Reflection | Writing Between Emotion and Detachment

I discovered Annie Ernaux’s writing pretty recently and at a time when I was learning to trust my own voice. I’ve been writing for a long time, but apart from blog updates, I almost never published my work. (I published 4 poems in online literary journals last year). Though I love writing, I spent the last 15 years focusing on my art, pushing writing to the back burner.

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I write poetry and short stories now and then. They are nothing grand or serious because I don’t feel compelled to write a whole book with a complete plotline and characters. I collected my short stories; some are purely fiction, and some are based on true experiences and stories. I have never met anyone who writes like me until I came across Annie Ernaux’s work.

Reading Ernaux was like finding a mirror I never knew existed. Ernaux, like me, dissects the past obsessively. She revisits memories repeatedly, searching for meaning in fragmented events of the past. But there was a difference I couldn’t ignore. Ernaux writes with a stark, almost clinical detachment. She lays out the details of her life as if she is simply recording facts. She does not romanticize or dramatize; she just records the experiences. Her writing reads like an autopsy of the past, as if she had already processed it, wrapped it up, and put it on a shelf labeled “This happened in the past.” She records the details of her love affairs, including the lurid moments, without nostalgia, shame, or guilt. This is what she wrote about one of her lovers:

“The man for whom I had learned them had ceased to exist in me, and I no longer cared whether he was alive or dead.” ~ Getting Lost

And that, I realized, is where she and I diverge.

I don’t just remember the past—I relive it . Every emotion returns, undiluted by time. I don’t just recall what happened; I feel it as if it’s still unfolding inside me. The joy, the pain, the longing, the grief—they rush back in full force. Because of this, my writing is anything but detached. When I write essays, blog posts, poems, or stories inspired by past events, they carry the pulse of my emotions. They are raw and undiminished. And for a long, long time, I felt ashamed of my voice and lacked confidence in expressing myself. I thought that was a flaw.

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I admired Ernaux’s ability to write without apology or hesitation. I wondered if I needed to learn detachment and strip my words of emotions so they could be seen as more “literary” and taken more seriously. After all, isn’t that what makes writing powerful—the ability to observe without being consumed? But the more I wrote, the more I realized: I don’t have to be like her. I don’t have to sever myself from my emotions to be a writer.

I realized that I don’t have to strive to be as detached as Ernaux. I can learn to be confident in my voice and embrace my own way of writing. My writing is where memory stays alive, where emotions breathe between the lines, unfiltered, unsoftened.

My words do not have to be clinical to be valid. They do not have to be detached to hold power. I am learning to write without shame, guilt, and hesitation. I will not erase the emotions—I will let them exist freely.

Perhaps I will never reach the kind of distance Ernaux has from her past. But that’s okay; my voice is mine, and it is enough.

So I wonder—must we detach from memory to write about it? Or is feeling everything deeply has its own power?

Book Review | Simple Passion by 2022 Nobel Laureate, Annie Ernaux

I have been wanting to read books by the French author, Annie Ernaux, since she was awarded the Nobel Prize in Literature in 2022, but I never got around to it until about a week ago. I was scrolling through my reading list on Everand and came across Ernaux’s book, Simple Passion. Since the book is short, 80 pages, I gave it a go. It took me one afternoon, in between daily routines, to finish it.

I’ve been a Scribd, and later Everand’s subscriber since 2018.

I’m blown away. Some books tell a story. Simple Passion does not. Instead, it captures her obsession with a man in its purest form. In this book, Ernaux presents a raw, unembellished account of her affair with a married man. This is an autofiction. Yes, it’s autobiographical with elements of fiction woven into the story.

The affair took place in the 80s, and I made a quick calculation. Ernaux would be in her late 40s when these events took place. Ernaux was divorced with two sons. The man was a lot younger, and I thought that was hot, but I digress.

Ernaux’s writing is fragmented, which surprised me. They bear resemblance to my (fiction) writing style. Ernaux’s narrative is not chronological. It’s like she’s jotting down memories and insights as they come to her. This rawness is what makes Simple Passion so devastatingly honest. She confesses:

I am incapable of describing the way in which my passion for A developed day by day. I can only freeze certain moments in time and single out isolated symptoms of a phenomenon whose chronology remains uncertain—as in the case of historical events.

Like I mentioned, this is my first Ernaux book. I wouldn’t say I love the language (perhaps the translation from French loses something), but I do admire the way she lays her experience bare. Ernaux wrote without using big, bombastic words and without self-pity. She stripped unnecessary details, and it’s brutal in the best way.

Her grief after her lover leaves for his home country is palpable. However, Ernaux doesn’t indulge us with the details of her feelings. She shows us instead through her actions, through her emptiness in her daily routine, and through the strange ways she tries to keep him close even in his absence.

One day, lying on my stomach, I gave myself an orgasm; somehow I felt that it was his orgasm.

It’s as if they were one entity, inseparable, even when apart.

And then there’s the bargaining. The desperate, irrational belief that she could will him back:

If he calls me before the end of the month, I’ll give five hundred francs to a charity.

She clings to the past by recreating moments as if reliving them could make moments repeat themselves:

If I went somewhere I had been to last year, when he was here—to the dentist or a staff meeting—I would wear the same suit as before, trying to convince myself that identical circumstances produce identical effects and that he would call me that evening.

Her lover did end up calling her one day, a week after the Gulf War was declared. After months of grieving for her lover, she finally got her closure. They had one last moment together, and that was the end of it. What remains now is her grief—for him and for the person she was when she was with him.

I had decided to learn his language. I kept, without washing it, a glass from which he had drunk.

I grieved with her. Not because I have lived her story, but because I have lived a version of it. I, too, have known an all-consuming love that was never meant to last. I have felt the bittersweet ache of moving forward without someone who once defined my existence. I have wondered, in private moments, what life would have been like if it had been him. If our child had been his. If he remembers me in passing thoughts, or comparing others to me. These are the kinds of things we don’t speak aloud, not even to our closest friends, but they remain, surfacing in the most unexpected moments.

One of the most striking passages in the book is this:

I do not wish to explain my passion, that would imply that it was a mistake or some disorder I need to justify—I just want to describe it.

In my opinion, this is what makes Ernaux’s writing so powerful. She does not seek redemption or understanding. She does not attempt to explain away her feelings. She simply describes them, and in doing so, she gives permission to readers to experience them in their own terms.

Ernaux did not write this book to boast about herself or her lover. She wrote it as a gift to those who have felt this same kind of passion and loss. In her own words, it’s an offering. As all great writers do, Ernaux knew that certain experiences are universal no matter how unique they seem.

I haven’t written a book about him, neither have I written a book about myself. All I have done is translate into words the way in which his existence has affected my life. An offering of a sort, bequeathed to others.

And that is exactly what Simple Passion feels like to me—an offering. It lingers in my mind even days after I turned the final page.

Note: There is a movie adaptation if you are interested. It was released in 2020. I haven’t watch it but here’s the trailer. In the novel, Ernaux described that her lover look a bit like Alain Delon which was wow.

James Harrison Saved Lives—So Do Books and Storytellers

There’s a Facebook post circulating about James Harrison, an Australian man whose blood plasma donations saved 2.4 million babies. I never would have heard of this amazing man had I not stumbled upon this post on my newsfeed. So I did a quick Google search and found out he had passed away very recently at the age of 88. Harrison started donating his blood in 1954, and it was later discovered that his blood contained a high level of anti-D antibodies. I don’t know how to explain this, so I am going to quote Wikipedia verbatim:

Blood which contains a high level of anti-D antibodies can be processed to create immunoglobulin-based products used to prevent haemolytic disease of the newborn (HDN). These products are given to Rh(D) negative mothers of unknown or Rh(D) positive babies during and after pregnancy to prevent the creation of antibodies to the blood of the Rh(D) positive child. This antigen sensitization and subsequent incompatibility phenomenon causes Rh disease, the most common form of HDN. Source

Through his donations, he had provided countless doses of anti-D and helped prevent neonatal deaths and stillbirths. That is an extraordinary feat of kindness and human generosity.

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However, underneath that Facebook post, a discussion erupted. Some commentators argued that he is more deserving of recognition than celebrities or authors who have won Nobel prizes. They said, after all, what is literature compared to saving human lives?

I beg to differ.

There is no doubt in anyone’s mind that saving a life through blood or plasma donation is unquestionably noble. His noble deed is tangible, irrefutable, with an immediate positive effect. But to dismiss the contributions of literature or to suggest that books and the written word (regardless of their form) do not save lives is to misunderstand the very essence of what it means to be human.

I was a reader long before I was an artist or a writer. Books have been my refuge since I was eight years old. They were my loyal and constant companions when the world felt too lonely, too loud, or too indifferent. And I believe with all my heart I am not alone in this. Across the world, people have found comfort in literature, be it in the carefully written stories of others or in poetry. There are countless, nameless people who stood on the edge of despair and were ready to give up their lives, only to find themselves pulled back from that edge by a book, a passage, a poem, or even a fictional character. All of these elements of literature become a reminder that they were never alone in facing their darkness.

My latest read. It’s a comforting read for those suffering from depression (MDD or dysthymia).

Books do not just entertain. They also bring healing to those who invest time reading them. I wrote a post about this a couple of months ago, where I discussed the transformative power of literature. Literature and the written word offer clarity where confusion resides. They offer hope where darkness lingers. They validate the lonely, challenge the complacent, and give voice to the voiceless.

If a blood donor saves a body, an author can save a mind, a heart, and a reason to keep going.

So, should James Harrison be honored? Absolutely. But so should the authors, the poets, and all storytellers who brought comfort to the broken souls. There is a reason for every good thing we accomplished in this world. Our life is not just about survival. We can do good things too, just like blood/plasma donors, or write something to encourage someone. And both groups of people play their parts in making the world a place worth living in.

Fragmented Story | Being In the Same Room Again

I wrote this introspective piece to capture unresolved emotions, the passage of time, and the delicate dance between nostalgia and moving forward. It’s about past love that is neither fully rekindled nor entirely lost. It’s fragmented because there is no backstory. It’s intentional because the absence of a backstory forces the reader to feel rather than just understand. However, it is related to another story I wrote previously – After All These Years.

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The rain kept pouring, turning everything into a soft blend of grays and greens, like a painting that had come to life. It reflected the fog in my mind, the doubt that had brought me here. I didn’t want to go back at all. What was waiting for me when I got back to the city? Plenty of bills were sitting on the kitchen counter, ready for me to pick them up. There were tax notices in each envelope, and they kept coming on time. Of course, I was constantly getting glossy brochures from real estate agents advertising different homes for rent or sale, as if they could give me the security I really craved. They claimed that property was the foundation of our modern life. Have we forgotten what it means to belong in our quest for a place to call home?

The town was so different from the hectic pace of daily life that it felt like a different world. You could feel like time was moving slower here. When I walked into that little bookshop with its worn shelves and familiar atmosphere, it stirred up something deeper inside me. Not only did the past resurface again, but it also brought up something that hadn’t been resolved. Why does that feeling persist even after years of being apart? That question hung in the air.

Was it a spark that was about to go off again, or was it just the light of ashes from the past? To bring back an old love, you have to dig up what was hidden and accept both the joy and the pain that come with it. But could it be something else—a chance to put things to rest? Is it finally possible to break free from the maze of what-ifs and let the past rest?

There was also the issue of trust. Did it still matter that you understood instead of being validated after all this time? And even if it did, would that be enough to begin a new relationship? Maybe not love, but friendship for sure. We could have maintained a bright shared past, unaffected by the decisions we’ve made along the way.

I’ve learned that desire and lasting devotion aren’t the only things that define love. It was about the possibilities, the countless ways it could evolve, even after it had already slipped away from you once. With the sound of rain on the windows and the faint smell of books in the air, I stayed in that space and thought about whether love might just be being in the same room again after all this time and finding peace between us.

Why Stories Matter | The Transformative Power of Literature

There is a quiet power in stories that goes beyond entertainment and escapism. At its core, literature is the act of giving voice to things that can’t be seen or touched. It forms our feelings, hopes, fears, and questions into something we can hold and share. Stories don’t just reflect our lives; they also hold the weight of human experience across time and space.

The first thing that comes to mind when I think about the power of literature is how it can bring people together. Reading a book is like crossing a bridge; it lets us see and feel the world through someone else’s eyes. In this way, it breaks down the walls that separate us. By fostering empathy, literature reminds us of our shared humanity and allows us to see through another’s eyes. Literature makes us face the idea that our experiences, no matter how unique they seem, are reflections of something bigger than ourselves. When I was young, I read Catcher in the Rye by J.D. Salinger, and it changed the way I thought about how people connect with each other. Holden Caulfield’s cynicism and vulnerability proved how stories can reflect our deepest desire for understanding.

Literature helps us understand not only other people but also ourselves. A story can be like a mirror, showing us things we would rather not see. It reveals our inner wants and fears, as well as our flaws. Reading is a paradox. It makes us lose ourselves in another world, only to find pieces of ourselves reflected back. The lasting power of literature lies in this duality—the simultaneous journey both inside and outside of oneself. Also, Salinger’s book helped me see myself in new ways. Holden’s struggles with authenticity and alienation are a lot like my desire for belonging and self-acceptance.

In the same way, stories live on forever and can transcend time. Because writing is timeless, the words of a writer or a poet who has died a long time ago remain relevant to people today. This doesn’t mean that stories stay unchanged. In fact, they change with each reading based on the reader’s views and their context. What a text meant to the original audience might be very different from what it means to us now. A story is alive in the way it changes with us. Different generations’ readings and reinterpretations enrich it further. One Hundred Years of Solitude by Gabriel García Márquez was recently adapted into a drama, which debuted on Netflix in December 2024. The magical realism in the book has kept readers intrigued for decades, but this version gives the story new life. It enables a new group of viewers to experience its themes of love, loss, and history through a fresh lens.

There is also a bravery that comes with writing. When writing, a writer has to be courageous and believe that their words will touch someone and stay with them. When people write, they often reveal parts of themselves that they wouldn’t share in any other way. They embedded pieces of their own truths into the plot of a story or the flow of a poem. Ralph Keyes’s book The Courage to Write talks about how the courage to write comes from being ready to face overwhelming fears and self-doubt. Writing is brave because it forces the writer to be honest and open, even if the outcome is unknown. It’s not because it leads to fame or admiration. For readers, this vulnerability can change everything. It creates a bond between the writer and the readers, fostering a mutual understanding that surpasses the written word.

But, of course, not every story is pleasant. Some show us harsh realities and make us question what we believe. Some stories force us to face uncomfortable truths. But these stories are still important. The hallmark of enduring literature is that it does not shy away from complexity. It recognizes that beauty and pain, hope and sorrow, often go hand in hand. So, stories help us deal with the complicated things that happen in life; they don’t give us easy answers but instead push us to think, ask questions, and grow.

Stories have the capacity to establish continuity in a world that often appears fragmented. They remind us that we are a part of a bigger story that began a long time ago and will go on after we die. Literature connects us to each other and to the huge, complicated web of human experience.

Why do I write? It comes back to the idea that stories matter. It’s not that they make big, dramatic changes to the world; it’s that they change us in small, subtle ways. They invite us to pause, contemplate, and feel. Indeed, this invitation represents a revolution in a world that demands speed and certainty all the time.

Book Review | The Courage to Write – How Writers Transcend Fear by Ralph Keyes

I returned to writing earlier last year after a decade-long hiatus to raise my children. Writing has always been my quiet refuge. It’s a space where I could slip away from the noise of daily life. But even in solitude, I have always sought connection and often reached for books on writing. These books are my source of advice, and I also seek reassurance and inspiration from those who have walked this path before me.

Years ago, I read Bird by Bird by Anne Lamott and Big Magic by Elizabeth Gilbert; both left a lasting impact on me. These are the kind of books that feel like old friends. Their words reveal new meanings with each reread. They have been my steady companions and also my source of encouragement whenever doubt crept in.

Three months ago, while browsing a secondhand bookshop, I stumbled upon The Courage to Write: How Writers Transcend Fear by Ralph Keyes. I had never heard of him before, but the title spoke directly to a truth I knew well—fear is an ever-present shadow in the creative process. It’s impossible to resist a book that promised to explore the relationship between the creative process and fear. Without hesitation, I added it to my cart, along with another classic, Natalie Goldberg’s Writing Down the Bones. The latter is familiar to many writers, though I have yet to read it myself.

Having finished The Courage to Write, I’ve spent some time reflecting on its message and how deeply it resonated with me. I’m currently halfway through Writing Down the Bones and will share my thoughts on it once I reach the final page. For now, I’ll concentrate on Keyes’ book, which explores what it means to write in the face of fear. It is a subject that feels intimately familiar to anyone who has ever confronted a blank page and wrestled with the enormity of creation.

A Conversation About Fear

The Courage to Write is not a how-to book. Instead, it reads like a conversation, which helps all writers deal with the fear, doubt, and anxiety they all feel. Keyes takes the mystery out of being creative and shines a light on the problems most writers experience but don’t talk about. He tells us to dig deep into our self-doubt and impostor syndrome to find the courage that’s hiding there. He believes that writing is both an honor and a duty that people who have never done it often don’t appreciate.

The Pros

The Courage to Write is so engaging because it is so honest. Keyes doesn’t romanticize writing; instead, he shows it as a deeply human activity that is full of uncertainty. “Am I good enough?” is a question that his book helps people deal with. Even the finest literary giants have had to deal with this question. Drawing on the experiences of writers like Virginia Woolf, Ernest Hemingway, and Anne Lamott, he shows us that anxiety is not a sign of failure but an important part of the process.

Keyes writes in a careful, even personal tone. His ideas seem to apply to everyone, which supports the idea that while writing can be isolating, the effort to overcome fear unites all authors.

One of the best things about the book is that it changes the way we think about anxiety. Anxiety is not a problem; it’s a vital force that makes insight sharper and pushes writers to be real. Keyes says that fear pushes us to write more honestly and dig deeper. This profound view tells writers to deal with their fears instead of battling them.

The Cons

Even though The Courage to Write has a lot of good points, it sometimes goes over familiar ground. If you’ve already read a lot on the subject, Keyes’ insights might not seem very new to you. A lot of the time, the stories are about well-known issues writers had, like how Hemingway drank to drown his fears or how Woolf questioned her own worth. A lot of writers are familiar with these stories.

Also, Keyes is great at acknowledging and validating anxiety, but his answers are more philosophical than practical. This book might not be right for you if you want to find real ways to deal with procrastination, perfectionism, or the problems that writers face every day. His core message that you should embrace your fear and let it lead you is powerful, but it comes up so often that some chapters feel like they’re just different takes on the same idea.

Final Thoughts

Reading The Courage to Write feels like wandering through a dense forest. Each tree represents a different fear, and the odd shaft of sunlight reminds you of how courageous you are. It’s not a guide. It gives you hope that the journey is worth continuing on, even if you can’t see the path. This book is for people who need to hear that fear is not the enemy but a voice telling us to be braver and write more deeply and honestly.

But this book might not be for everyone, just like a vast landscape can be both comforting and overwhelming. If you seek clear directions instead of reflection, you may want more concrete advice. The Courage to Write isn’t really about getting over your fears; it’s about learning how to live with them. And maybe that’s the most important lesson in and of itself. Writing, like life, is less about conquering every mountain and more about finding what it means to be human.

Fragmented Story | After All These Years

Some things are never fully lost. They stay in pieces, in corners of the mind, surfacing as the scent of rain, the pages of an old book, or a place you never intended to return to.

This fragmented story, After All These Years, reflects on such moments—small towns and bookstores, old love, and the what-ifs that never fade away. Nostalgic, like turning through an old book and discovering a dried flower between its pages. A memory of something once vibrant that has faded but is never fully gone.

There is no big resolution here. Just realizing that certain relationships change over time but never completely disappear. They settle into the crevices of life, becoming part of our identities. And maybe that is enough.

The rain poured down without mercy, chilling and drenching, seeping through every layer of clothing and skin. The town loomed in the distance. Its narrow path meanders through shadows created by bent lampposts and the subtle shape of a river in the distance. Though I never intended to stop here, I did. The rain was relentless, and I needed a refuge. This place was as good as anywhere with cafes and warmth.

Then I caught sight of it. A little worn-out sign swinging in the rain. I read the name and felt my throat seize. How long has it been? A lifetime has passed, but the heart maintains its own sense of time, unencumbered by the limitations of calendars and years.

I felt a strong instinct to turn away. I suppose it’s easier to face the storm outside than what lies within. But my curiosity drove me forward. Parking and gathering my stuff, I braved the downpour. On the cold iron doorknob, my hand trembled. The cold seeped into my flesh, and before I could think twice, the door softly cracked open.

The aroma of old paper and a subtle earthy tone greeted me first. The dim light created shadows on the walls, which were filled with books that appeared to go on forever. It was like entering a place that seemed to stand still in time.

And then I spotted him.

He sat behind the counter, buried in the pages of a book. In some ways, he looked the same. However, there were also signs of time. Strands of silver in his hair, a sweater frayed at the cuffs, and the faint heaviness of a life lived alone.

He didn’t notice me at first. For a brief moment I forgot how to breathe. The soft rustling of the page he turned brought me back to the moment. He glanced upward. Our eyes met, and then those years vanished in an instant. There was no dramatic pause or rush of words.

Time has passed as it inevitably does. It leads us into lives that are separate and distant from one another. But in the soft glow of this overlooked part of the world, that distance seemed trivial.

The conversation that ensued didn’t focus on the past, at least not in a direct way. Our discourse danced around the periphery, hinting at years and stories that belonged to others. Our separate lives had been transformed by the absence of the other. Despite our best efforts to distance ourselves, the past remained between us.

The rain subsided while we talked. Its steady beat taps against the windowpanes. Our conversation didn’t lead to any resolution or sudden insight. Instead, there was something more nuanced, perhaps a sense of acceptance or a hesitant acknowledgement of what remained.

I found myself hesitating when it was time to go. Our conversation brought a sense of peace, like a gentle reminder of the shared moments with someone who once meant so much. But I had to go. Time went by, and the people we had turned into existed in separate realities.

I stepped back into the drizzle and back in my car. My heart aches because it finally understood that some connections, no matter how changed by time, never really disappear. They stay, though no longer in their original form. They turned into echoes that tightly knotted into the essence of our being.

And maybe that was all it needed to be.

Related story: Being In the Same Room Again

Book Review | Waiting by Ha Jin

I bought Waiting by Ha Jin from a used bookstore some months ago. It had been sitting among the stack of books on my desk, untouched, until lately. I picked up this book to read since my unread stack was growing. I simply couldn’t quit buying new books. It took me weeks to finish it since life got in the way, but I finished reading it last night.

Waiting is one of those novels that lingers with you long after you’ve finished reading it. The book lacks sweeping romance, but you will be drawn to its exploration of human indecision and societal limits.

The story follows Lin Kong, a Chinese army doctor, who spends 18 years in limbo between two women: Shuyu, his devoted, traditional wife, and Manna, his modern, independent lover. Every year, Lin returns to his village to seek a divorce from Shuyu, who agrees but later refuses in court. The story is more than just a love triangle—it’s also about a man paralyzed by indecision.

What struck me the most about Lin was not his indecisiveness but what it showed about his personality. It became evident to me that his hesitancy was not about love but rather about his inability to confront himself. He didn’t know what he wanted, so he drifted through life, letting others’ expectations and societal pressures influence his choices. At the same time, I couldn’t help but understand him. Living in a rigid communist culture made it difficult for Lin to follow his heart. Divorce was frowned upon, personal desires were frequently sacrificed for the greater good, and external judgment had a significant impact on every action.

It’s easy for those of us who live in a freer society to condemn Lin and ask why he didn’t just decide between Shuyu and Manna. However, a closer look reveals a man trapped by society as well as his own passivity and illusions. He assumed that what he couldn’t have was what his heart truly desired, confusing lust with longing for love.

“His heart began aching. It dawned on him that he had never loved a woman wholeheartedly and that he had always been the loved one. This must have been the reason why he knew so little about love and women. In other words, emotionally he hadn’t grown up.”

Reading this made me realize how different I was from Lin Kong. I’ve fallen in love soulfully. I’ve taken chances, experienced sorrow, and allowed love to transform me. I’ve shown up in my relationships, even when it meant failing and starting over. Lin, on the other hand, never allowed himself to experience deep emotions. He lived on the surface, terrified of true vulnerability, and as a result, he never genuinely experienced love.

But I get it. I understand his fear and hesitancy. In his world, there was so much at risk. The tight restrictions of society, the dread of making the wrong decision, and the conflict between duty and desire all contribute to Lin’s personality. Lin’s story is tragic because he allowed life to happen to him instead of taking charge of his own happiness.

Waiting prompted me to reflect on deeper realities about love and marriage. Love is complex. It is not all romance. Marriage is not for the weak. It demands forgiveness, humility, compromise, and sacrifice. And sometimes the presence or absence of children may make or break a marriage.

This book offers profound insights into society, love, personal responsibility, and the delicate balance between desire and obligation. But I must be honest that it is a slow read, somewhat draggy and monotonous. However, it forces you to sit through the discomfort, just like Lin Kong did.

In the end, Waiting isn’t just about Lin Kong and his love triangle. This story is also a mirror, reflecting our own hesitations and the way we let life pass us by. The story also made me thankful for the chances I’ve taken, the love I’ve risked, and the courage to keep showing up even when things are difficult.

Do I recommend it? Yes, but only if you’re willing to live with the discomfort of indecision, the sorrow of unfulfilled desires, and the bittersweet realization that we may be our own worst obstacles.

The stack of read/unread books next to my desk.