shoutout to all the channel owners who are deeply bizzare and have something wrong with them
❤21
deleted accounts remove karte karte kuch active users bhi remove ho gye 😊😊
😭21🤣6🤬3
you shouldn't be forced to play holi. you absolutely detest these people so why would you willingly play with them? they do nothing but make you extremely uncomfortable and if you are not willing then a simple no should do the job. but well.... your no doesn’t hold any value does it?
💯18
nessnote
you shouldn't be forced to play holi. you absolutely detest these people so why would you willingly play with them? they do nothing but make you extremely uncomfortable and if you are not willing then a simple no should do the job. but well.... your no doesn’t…
now my mom will give me a cold shoulder the whole day just because i said no even though we were having such a lovely time since morning. we cooked together and everything but still a simple no will ruin the whole day. and i understand that it's a festival and i should sacrifice a lil and go out, but i just CAN'T. i have no problem with colors, but i would play with people who don’t creep me out and who's existence isn’t repulsive to me. also the fact that mom knows bout this makes it scarier to me. ugh i wanna vent so bad.
❤15🔥1
shaam me अबीर vali holi is best imo (it’s a cultural thing in bihar to play holi with अबीर shaam me)
❤13
the vegetarian by han kang
⭐️⭐️⭐️⭐️⭐️
when you close the last page of the vegetarian by han kang you feel faintly nauseated and strangely moved at the same time. the prose moves with an eerie softness that contradicts the violence simmering underneath it. on its surface, the premise is deceptively simple : a woman decides she will no longer eat meat. but the novel is not really about vegetarianism. it is about refusal of violence, refusal of patriarchy, refusal of the obedience expected from women who are meant to pass through life without disturbing anything. in the first section, narrated by the husband, we encounter a man who proudly describes himself as completely ordinary. he chose his wife precisely because she seemed equally unremarkable. she was compliant and undemanding, the perfect wife because she would not interfere with the smooth functioning of his life. the disturbing brilliance of this section lies in how normal he sounds. he is simply a man who believes the world should revolve around his convenience.
so when yeong-hye suddenly announces that she will stop eating meat, it destabilizes him far more than such a decision logically should. after all, refusing meat is a small thing. but it is also the first assertion of autonomy he has ever witnessed from her. the moment she begins making decisions about her own body, the entire structure around her begins to panic. and gradually this dietary refusal expands. first meat, then sex, then the larger expectations placed upon her as a wife and daughter. the fact that she has stepped outside the script unsettles everyone.
the novel uses vegetarianism as a symbolic refusal of violence. yeong-hye’s dreams are filled with blood, animal flesh, and slaughterhouses. meat is a representation of the violence embedded in human existence. by rejecting meat, she attempts to withdraw from that cycle entirely. it begins as an ethical decision but gradually becomes a rejection of the human condition.
the most disturbing element of the novel is the way yeong-hye’s body becomes the battleground where everyone else attempts to reassert control. her father forces meat into her mouth, her husband treats her body as marital property, and later her brother-in-law transforms her into an artistic obsession. each man relates to her body differently, yet none of them truly recognize her as a person.
if the husband represents mundane entitlement, the brother-in-law in the second section embodies another form of violation being aestheticization. he becomes obsessed with the birthmark on yeong-hye’s body and convinces himself that his fascination is artistic. the husband treated her like domestic furniture, the artist treats her like a canvas.
this section also introduces one of the novel’s most haunting things, which is, yeong-hye’s growing belief that she is becoming plant-like. plants represent the opposite of everything human. they do not consume life, they just sit there and absorb sunlight. in imagining herself as a tree, she is attempting to escape a world built on violence and consumption.
by the final section, narrated by her sister in-hye, the story takes on a different emotional register. until this point yeong-hye has been observed and interpreted by others. she never gets to narrate her own story. this structural choice is deliberate. the novel mirrors the way women are so often spoken about rather than truly heard.
through in-hye’s perspective we begin to glimpse the violence buried in their childhood. the authoritarian father, the punishments, the atmosphere of fear that lingered long after the events themselves had passed are horrifying. the novel suggests that trauma does not end when the event ends. it settles into the body and resurfaces in ways that are difficult to understand.
⭐️⭐️⭐️⭐️⭐️
when you close the last page of the vegetarian by han kang you feel faintly nauseated and strangely moved at the same time. the prose moves with an eerie softness that contradicts the violence simmering underneath it. on its surface, the premise is deceptively simple : a woman decides she will no longer eat meat. but the novel is not really about vegetarianism. it is about refusal of violence, refusal of patriarchy, refusal of the obedience expected from women who are meant to pass through life without disturbing anything. in the first section, narrated by the husband, we encounter a man who proudly describes himself as completely ordinary. he chose his wife precisely because she seemed equally unremarkable. she was compliant and undemanding, the perfect wife because she would not interfere with the smooth functioning of his life. the disturbing brilliance of this section lies in how normal he sounds. he is simply a man who believes the world should revolve around his convenience.
so when yeong-hye suddenly announces that she will stop eating meat, it destabilizes him far more than such a decision logically should. after all, refusing meat is a small thing. but it is also the first assertion of autonomy he has ever witnessed from her. the moment she begins making decisions about her own body, the entire structure around her begins to panic. and gradually this dietary refusal expands. first meat, then sex, then the larger expectations placed upon her as a wife and daughter. the fact that she has stepped outside the script unsettles everyone.
the novel uses vegetarianism as a symbolic refusal of violence. yeong-hye’s dreams are filled with blood, animal flesh, and slaughterhouses. meat is a representation of the violence embedded in human existence. by rejecting meat, she attempts to withdraw from that cycle entirely. it begins as an ethical decision but gradually becomes a rejection of the human condition.
the most disturbing element of the novel is the way yeong-hye’s body becomes the battleground where everyone else attempts to reassert control. her father forces meat into her mouth, her husband treats her body as marital property, and later her brother-in-law transforms her into an artistic obsession. each man relates to her body differently, yet none of them truly recognize her as a person.
if the husband represents mundane entitlement, the brother-in-law in the second section embodies another form of violation being aestheticization. he becomes obsessed with the birthmark on yeong-hye’s body and convinces himself that his fascination is artistic. the husband treated her like domestic furniture, the artist treats her like a canvas.
this section also introduces one of the novel’s most haunting things, which is, yeong-hye’s growing belief that she is becoming plant-like. plants represent the opposite of everything human. they do not consume life, they just sit there and absorb sunlight. in imagining herself as a tree, she is attempting to escape a world built on violence and consumption.
by the final section, narrated by her sister in-hye, the story takes on a different emotional register. until this point yeong-hye has been observed and interpreted by others. she never gets to narrate her own story. this structural choice is deliberate. the novel mirrors the way women are so often spoken about rather than truly heard.
through in-hye’s perspective we begin to glimpse the violence buried in their childhood. the authoritarian father, the punishments, the atmosphere of fear that lingered long after the events themselves had passed are horrifying. the novel suggests that trauma does not end when the event ends. it settles into the body and resurfaces in ways that are difficult to understand.
❤8
in-hye and yeong-hye represent two different responses to that inherited violence. one survives by adapting to the system and running a business, raising a child. the other refuses the system entirely and drifts further away from the human world.
as Simone de Beauvoir once wrote, "one is not born, but rather becomes, a woman." the vegetarian asks what happens when a woman refuses that process of becoming. the result is isolation, incomprehension, and collapse. and yet her refusal carries power. she may not win, and she may not even survive in any conventional sense, but her silence disrupts the system that expected her obedience.
by the end the novel leaves you in a peculiar emotional state. it is dark, bleak, unsettling, and deeply uncomfortable, yet it is also strangely beautiful. certain images linger in the mind long after the book ends.
as Simone de Beauvoir once wrote, "one is not born, but rather becomes, a woman." the vegetarian asks what happens when a woman refuses that process of becoming. the result is isolation, incomprehension, and collapse. and yet her refusal carries power. she may not win, and she may not even survive in any conventional sense, but her silence disrupts the system that expected her obedience.
by the end the novel leaves you in a peculiar emotional state. it is dark, bleak, unsettling, and deeply uncomfortable, yet it is also strangely beautiful. certain images linger in the mind long after the book ends.
❤8