#tamil book

[srkgirlblogger]

book covers for vol. 1, 2 and 3 of The Blaft Anthology of Tamil Pulp Fiction

Cover artwork by Shyam Sankar (also known as "Shyam") and design by Malavika PC

[allari-ammayi]

Butta Bomma

𝐌𝐚𝐬𝐭𝐞𝐫𝐥𝐢𝐬𝐭

A. Bahubali x Reader x B. Deva

𝐒𝐲𝐧𝐨𝐩𝐬𝐢𝐬➜

When bookworm Y/n reluctantly succumbs to her friends' movie night and watches "Bahubali," she discovers a newfound empathy for the much-despised Bhallaladeva, igniting an unexpected connection between their souls. Following the loss of her grandmother, Y/n inherits a mysterious red amulet that transports her to an unimaginable world. Her assigned mission: to alter the destinies of her beloved character. In the heart of Mahismati, Y/n's undercover adventures bring her closer to the royal brothers, determined to reshape their fates for the better. As bonds deepen, romance blooms and Y/n faces a dilemma: will their feelings jeopardize her mission? Will it even matter in the end?

𝐓.𝐖➜

This story contains themes of death and bereavement, violence, toxic relationships, emotional turmoil, travelling worlds, ¿isekai?, romantic conflicts, identity crisis, moral dilemmas, possible sexual content in later chapters, themes of betrayal, political intrigue, power struggles, intense emotional situations, and complex moral decisions, exploration of familial and romantic relationships, warfare, injury, and graphic violence. Let me know if I missed any!

𝐀𝐫𝐜 ⌗𝟏

𝐏𝐫𝐞-𝐌𝐨𝐯𝐢𝐞➜

The Interesting Perspective

The New World

The Angel Lady

The Harsh Interrogation

The Monkey Woman

The Snarky Prince

The Etiquette Lessons

The Language Barrier

The Political Genius

The Mahismati Festival

𝐀𝐫𝐜 ⌗𝟐

𝐌𝐨𝐯𝐢𝐞 ⌗𝟏➜

The Scripted Starting

The Dancing Beauty

The Affectionate Prince

The Gruesome Battle

The Vitory Horror

𝐀𝐫𝐜 ⌗𝟑

𝐌𝐨𝐯𝐢𝐞 ⌗𝟐➜

The Dangerous Thoughts

The Kuntala Quest

The Royal Gardens

The Deciding Day

𝐀𝐫𝐜 ⌗𝟒

𝐁𝐚𝐡𝐮𝐛𝐚𝐥𝐢'𝐬 𝐑𝐨𝐮𝐭𝐞➜

The Kuntala Journey

The Charming Princess

The Kuntala Palace

The Dreamer Boy

The Hunting Party

The Krishna Pooja

The Marriage Proposal

The Silent Attack

The Lady’s Choice

𝐆𝐨𝐨𝐝 𝐄𝐧𝐝𝐢𝐧𝐠➜

The Rejoiced Couple

The Wedding Night

The Jealous Banishment

The Back-Stabber

The Final Sob

The Honoured Dead

𝐁𝐚𝐝 𝐄𝐧𝐝𝐢𝐧𝐠➜

The Stubborn Prince

The Jealous Husband

The Painful Coronation

The Run-Away Wife

The Reunited Lovers

The Old Beginnings

𝐀𝐫𝐜 ⌗𝟓

𝐁𝐡𝐚𝐥𝐥𝐚𝐥𝐚𝐝𝐞𝐯𝐚'𝐬 𝐑𝐨𝐮𝐭𝐞➜

The Library Roaming

The Compensating Gifts

The Hidden Portrait

The Risky Plan

The Portrait Showing

The Insistent Girl

The False Confession

The Impulsive Promise

The King’s Confession

𝐆𝐨𝐨𝐝 𝐄𝐧𝐝𝐢𝐧𝐠➜

The Defeated King

The Heart Problems

The Exiled Duo

The Discontent Girl

The Confidential News

The Sweet Embrace

𝐁𝐚𝐝 𝐄𝐧𝐝𝐢𝐧𝐠➜

The Impressive Queen

The Romantic King

The Revealed Secret

The Destroyed Amulet

The Two-Faced Liar

The Tragic End

𝐓𝐚𝐠𝐥𝐢𝐬𝐭➜ @vellipo-mellaga , @mellaga-karagani @bhalare-vichitram , @ghal-ghal , @bitchy-bi-trash @vijayasena , @celestesinsight @houseofbreadpakoda @slutdreams @eclecticprincecollector @a-goblin-named-cherry @signed-manny @angstylittleb1tch @tulipmagnoliaisme @jkdaddy01 @channniesslefttt @toomanyfanficsbruh @reebibii @outofst1le @goldenharrysworld @warnermeadowsgirl

《If you wish to be part of the taglist, please let me know in the replies!》

𝐍𝐨𝐭𝐞➜

This story contains elements of fantasy, adventure, and emotional depth, but be aware of potential triggers, including violence, grief, and complex relationships. Reader discretion is advised.

Does anyone want an OC version if they're not interested in y/n?

[veerasposts]

கண்ணிக்கனி(Kannikani) is the word the author is referencing. Banger essay btw, it is A good woman, a very good woman: Tamil cinema's women by C. S. Lakshmi in Tamil Cinema - The cultural politics of India’s other film industry.

[demigod-of-the-agni]

any cool desi books/media to recommend??

Okay to be fair I am not the biggest consumer of desi media HOWEVER. I have a few niche favourites (some of them come from my research for my Major Work in my final year in high school but here's a quick list):

The Namesake by Jhumpa Lahiri - god this entire book changed me fundamentally. It was like watching my own life play in fast-forward and getting hit in places I didn't want to be hit. if you are a first-generation desi in a western country, you will be on the ground sobbing

If You See Me, Don't Say Hi by Neel Patel - a collection of short stories that methodically break down some of the most subtle and pervasive stereotypes within desi cultures. I've only ever had time to read the first two stories but I'm hoping to get the full book someday

Unaccustomed Earth by Jhump Lahiri - an anthology I read for my senior year as well. Another one of this heart-wrenching pieces that just resonate with me like damn.

The Aru Shah series by Roshani Chokshi - it's Percy Jackson But Make It Desi and honestly such a fun read!! Reading about the Potatoes (this is what the reincarnated Pandavas call themselves not joking) is always bound to make my day

The Age of Kalki series by Vishwas Mudagal - I read this purely for inspiration on my own original novel, and it was fun to use for comparisons for research and my writing. Also, spy stuff and action and all that

The Spider-Man: India comics - hey, desi stuff is desi stuff, and I enjoy anything that has my boy Pavitr in it (I'll enjoy it even more when @/marvelentertainment hires me to write him a book)

The Ms. Marvel show and comics - in Iman Vellani we trust 🙏 also my girl has such a wonderful variety of comics like. she's so cool. i love her. hoping that Iman does a masterful job as she writes Kamala's newest comic

18 Days by Grant Morrison - listen. there is a 2015 graphic novel and there is a 2010 artbook for the 2015 book. They are both the same thing: a retelling of the Mahabharata but make it electronic/futuristic. Read the graphic novel for the story, but I HIGHLY HIGHLY recommend the 2010 artbook as well because my god the ART is just gorgeous. It obviously provides insight on the creation of Morrison's 2015 book but god it is just. so so sooooo good. Mukesh Singh is a beautiful artist I need to have his art tattooed on me

Any desi movies from the 90s-00s - my experience with tamil movies in that time period have always been good ones!! They're chill, they're funny, they're silly, they're romantic, they're thrilling. literally all of my favourite song come from this period (don't disregard movies from later periods either, I watched Brahmastra a few months back and it was lit as fuck).

English translations of popular desi stories - and these stories can be anything. from ye old prevailing Ramayana and Mahabharata to anything written by contemporary desi authors. They've got a lot to share

On a side note me complaining to my desi friends that I want good tamil representation in western media often led to me getting smacked in the face with Never Have I Ever (by my DESI friends! who say it is very good!!) and i just want to say no. don't watch that. as a tamil person living in a western country, i apologise for who Devi Vishwakumar is as a person. i will personally pay for your therapy (has only watched two episodes and was immediately turned off)

I'm giving y'all a whole day to ask me whatever

[bijoumikhawal]

The Song of Songs has quite recently (1973) been assigned to the time of Solomon by a distinguished Hebraist, Professor Chaim Rabin of the Hebrew University in Jerusalem. For more than forty years now evidence has been accumulating for some kind of relationship between the cities of the Harrapan civilization of the Indus Valley and lower Mesopotamia during the latter part of the third millennium B.C. and into the second (cf. C. J. Gadd, PBA, 1932). Rabin (205) called attention to the few dozen typical Indus culture seals which have been found in various places in Mesopotamia, some of which seem to be local imitations. He suggested that these objects were imported not as knickknacks, but because of their religious symbolism by people who had been impressed by Indus religion. To the examples of Indus type seals in Mesopotamia cited by Rabin (217n2), we may add a dated document from the Yale Babylonian Collection, an unusual seal impression found on an inscribed tablet dated to the tenth year of Gimgunum, king of Larsa, in Southern Babylonia, which according to the commonly accepted "middle" chronology would be 1923 B.C. (B. Buchanan, 1967).

[...]

Rabin cited a story from the Buddhist Jatakas, the Baveru Jataka, which tells of Indian merchants delivering a trained peacock to the kingdom of Baveru, the bird having been conditioned to scream at the snapping of fingers and to dance at the clapping of hands. Since maritime connection between Mesopotamia and India lapsed after the destruction of the Indus civilization, and since the name Baveru (i.e. Babel, Babylon) would hardly have been known in the later period when trade with India went via South Arabia, Rabin concluded that the Jataka story about the peacock must ultimately date before 2000, an example of the tenacity of Indian tradition (p. 206). Ivory statuettes of peacocks found in Mesopotamia suggest that the birds themselves may also have been imported before 2000 B.C. (cf. W. F. Leemans, 1960, 161, 166), and Rabin (206) wondered whether the selection of monkeys and peacocks for export may not have derived from the Indian tendency to honor guests by presenting them with objects of religious significance. Imports of apes and peacocks are mentioned in connection with Solomon's maritime trade in I Kings 10:22 [=II Chron 9:21], the roundtrip taking three years. The word for "peacocks," tukkiyyim, singular tukki, has since the eighteenth century been explained as a borrowing of the Tamil term for "peacock," tokai. Tamil is a Dravidian language which in ancient times was spoken throughout South India, and is now spoken in the East of South India. Scandinavian scholars claim to have deciphered the script of the Indus culture as representing the Tamil language (cf. Rabin, 208, 218n20). Further evidence of contact with Tamils early in the first millennium B.C. is found in the names of Indian products in Hebrew and in other Semitic languages. In particular Rabin cites the word 'ahalot for the spice wood "aloes," Greek agallochon, Sanskrit aghal, English agal-wood, eagle-wood, or aloes, the fragrant Aquilaria agallocha which flourishes in India and Indochina. The Tamil word is akil, now pronounced ahal. Its use for perfuming clothing and bedding is mentioned in Ps 45:9 [8E] and Prov 7:17 and Rabin surmised that the method was one still current in India, the powdered wood being burned on a metal plate and the clothing or bedding held over the plate to absorb the incense. Rabin supposed that it was necessary to have observed this practice in India in order to learn the use of the substance (p.209). Aloes are mentioned in 4:14 among the aromatics which grace the bride's body. The method of perfuming bedding and clothing by burning powdered aloes beneath them may clarify the puzzling references to columns of smoke, incense, and pedlar's powders in connection with the epiphany of "Solomon's" splendiferous wedding couch ascending from the steppes (3:6-10), bearing it seems (cf. 8:5) the (divine?) bride and her royal mate. Myrrh and frankincense only are mentioned, but "all the pedlar's powders" presumably included the precious aloes from India.

Opportunity to observe Indian usages would have been afforded visitors to India in the nature of the case, since the outward journey from the West had to be made during the summer monsoon and the return trip during the winter monsoon, so that the visitor would have an enforced stay in India of some three months. Repeated visits with such layovers would provide merchant seamen with the opportunity to learn a great deal about local customs, beliefs, and arts.

After a brief critique of modern views about the Song of Songs, none of which has so far found general acceptance, Rabin ventured to propound a new theory based on Israel's commercial contacts with India during Solomon's reign.

There are three features which,in Rabin's view (pp. 210f), set the Song of Songs apart from other ancient oriental love poetry. Though occasional traces of these maybe found elsewhere, Rabin alleged that they do not recur in the same measure or in this combination:

1. The woman expresses her feelings of love, and appears as the chief person in the Song. Fifty-six verses are clearly put into the woman's mouth as against thirty-six into the man's (omitting debatable cases).

2. The role of nature in the similes of the Song and the constant reference to the phenomena of growth and renewal as the background against which the emotional life of the lovers moves, Rabin regarded as reflecting an attitude toward nature which was achieved in the West only in the eighteenth century.

3. The lover, whether a person or a dream figure, speaks with appropriate masculine aggressiveness, but the dominant note of the woman's utterances is longing. She reaches out for a lover who is remote and who approaches her only in her dreams. She is aware that her longing is sinful and will bring her into contempt (8:1) and in her dream the "watchmen" put her to shame by taking away her mantle (5:7). Ancient eastern love poetry, according to Rabin, generally expresses desire, not longing, and to find parallels one has to go to seventeenth-century Arab poetry and to the troubadours, but even there it is the man who longs and the woman who is unattainable.

These three exceptional features which Rabin attributed to the Song of Songs he found also in another body of ancient poetry, in the Sangam poetry of the Tamils. In three samples, chosen from the Golden Anthology of Ancient Tamil Literature by Nalladai R. Balakrishna Mudaliar, Rabin stressed the common theme of women in love expressing longing for the object of their affection, for their betrothed or for men with whom they have fallen in love, sometimes without the men even being aware of their love. The cause of the separation is rarely stated in the poem itself, but this is rooted in the Tamil social system and code of honor in which the man must acquire wealth or glory, or fulfill some duty to his feudal lord or to his people, and thus marriage is delayed. There is conflict between the man's world and the woman's and her desire to have her man with her. This conflict is poignantly expressed in one of the poems cited (Rabin, 212) in which a young woman whose beloved has left her in search of wealth complains: I did his manhood wrong by assuming that he would not part from me. Likewise he did my womanhood wrong by thinking that I would not languish at being separated from him. As a result of the tussle between two such great fortitudes of ours, my languishing heart whirls inagony, like suffering caused by the bite of a cobra.

In the Tamil poems the lovelorn maiden speaks to her confidante and discusses her problems with her mother, as the maiden of the Song of Songs appeals to the Jerusalem maids and mentions her mother and her lover's mother; but neither in the Tamil poems nor the Song of Songs is there mention of the maiden's father. In Rabin's view the world of men is represented by "King Solomon," surrounded by his soldiers, afraid of the night (3:7-8), with many wives and concubines (6:8), and engaged in economic enterprises (8:11). Significantly, however, according to Rabin (p. 213), Solomon's values seem to be mentioned only to be refuted or ridiculed: "his military power is worth less than the crown his mother (!) put on him on his wedding day; the queens and concubines have to concede first rank to the heroine of the Song; and she disdainfully tells Solomon (viii 12) to keep his money."

Since the Sangam poetry is the only source of information for the period with which it deals, Rabin plausibly surmised that the recurring theme of young men leaving home to seek fortune and fame, leaving their women to languish, corresponded to reality, i.e. the theme of longing and yearning of the frustrated women grew out of conditions of the society which produced these poems. Accordingly, the cause for the lover's absence need not be explicitly mentioned in the Tamil poems and is only intimated in elaborate symbolic language. Similarly, Rabin finds hints of the nonavailability of the lover in the Song of Songs. The references to fleeing shadows in 2:17, 4:6-8, and 8:14 Rabin takes to mean winter time when the shadows grow long. The invitation to the bride to come from Lebanon, from the peaks of Amana, Senir, and Hermon in 4:6-8 means merely that the lover suggests that she think of him when he traverses those places. The dream like quality of these verses need not, inRabin's view, prevent us from extracting the hard information they contain. The crossing of mountains on which or beyond which are myrrh, incense, and perfumes all lead to South Arabia, the land of myrrh and incense. Thus the young man was absent on a caravan trip. Even though he did not have to traverse Amana or Hermon to reach Jerusalem from any direction, he did have to traverse mountains on the trip and in South Arabia he had to pass mountain roads between steep crags ("cleft mountains") and it was on the slopes of such mountains that the aromatic woods grew ("mountains of perfume"). Coming from South Arabia, however, one had to cross Mount Scopus, "the mountain of those who look out," from which it is possible to see a caravan approaching at a considerable distance. In 3:6 "Who is she that is coming up from the desert, like pillars of smoke, perfumed with myrrh and incense, and all the powders of the perfume merchant?" is taken to refer to the caravan, the unexpressed word for "caravan" sayyarah, being feminine (Rabin, 214 and 219n29). "The dust raised by the caravan rises like smoke from a fire,but the sight of the smoke also raises the association of the scent a caravan spreads around it as it halts in the market and unpacks its wares."

The enigmatic passage 1:7-8 Rabin also related to a camel caravan despite the pastoral terminology. Rabin's theory encounters difficulty with the repeated use of the verb r'y, "pasture," and its participle, "pastor, shepherd" in view of which commentators commonly regard the Song as a pastoral idyl. His solution is to suggest that the term may have some technical meaning connected with the management of camels.

The list of rare and expensive spices in 4:12-14 reads so much like the bill of goods of a South Arabian caravan merchant that Rabin is tempted to believe that the author put it in as a clue.

Be it what it may, it provides the atmosphere of a period when Indian goods like spikenard, curcuma, and cinnamon, as well as South Arabian goods like incense and myrrh, passed through Judaea in a steady flow of trade. This can hardly relate to the Hellenistic period, when Indian goods were carried by ship and did not pass through Palestine: it sets the Song of Songs squarely in the First Temple period (Rabin,215).

As for the argument that the Song contains linguistic forms indicating a date in the Hellenistic period, Rabin points out that the alleged Greek origins of 'appiryon in 3:9 and talpiyyot in 4:4, the former word supposedly related to phoreion, "sedan chair," and the latter to telopia, "looking into the distance,"are dubious.

The phonetic similarity between the Greek and Hebrew words is somewhat vague, and this writer considers both attributions to be unlikely, but even acceptance of these words as Greek does not necessitate a late dating for the Song of Songs, since Mycenaean Greek antedates the Exodus. Neither word occurs elsewhere in the Bible, so that we cannot say whether in Hebrew itself these words were late. In contrast to this, pardes "garden, plantation," occurs, apart from 4:13, only in Nehemiah 2:8, where the Persian king's "keeper of the pardes" delivers wood for building, and in Ecclesiastes 2:5 next to "gardens." The word is generally agreed to be Persian, though the ancient Persian original is not quite clear. If the word is really of Persian origin, it would necessitate post-exilic dating. It seems to me, however, that this word, to which also Greek paradeisos belongs, maybe of different origin.

[...]

Rabin's summation of his view of the Song of Songs is of such interest and significance as to warrant citation of his concluding paragraphs (pp.216f):

It is thus possible to suggest that the Song of Songs was written in the heyday of Judaean trade with South Arabia and beyond (and this may include the lifetime of King Solomon) by someone who had himself travelled to South Arabia and to South India and had there become acquainted with Tamil poetry. He took over one of its recurrent themes, as well as certain stylistic features. The literary form of developing a theme by dialogue could have been familiar to this man from Babylonian-Assyrian sources (where it is frequent) and Egyptian literature (where it is rare). He was thus prepared by his experience for making a decisive departure from the Tamil practice by building what in Sangam poetry were short dialogue poems into a long work, though we may possibly discern in the Song of Songs shorter units more resembling the Tamil pieces. Instead of the vague causes for separation underlying the moods expressed in Tamil poetry, he chose an experience familiar to him and presumably common enough to be recognized by his public, the long absences of young men on commercial expeditions. I think that so far our theory is justified by the interpretations we have put forward for various details in the text of the Song of Songs. In asking what were the motives and intentions of our author in writing this poem, we must needs move into the sphere of speculation. He might, ofcourse, have been moved by witnessing the suffering of a young woman pining for her lover or husband, and got the idea of writing up this experience by learning that Tamil poets were currently dealing with the same theme. But I think we are ascribing to our author too modern an out look on literature. In the light of what we know of the intellectual climate of ancient Israel, it is more probable that he had in mind a contribution to religious or wisdom literature, in other words that he planned his work as an allegory for the pining of the people of Israel, or perhaps of the human soul, for God. He saw the erotic longing of the maiden as a simile for the need of man for God. In this he expressed by a different simile a sentiment found, for instance, in Psalm 42:24: "Like a hind that craves for brooks of water, so my soul craves for thee, O God. My soul is a thirst for God, the living god: when shall I come and show myself before the face of God? My tears are to me instead of food by day and by night, when they say to me day by day: Where is your god?" This religious attitude seems to be typical of those psalms that are now generally ascribed to the First Temple period, and, as far as I am aware, has no clear parallel in the later periods to which the Song of Songs is usually ascribed.

Rabin considered the possibility of moving a step further in speculation about Indian influence.

In Indian legend love of human women for gods, particularly Krishna, is found as a theme. Tamil legend, in particular, has amongst its best known items the story of a young village girl who loved Krishna so much that in her erotic moods she adorned herself for him with the flower-chains prepared for offering to the god's statue. When this was noticed, and she was upbraided by her father, she was taken by Krishna into heaven. Expressions of intensive love for the god are a prominent feature of mediaeval Tamil Shaivite poetry. The use of such themes to express the relation of man to god may thus have been familiar to Indians also in more ancient times, and our hypothetical Judaean poet could have been aware of it. Thus the use of the genre of love poetry of this kind for the expression of religious longing may itself have been borrowed from India.

Rabin's provocative article came to the writer's attention after most of the present study had been written. It is of particular interest in the light of other Indian affinities of the Song adduced elsewhere in this commentary.

pg 27-33, Song of Songs (commentary) by Marvin Pope

[hollogramhallucination]

vikram as aditha karikalan in ponniyin selvan: I (2022) dir. mani ratnam

[madwoman14]

nothing just thinking about how a ponniyan selvan movie was not just mani ratnam’s dream but also the dream of so many that came before him and how kollywood has finally put the story on screen after 70 years…

[nidhi-writes]

Literally screaming as I am in love with my new book cover edits for my stories. Feeling good after hours of editing.

What you guys think?

[nagarajhiphop]

Viral video: Mascot dressed as elephant groooves to ‘Kaavaalaa’, internet is impressed

A viral video from Kerala depicts what appears to be a dancing elephant, captivating social media users. However, viewers soon realize it's a man in an elephant costume, dancing to a popular Rajinikanth song.

A video capturing the mesmerizing dance moves of what appeared to be an elephant in Kerala has set social media abuzz. The clip, which circulated widely across platforms like Reddit and Instagram, showcased the "elephant" grooving to the popular Rajinikanth song, ‘Kaavaalaa,’ much to the amazement of viewers.

Despite the large crowd surrounding the dancing figure, many were astonished to discover that it was not a real elephant but a person clad in an elephant costume. The costume was so meticulously crafted that it seamlessly mimicked the movements of the majestic creature, adding an element of whimsy and entertainment to the streets of Kerala.

The chosen song, ‘Kaavaalaa,’ hails from the acclaimed Rajinikanth movie ‘Jailer,’ featuring renowned actress Tamannaah Bhatia. The combination of the catchy tune and the skillful choreography captivated audiences, leading to millions of views and widespread discussion on social media platforms.

Among the flood of comments, a recurring theme emerged as viewers grappled with the realization that the dancing elephant was, in fact, a human performer. Some expressed awe at the level of realism achieved, while others voiced concerns about potential animal abuse, unaware of the costume's true nature.

"I thought it was real," remarked one bewildered viewer, echoing the sentiments of many who initially mistook the performance for genuine wildlife footage. 

[mybeautifulchristianjourney]

சங்கீதம் 79:9 எங்கள் மீட்பராகிய தேவனே, எங்களுக்கு உதவும்! எங்களுக்கு உதவும்! எங்களைக் காப்பாற்றும்! உமது நாமத்துக்கு அது மகிமையை தரும். உமது நாமத்தின் நன்மைக்காக எங்கள் பாவங்களை அழித்துவிடும்.

God, who saves us, help us for the glory of your name. Deliver us and make atonement for our sins for your name’s sake. — Psalm 79:9 | Tamil Bible: Easy-to-Read Version (ERV-TA) and Evangelical Heritage Version (EHV) Tamil Bible: Easy-to-Read Version © 2008 by Bible League International and the Holy Bible, Evangelical Heritage Version®, EHV®, © 2019 Wartburg Project, Inc. All rights reserved. Cross References: Deuteronomy 32:43; 2 Chronicles 14:11; Psalm 25:5; Psalm 25:11; Psalm 31:3; Psalm 39:8; Psalm 65:3

[wherestoriescomefrom]

friends have to deal with me as i lose my mind over every new detail reading book histories in south asia

[theropoda]

saddest news in the world: guy who wants to know about everything is stupid as fuck and can hardly read

[truly-devi]

[mangotalkies]

poonachi loved the pungent taste of onion caressing her tongue. even after she had eaten the bit, she would continue chewing with nothing in her mouth. the nanny goats and their kids would stare at her with a glint of envy in their eyes. poonachi would then perform a leap. in that leap was the boastful question: "do you all know the taste of an onion?"

i never thought i’d use ebullience to describe a character, much less a goat. it seemed too charming to use for anyone. but poonachi is ebullient.

[jeyaam]

btw did y’all know my current obsession is ponniyin selvan! i love vanthiyadevan so very much

[hollogramhallucination]

justice for vaanathi! mani ratnam owes us a director's cut with these scenes. free the deleted scenes and music!