have given someone a few weeks back. As she puts, ‘I thought we signed up for the same thing... I thought our relationship was perfectly clear. You are an escape. You're a break from our normal lives. You're a parenthesis.’

Cold but clear. Heartless without meaning harm. Besides, I’m sure Ryan would be broken by the ‘parenthesis’ remark but at least she gave him a meaningful answer. It’s the kind of honest breakup we all should aspire to.