when a girl like me
loves someone
it turns into a gaffe
in the defined minutest second
in this world.
 
for she can love like
beyond the expectations
of herself and mankind’s
confined limited, theories. 
 
but when a girl like me
doesn’t feel the Newton’s law
of cause and effect working,
she can often capture the facts
and fix the harmony’.
 
for she can fall
but not to a limit of self-guilt
and probably, disgust.
 
cuz when a girl like me
gives it all
-mental and physical-
to someone she loves
she doesn’t sit back
but moves
through the realms of beyond;
simple, on the face, equal; beautiful.
 
for you cannot stop her.
for she accepts whoever and whatever is hers.
 
she mends, cures, and deals
with every problem and it’s pleasure

without anyone or anything;
alone, on her own; bare.

with her flesh and shadow

dealing with every other shit
on this commonplace for every human;
on this planet called Earth.
she of her own body and world.
 
Gaffe, (Love and Lust) Copyright © Ritika Gupta 2019

Written at late-night, during the first week of November, Gaffe is the first poem under the series of love and lust, published on @ritikapeace.

Learn about LOVE & LUST Series here.

The poem was first typed down as a quick reaction to some personal feelings. Later it was edited to be published on the website as the part of Love and Lust Poetry Series.

Sparked by the Indian anthology movie on Netflix, Lust StoriesGaffe (the poem) deals with the secreted sexuality of women, often ignored or hidden inside the bars of patriarchy and rules structured by society.

The intriguing part though is that one can read the poem from multiple lenses. Following is my perspective (or my explanation/view, from which I have written this poem)-

Germaine Greer’s quote is worth mentioning here before continuing, that is, “The essence of pleasure is spontaneity.”.

–Ritika Gupta

In the fourth paragraph, it is said that such a girl cannot be overwhelmed to a lover who cannot love her back as much as she does as it can fill her with “self-guilt” and “disgust”. She further defines what she is giving, that is, both the “mental and physical” aspect of a couple-relationship; she expects the same in return.

The last paragraphs highlight that such women and in fact any female-be it after or before finding a suitor, or marriage- has to deal with multiple comments, glances, and problems from the time even before they start to shape inside her mother’s womb (men and trans face their kind of issues too; it’s just that, here I was writing from a perspective of a female). Moreover, in the community like, of India, she has to deal with all of it alone, as at times her own family is not in support of her.

This kind of a girl, nonetheless, (as she knows how to fight back) accepts herself as she is, that is, with all her desires and sexual fantasies. Here is where the subversion of the stereotype around female sexuality takes place, as she, in a way, clearly declares that she is capable enough to deal with everything alone, without a male around to pleasure, protect, or please her.

Here it is where the strong parallels can be drawn with Rekha’s bold character and dialogue, i.e., men are selfish and so women have to fulfill her desires by herself. Rekha in the Karan Johar’s Lust Story around the protagonist Megha (Kiara Advani) was played by Neha Dhupia. Indeed, one can read the last two paragraphs with this scene at the back of their minds.

It is in the last three lines, where the poem literally broadens up the whole feminist viewpoint that was being talked around till now.

“on this commonplace for every human;

on this planet called Earth.

she of her own body and world.”

These lines can have various interpretations, depending upon one’s own beliefs, mental-state, outlook, etc. The last line can also point towards sexual satisfaction straight homosexual women can feel without men.

Precisely, the poem points towards the fact that a woman can have sexual desires as well. The broader and undertoned perspective is towards the necessity of abolition of all sexes.

Gaffe
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