The Age of Dust

Read about wars;
Heard about deaths;
Know human beings
And their penchant for power.
Fairy tales spoke of it:
Witches who killed princes,
Then priests who killed witches—
Even those who healed.

April brought sweet showers
That the dead could not dance in.
Yet wars were fought,
History was written—
Differently, for different powers.
Gods upon millennia
Passed.
And human beings remain
Stupid.
Clinging to faith, or awe,
Taught by fear
Of being so small
In the glowing massiveness of universes.
Unrealising:
We come from stars, too.

Yet we choose death,
Born of greed that strips
Root from tree,
Child from mother—
To fight for strips of land
That will never remain ours.
Nor will the name
Your dead mother gave you,
That the world remembered
For just an age.

Cancel Culture

“Cancel culture” is a term tossed around with reckless ease. It is at once a source of panic for the powerful and a tool of resistance for the marginalised. It is weaponised, misunderstood, over-applied, and under-theorised. But for me, it is something quieter. A deeply personal act. Not a call to arms, but a call to account. I don’t cancel at random, nor do I cancel to trend. I cancel to think. To feel. To stay true.

Let me be clear: I don’t believe in dehumanising those who think differently. I don’t believe in violence—verbal or physical—as a way of enforcing ideological alignment. And yet, I live in a country where the state has weaponised cancel culture far more violently and effectively than any hashtag ever could.

In today’s political landscape, democracy has been reduced to a theatre of obedience. Speak out, and you’re branded anti-national. Question power, and masked goons appear to “correct” your thinking—with lathis, with bulldozers, with threats to livelihood and safety. Institutions once meant to uphold democracy now police dissent. Universities, artists, journalists, and even schoolchildren are not spared. The State has adopted cancel culture—but its version is not moral disengagement. It is erasure. Brutal, literal, and often irreversible.

So then the question arises: What is cancel culture really? Is it this authoritarian intolerance of critique? Or is it something else entirely?

Sociologist Max Weber spoke of the “monopoly on legitimate violence” that the State holds—yet in today’s climate, we must ask: what legitimises that violence when it is used not to protect the people but to silence them? Antonio Gramsci would point to hegemony: how dominant ideas are normalised through cultural institutions, making the dissenting voice seem irrational, even dangerous. And Michel Foucault, ever prescient, would remind us that power doesn’t merely punish; it produces knowledge, truth, and identity. In such a scenario, calling out a public figure or institution becomes less about cancellation and more about survival.

We must be able to distinguish between public accountability and State-sanctioned suppression. Cancel culture, in its most honest form, is a civilian tool. It allows individuals to reject systems, figures, or works that no longer align with their ethics. It is non-violent. It is reflective. It is—at best—an expression of democratic choice.

So when I withdraw my support from someone like J.K. Rowling, it is not a call for her destruction. It is an act of disengagement. I find her views on trans people reprehensible, even though her books shaped generations. The contradiction doesn’t escape me. Nor does the discomfort of reading Neil Gaiman now, knowing the sexual abuse allegations surrounding him. I don’t cancel from hate—I cancel from heartbreak.

And yet, I know the world isn’t black and white. The MeToo movement exposed thousands of valid stories, but it also caught up innocent people—collateral damage in a much-needed revolution. Gandhi boycotted foreign goods to build self-reliance and defiance, but even that choice was not free of complications. These were symbolic acts, deeply political but also deeply personal.

The irony is that while critics decry the “intolerant left” for cancelling, the right has mastered the art of cancellation through brute force. They demolish homes, censor films, break stages, imprison poets, and ban books. Their version of cancel culture wears a boot and carries a stick. But violence is not cancellation—it is suppression. And suppression, unlike cancellation, leaves no room for return, reformation, or redemption.

So here’s my dilemma: If we don’t think through our cancellations, we become the mirror image of the oppressor. But if we never cancel—if we always “separate art from the artist,” if we forever “agree to disagree”—then at what point does silence become complicity?

Sociological theory suggests that no act is free from the power structures around it. But the more we think, the more valid our choices become. Thoughtfulness is the soul of ethical cancellation. It doesn’t always come with clarity. Sometimes it comes with conflict, with sour tastes in the mouth, with the slow erosion of childhood heroes. But that is the burden of having a conscience.

So no, I do not cancel to destroy. I cancel to define. Not others—but myself.

And if thinking makes that act more valid, then I will keep thinking. Loudly, privately, messily. Until it makes sense. Or until I must act again.

your book

I was cleaning a drawer
Filled with documents and such.
A book I had stashed away
Peeped out from a corner.

It had your poems and accounts
And an old, faded rose.
I forgot if you or I had saved the bloom,
But your handwriting was enough
To send me into a spiral.

The pages of the book were yellow,
Your words were written in pencil,
Your handwriting curvy
And almost illegible.
It was a struggle;
Then your voice
Shone in the words.

The first paragraph I read
Struck me—like a surprise hug.
It was about a sadness
And a wait—like all of life,
With dried petals caught in between.

You reached out to tell me
The written word means much;
It finds light and memory
Through life’s corners in dirty drawers.