Checking In

An hour back, when the television had gone quiet and I was settling into my familiar hush, I was doing the small, ordinary rituals that end my day — switching off gadgets, straightening the hall, moving towards the bedroom. And then came a sudden, heavy bang against the window.

Xena stirred. Zuri woke up.

I turned back.

Perched on the railing of the hall window was a black kite — one of those great, ubiquitous birds of Mumbai that I have watched all my life, usually from far below, their silhouettes cutting slow, elegant arcs across blue skies and white clouds. But this time it was here. At my window. Close enough to meet my eyes through the glass.

It did not panic. It did not shy away.

It simply stood there.

As a child, I had always watched them — from the balcony of our Bandra home, sometimes beside my grandmother, sometimes alone. I would follow their flight for long minutes, losing myself in their effortless gliding, riding invisible thermal currents with a grace that felt almost unreal. Wings, feathers, sky — they became symbols long before I had the language for symbolism.

During difficult school years, when things were unkind and heavy, the song Wind Beneath My Wings found its way into my life. The idea of being held aloft by something unseen lodged itself quietly in my imagination. As a Gemini, an air sign, I always felt strangely attuned to flight — to movement, to the freedom of altitude, to the idea of rising above without force.

And now, at this juncture of my life — nearly fifty, standing on the edge of leaving this house to return to my mother’s home, with both my kids, Xena and Zach, very unwell — this bird arrived.

I have been holding myself together with a very thin, polite front. Loss, I understand. I have learned how to sit with it. What weighs heavier these days is the world itself — its cruelty, its relentless hunger for power and money, its refusal to soften. None of this is new, and yet I feel it more keenly now, as if the volume has been turned up.

The kite remained there while I took photographs and videos, its feathers ruffled slightly by the morning air. When I opened the door, Zuri rushed out, spotted the bird instantly, and froze — then barked in sheer terror, her bravery collapsing into panic. I had to shepherd her back inside; Xena had already checked out the hall and finding nothing amiss had retreated. The bird stayed, unbothered, watching.

Eventually, I stepped away. The kids wouldn’t stay in the room if I was out, after that.

I do not know how long it remained after that. But the fact that it stayed at all — that it did not flee even reminded me of something I had long forgotten: stillness can also be a form of courage.

In many mythological traditions, birds of prey carry layered meanings. Eagles are often seen as messengers of the divine, symbols of power, vision, and transcendence — creatures that bridge earth and sky. Kites and hawks, closer cousins, are associated with watchfulness, adaptability, and survival. In Indian folklore especially, birds that circle high are sometimes seen as guardians — not saviours, not omens, but witnesses. They see the whole picture from above.

In ancient symbolism, such birds appear not to predict events but to remind. To lift the gaze. To suggest perspective when the ground feels unbearably close.

I do not want to romanticise this too much. I am wary of assigning meaning where there may be none. Nature does not owe us messages. Sometimes a bird is simply a bird.

And yet.

This has never happened to me before — not like this. Kites have landed on pipes on terraces, have watched me from heights, have shared space from a respectful distance. But never like this: eye to eye, separated only by a pane of glass, unafraid.

Whether I communed with nature, or nature briefly acknowledged me — or whether this was nothing more than coincidence — I cannot say. But it left me calmer than I have felt in days. Not hopeful, exactly. Just steadied.

As if something ancient had paused, looked in, and reminded me that even in a world obsessed with conquest and noise, there are still beings who know how to glide — who expend no unnecessary energy, who trust the currents, who wait.

And perhaps, for now, that is enough.

Ghosts Over Trolls

My relationship with the online world didn’t begin with grand ambitions. It began, quite simply, with fun. Facebook since 2007, insta, Snapchat since 2012. 

In 2015, i had about 10k followers on insta and I found myself on Musical.ly — that strange, playful little app where people lip-synced, danced, and made short sketches without worrying about who was watching. It was light, it was silly, and it made me happy.

Around 2018 came TikTok, and suddenly those little videos of mine grew into something bigger. I found a rhythm, a voice, a community — and before I knew it, there were tens of thousands of people following along. 

Somewhere in that same period, someone I loved introduced me to League of Legends. The graphics were fantastic, the characters intoxicating, and the gameplay chaotic in the best way. But the chat? The chat was a battlefield of its own. Vitriol, insults, casual abuse… the kind of ugliness that makes you switch to “versus AI” permanently. I loved the game; I just couldn’t stand the people in it.

By 2020, League itself faded out of my life — and TikTok was banned in India. Almost overnight, I lost a space where I’d been creative, confident, and oddly free. The pandemic arrived like a dark tide. Grief hit. Heartbreak hit. And lockdown pushed all of us into our screens, whether we were ready or not.

Instagram, which I’d casually used since 2012, suddenly became my living room. Reels launched around June 2020, and with TikTok gone, I poured myself into Instagram. I spoke about my identity, my sexuality, my mental health, my history — the things that had shaped me. I went live for hours; sometimes ten, sometimes twelve. I made friends across continents. I healed in front of strangers who somehow didn’t feel like strangers at all.

But then the trolls arrived.

They always do. First they ruined Twitter, then they seeped into Instagram, and now they’re infesting Threads as well. What I endured in school — the taunts, the mockery, the homophobia — began repeating itself in digital form. The cruelty of social media became impossible to ignore. 

And the videos… that was the final blow.

Animals suffering. Forests burning. Humans being monstrous to the planet and to each other.

It crushes something inside me every time I see it. I can last about half an hour on Instagram now before my heart feels scraped raw.

So I began to step away. Slowly. Quietly.

And then came the turning point: late 2023. I bought myself a PS5. A gift, a distraction, a lifeline — I’m still not sure. All I knew was that my mind needed a quieter place to exist.

I entered the world of Hogwarts Legacy first — a universe I had known since my twenties and thirties. The nostalgia soothed me, even though I’ve had to firmly separate the art from the artist. Then Assassin’s Creed Odyssey opened up an entirely different dimension. I roamed through ancient Greece with Kassandra — the Pantheon, the Colosseum, the cradle of the Olympics. Places I had only seen in books were suddenly alive around me. It was a form of time travel I had not known was possible.

And then Ghost of Tsushima arrived — and that, truly, changed everything.

To gallop across fields of purple flowers. To stand beneath ginkgo trees shedding gold. To write haiku beside quiet waters. To sink into a digital hot spring and breathe, slowly, deeply, finally.

These moments — pixelated though they may be — brought me peace that the real world has not offered for a long time.

Gaming, for me, is not escapism.

It is refuge.

A sanctuary from noise, cruelty, and the relentless sadness of what we humans are doing to the planet I love so fiercely.

I don’t know why holding a controller quietens my overthinking mind. But it does. And so I return to these worlds often. Worlds filled with beauty, meaning, and silence.

And perhaps that is enough.

Perhaps that is everything.

Peter

I have Peter Pan tattooed on my arm. Let me tell you why he means so much to me, and what he really stands for — not just in stories, but in the way writers and thinkers understand childhood itself.

When I was young, I didn’t get the soft, safe childhood that many children do. Life pushed me to grow up quickly, to understand things too early, and to protect myself in ways a child shouldn’t have to. But somewhere inside me, there was still a tiny spark that refused to die — a spark of imagination, wonder, humour, hope. That little spark kept me alive, and in many ways, Peter Pan represents that part of me.

Most people think Peter Pan is just a boy who refuses to grow up. But his name comes from the ancient Greek god Pan — the wild spirit of nature.

Pan wasn’t gentle or civilised. He was half-human, half-goat, with horns, hooves, and an erect phallus, which represented nature’s raw life-force. He was joyful and frightening, beautiful and wild, playful and powerful. He stood for the part of the world that adults try to tame but never truly can.

E. M. Forster wrote a story called The Story of a Panic, where Pan appears not as a monster but as a force of pure, natural joy. The adults in the story are terrified of him because they’ve forgotten what it feels like to be free. But the boy who feels Pan’s presence becomes alive in a way the grown-ups can’t understand.

Peter Pan is exactly that kind of spirit.

He is childhood in its raw, untamed form — full of imagination, wildness, fearlessness, and joy. The kind of childhood that today’s world has almost forgotten.

And that brings me to another writer: William Blake.

Blake wrote two famous collections of poems — Songs of Innocence and Songs of Experience.

In the Songs of Innocence, he spoke about childhood as a sacred, magical time — a world full of wonder, trust, and imagination.

In the Songs of Experience, he showed how the world crushes that innocence — with fear, cruelty, knowledge that comes too early, and responsibilities a child shouldn’t carry.

Even in Blake’s time, adults worried that children were losing innocence too quickly.

Today, it’s even worse. Children know everything too soon — violence, death, betrayals, cruelty, adult worries long before they’re ready. There’s no time to dream. No time to play. No time to believe in magic.

And that is why Peter Pan matters to me.

Peter represents the child inside us who refuses to let the world take away its light.

He stands for the part of the human spirit Blake called “innocence” — not naïve, not foolish, but open-hearted and imaginative. The part that trusts, loves, laughs, and sees beauty.

In today’s world, people sometimes say Peter Pan is selfish or uncaring. They judge him by adult standards. They make Hook the hero and turn Peter into the villain. But that’s not how J. M. Barrie wrote him. Barrie loved Peter because Peter lived outside time, outside rules, outside the heaviness of adulthood. He wasn’t meant to behave like a grown-up — he was meant to represent the one thing adults can’t fully control: the spirit of childhood.

Peter forgets not because he is cruel, but because he lives in the eternal now.

He doesn’t understand time because no one ever protected him long enough to teach him.

He isn’t irresponsible — he is free.

And freedom, real freedom, scares adults who have forgotten how to dream.

That’s why I don’t agree with people who villainise Peter today. They see him from the perspective of experience, but forget the value of innocence.

Peter Pan is not a warning about immaturity.

He’s a reminder that even when life is difficult, we must protect the small, bright, imaginative part of ourselves.

The part that still believes in flying.

The part that still wants to explore forests and seas.

The part that hasn’t given up.

So when you see this tattoo, know that it isn’t about refusing to be an adult.

It’s about holding on to wonder.

Holding on to joy.

Holding on to innocence in a world that tries to steal it too fast.

It’s about remembering that the wild spark inside us — like Pan, like Peter, like Blake’s innocent child — deserves to live.

And that spark is what kept me alive.