Léonie Cooper

Palk Strait. 6:52pm, 19th April 2018.

Srilanka

Sri Lanka was an embittered and traumatised place. Spooks followed me everywhere I went. The police arrived at the tourist path when I exited, and they informed me that there were "elephants." They then drove me back to my hotel, with spies in a white Honda Grace car never far behind. I overstayed my visa because of financial difficulties, and my brother hung up the phone because I was being eaten alive by flesh flies.

Distant, brightly lit stupa, a dome-shaped Buddhist monument, standing tall and slender against the night sky. It's centrally positioned, but slightly off-center, creating a subtle visual imbalance. In the foreground, several dark, silhouetted buildings are visible, their outlines suggesting residential structures with dimly lit windows. The buildings are rendered almost entirely in shadow, with only a few internal lights breaking through the darkness. A portion of a larger, possibly multi-story structure, is visible on the right edge of the frame, also partially obscured by darkness.

The man behind the counter at the Bandaranaike International Airport expected dollars when I arrived at the visa desk because Sri Lankan currency isn't worth much. I responded that I had already converted my money before I left India. I pondered whether he was aware that I had identified him as the president's brother when he gave me my visa stamp. When I met him, he was honest and easy to talk to. I felt welcome, but the cold irony of how annoyed I was about Sri Lanka's growing debt to China took away from that. I reasoned that politics and religion should never be combined, at least not when an undignified mammon is involved.

Urban cityscape, viewed from a slightly elevated perspective, likely from a window. No people are visible.

The airport was not located in Colombo, and the only viable form of transportation out of the airport was a taxi. As midnight approached, I walked through the streets of Colombo until I found a cheap hotel where I could book a room for the night.

Large, ornate Hindu temple, predominantly light blue with intricate gold and beige detailing on its gopuram (tower). The gopuram is densely covered in carvings depicting numerous figures, likely deities and mythological scenes. Two smaller, similarly styled towers flank the main gopuram. In the foreground, a blue Toyota pickup truck is parked on the right side of a street facing away from the viewer. A motorbike is parked on the left, facing away. A light grey delivery truck is partially visible on the far left, also facing away. A few people are vaguely discernible within the temple entrance, but are too distant and small to provide detailed descriptions. The scene is set on a street, possibly in an urban or suburban area. Buildings are visible in the background, some of which have modern, commercial appearances. The sky is clear and light blue, indicating a sunny day. The lighting is bright and even, suggesting daytime photography under natural light.

Building's facade, specifically a rectangular sign affixed to its upper portion. The sign, a crisp, almost clinical blue and white, reads NIMO & COMPANY (PVT) LTD in a sans-serif typeface, underneath which is the address: 55/16, Vauxhall Lane, Colombo 02. The building itself is predominantly white, showing signs of age and weathering, particularly a rust-colored discoloration along its upper edge beneath a rusty barbed wire fence. A large, deep brown stucco wall extends from the main building, forming a significant part of the composition's left side. A dark grey pipe or conduit runs vertically along the right edge of the white building section. The sky is a clear, pale blue, almost washed out, suggesting midday sunlight.

Due to my extensive interactions with Sri Lankan Tamils in London, I was extremely hesitant to take a risk and visit this nation that I had heard so much about. I wanted to know why Tamil refugees had been forced to leave their home country based on their appearance.

Slightly crumpled, off-white admission ticket to the Arulmigu Sivasubramaniya Swami Kovil temple in Colombo, Sri Lanka. The ticket is rectangular with a decorative border composed of repeating swirling patterns in a dark reddish-brown ink. The text is primarily in Tamil and English, with the temple name prominently displayed. A small image of the temple's gopuram (tower) is centrally positioned below the text, rendered in the same reddish-brown. The ticket number (13055) is clearly visible, as is the price (Rs. 200/-). There are no people visible.

I first went to Colombo's Murugan Kovil. I paid the tourist fee and then walked around. Furthermore, I found the kovil to be civil and a little more profound than face value, even though Sri Lankan and Dravidian Hinduism is profound and overwhelming on the senses and less accepting of European peoples in its strict formality.

Central focus is the Colombo Lotus Tower, a tall, slender tower with a distinctive lotus-shaped top. The top is a rich, dark pink/purple, while the main body of the tower is a vibrant, Kelly green. It stands prominently against a partly cloudy sky. The tower is situated on a circular platform at the edge of a calm, greenish-brown body of water. In the foreground, a section of disturbed earth is visible, littered with debris and rubble, indicating ongoing construction or demolition. A few small fishing boats are visible on the water in front of the tower.

Dynamic, low-angle close-up shot focusing on a fair-skinned arm extended diagonally across the frame, partially obscuring a Asian person in the background a light-skinned individual's arm dominates the foreground. It's outstretched, its hand slightly cupped, almost as if reaching or gesturing. The arm displays visible, light-coloured scars running along the length of the bicep and forearm. The skin tone is pale with a warm undertone. The arm is muscular, indicating some strength and physical activity. A glimpse of a maroon shirt sleeve is visible at the elbow/upper arm, suggesting casual wear.

Considering the slum landscape that surrounded it, the garish Colombo Lotus Tower was quite impressive. A young man who was slightly deranged but inquisitive approached me and inquired as to the reason for my visit to Sri Lanka.

Long, low, colonial-style building, creamy white with terracotta-tiled awnings over the windows and balconies. The building stretches almost the entire width of the frame, receding into perspective. It displays a uniform architectural style, suggesting a hotel or a series of connected shops. A dark, wide metal awning extends along the entire length of the building’s ground floor, creating a covered walkway.

Because I was jet-lagged and needed to rest, I looked for another hotel in the afternoon.

Bathroom scene dominated by a significant soap spillage. A square, off-white sink sits atop a matching counter top, overflowing with a generous mound of thick, white soap suds. These suds are billowing over the sides of the sink. On the counter top beside the sink are two small cosmetic containers — one yellow and one possibly pink or peach-coloured — suggesting toiletries. A partially visible toothpaste tube and what looks like a pink toothbrush lie to the left of the sink. The soap suds have clearly spilled onto the dark gray-brown floor, spreading across a considerable area. The suds are not uniformly distributed, creating a mottled pattern of wet, foamy patches. Under the sink is a small, stainless steel wastebasket. A portion of a toilet is visible in the bottom left corner.

Striking sculptural piece depicting a rearing white horse, seemingly powerful and dynamic. The horse is depicted mid-rear, its forelegs braced against a large, gold-coloured, lightning bolt-shaped structure. A chain runs from a collar around the horse's neck down to the base of the lightning bolt, implying restraint or perhaps harnessing of its energy. The horse is rendered with a slightly weathered or distressed paint job, the white showing some subtle textural variations. The lightning bolt itself has a slightly rough texture, the gold paint appearing possibly aged or patinated. Below the horse and lightning bolt, a sizeable, globe-like sphere rests, painted in muted gold and grey tones to suggest a terrestrial map. The sphere is somewhat rough in texture, showing variations in tone and apparent materially.

And made a mess in the small bathroom with soap suds while I washed my clothes.

Serene, nighttime view of a small, white Buddha statue enshrined within a glass enclosure.A pristine white, seated Buddha statue dominates the scene. It's positioned in the middle of the image, within a glass case, with a lotus-like base. The statue is illuminated from behind by a circular halo of bright, cool-toned LED lights.

Decaying corpse of a bird, likely a crow or similar species, lying on a light grey concrete surface. Its wings are spread wide, almost symmetrically, exposing its decomposed body. The feathers are mostly dark grey to black, with some areas showing lighter, bleached colouration, particularly on the underbelly where the feathers are more sparse, revealing desiccated flesh and bone. The bird's head is tilted slightly to the side, and the beak is visible. Some small, light-coloured debris, possibly bone fragments or remnants of internal organs, are scattered around the body. The bird is not performing any actions, it's simply lying lifeless.

The initial day was relatively unsettling and chaotic; I was aware that this was the beginning of a difficult journey due to a dystopic impression. In appearance, the Theravada Buddhism here seemed to be in stark contrast to the Jainism I had encountered in Gujarat, but the followers were quite different. I wondered how the childish spirit of Communism could deceive an elder school.

Person, seemingly androgynous, with fair skin, and a calm, somewhat serious expression. Their eyebrows are subtly arched, and they have a small, dark bindi (a red dot) centred on their forehead. They possess a nose piercing and small, gold-toned earrings are visible. Their hair is a light reddish-blonde, partially visible beneath a vibrant red and white patterned scarf, which is draped over their head and shoulders, The scarf is a lightweight fabric, appearing semi-transparent in places, revealing the person's clothing underneath – an orange-gold top or dress adorned with similar but smaller white patterns as the scarf. A black zip-up jacket is partially visible on their shoulders. The person appears to be standing, slightly angled, looking directly at the camera. There are no discernible actions beyond their pose.

My arrival in Colombo was uneventful; however, the poverty level compelled me to conceal the modest quantity of gold jewellery I possessed.

Picturesque cityscape reflected in a calm body of water, likely a lake or canal. The focal point is a row of modern high-rise buildings of varying heights and architectural styles, positioned along the far shoreline. The buildings are primarily light-coloured, a mix of off-white, beige, and light gray, with varying shades of glass windows. Some buildings have distinct architectural features, such as balconies or setbacks. Most prominent is a slender, light-colored skyscraper to the far left, standing taller than the others. To its right are several buildings of similar height, with one showing a darker glass façade. Further to the right is a slightly shorter, boxier building with a noticeable red sign near the top. The water is exceptionally still, creating a near-perfect mirror reflection of the cityscape and surrounding greenery. A small white boat is visible near the centre of the lake.

The straight lines of the tall buildings couldn't bend to the shameful sadness I felt from this shabby city, and the still, cloudy water below didn't reflect anything clearly.

Pathway leading towards a golden Buddha statue nestled within a blue-roofed structure. This structure appears to be a temple or shrine. Flanking the path are two imposing, ornate gray stone pillars, richly detailed with gold lettering and carvings that resemble Buddhist scriptures. The pillars are capped with elaborate, tiered roofs adorned with small bells. Several people are visible on the path, primarily positioned near the base of the golden Buddha. They are casually dressed in modern clothing; one man wears a teal shirt, another a dark gray shirt. A woman in a dark floral-printed shirt and another woman in a light-coloured shirt and dark pants are standing near the centre. A young child is also present. The people appear to be observing the statue, seemingly unhurried and contemplative. The scene is bathed in bright, natural sunlight, suggesting a daytime setting with clear skies. The light casts soft shadows, enhancing the textural details of the stone and the metallic gleam of the gold Buddha. Lush green foliage, comprised of trees and bushes with hints of reddish flowers, frames the pathway and partially obscures the background. The background reveals a modern cityscape, featuring several tall buildings under a pale blue sky, offering a juxtaposition of traditional architecture and modern urban life. The blue roof of the shrine contrasts sharply with the gold Buddha, and the dark gray stone of the pillars adds depth and solidity to the composition.

The Buddhist Temple of Gangaramaya (Vihara) was truly remarkable; however, I elected to pass by and return at a later date.

Serene, rectangular pond reflecting a temple complex. The temple consists of two main structures: a smaller, lighter-coloured pavilion with several golden Buddha statues on its roof and a larger, darker-roofed building with a distinct blue-tiled roof. This larger structure also displays numerous golden Buddha statues. The buildings are connected by a walkway. Several white-robed figures are subtly visible within the pavilion but lack significant detail. The pond itself displays murky, greenish water with some debris visible near the edges. A single white bird (possibly a swan or egret) is discernible on a patch of land protruding from the water's edge.

Calm, greenish-grey lake reflecting a cityscape and a modern, light-brown structure. The structure, situated centrally in the lake's middle ground, appears to be a pavilion or temple with a flat roof and distinct pillars. It has a white, slightly elevated central section. Surrounding the lake are lush, dark-green trees forming a natural border along the shoreline. In the background, several modern skyscrapers of varying heights rise against a pale, almost cloudless sky. One particularly tall, slender skyscraper dominates the left side. Another, more blocky building is under construction with a visible crane. These buildings are rendered with sharp lines and distinct architectural details. There are no people visible in the image.

I found the bus stop in Colomobo, took a State Transport bus to Kandy, and then I walked into a Murugan Kovil.

Crumpled, pinkish-tan ticket, held gently between the thumb and forefinger of a light-skinned hand. The ticket itself is rectangular with slightly irregular edges, suggesting it's been torn from a larger roll. The ticket's text is predominantly dark red-brown, printed in both Tamil and English. A small, simple woodcut-style image of what appears to be a temple or religious scene sits near the top left. The number 35952 is prominently displayed, appearing almost as a serial number.

Courtyard scene within what appears to be a Hindu temple or similar religious structure. The scene is set outdoors, in a relatively enclosed courtyard within a temple complex. The background shows a section of a larger building, possibly part of the temple or an attached structure. The lighting is soft and diffused, likely natural daylight, suggesting an overcast day or shaded environment. The colour palette is fairly muted; the dominant colours are the soft grey of the stone paving, the dark brown of the wooden pillars, the creamy white of the building walls, and the striking gold accents of the fence and some of the temple's adornments. The red carpet adds a small pop of deeper colour.

I discovered Ganapathy sitting in front of his vehicle, a rat.

Dark gray, almost black, roughly hewn stone lingam (phallic symbol) on a square, weathered gray stone pedestal. The lingam is adorned with a vibrant green and gold sash, neatly wrapped around its midsection. It sits slightly elevated above the floor, directly in the foreground. Above it, the main deity is a richly decorated statue of Ganesha, seated on a silver throne with ornate carvings. Ganesha's attire is lavish; a bright green and orange robe with abundant floral garlands. The deity features a dark, almost black complexion and intricate headdress with sparkling gold and green details. Flanking Ganesha are smaller statues, appearing to be additional deities or aspects of the divine, also adorned with gold and vibrant colours. At the far left and right of the main shrine, are dark gray stone representations of other Hindu deities, likely Ganesha (with elephant heads), draped in green cloths.

Vibrant, intricately decorated entranceway to what appears to be a Sri Lankan temple or shrine. Dominating the scene is a large, arched gateway, painted in a predominantly blue hue, showcasing a lively depiction of Hindu deities in a celestial scene. The deities are rendered in rich, jewel-toned colours, with gold accents highlighting their clothing and ornamentation. Flanking the arch are painted murals of peacocks perched atop cobras, symbols of both beauty and protection. Directly beneath the archway, a man in a dark, short-sleeved shirt with Chinese characters stands facing away from the camera, his posture relaxed yet attentive. To the lower left, an older man sits on the ground, dressed in simple, light-coloured clothing, his gaze slightly lowered. He appears to be resting or waiting. In the background, near the archway's inner passage, several other figures are visible, but their details are obscured by distance and shadow. These figures suggest other visitors or possibly temple attendants.

Here, in the reflective fragments of a traumatized and terrorized nation, displaced by a civil war that raged for thirty years, I did discover ascetic beauty. Although Kandy Lake was serene, I was unable to find comfort in the knowledge that Buddhism and Hinduism, two Ahimsa religions, had mass murders committed against one another.

Leonie with fair skin and tattoos on her left arm stands slightly off-centre left, facing the viewer. She wears a maroon, patterned long-sleeved top. Her expression is neutral, almost pensive. Her posture suggests a quiet observation of the scene. A man with brown skin and glasses stands behind a glass counter on the right, seemingly attending to his shop. He wears a plaid, light blue and white shirt. His expression is relaxed and welcoming. The central focus is a glass display case overflowing with vibrant garlands, mostly artificial flowers in bright orange, red, white and yellow hues. Stacks of what seem to be colourful fabrics or papers are piled behind the garlands. Smaller religious figurines and metal objects are also displayed within the case. A roll of tape is visible among the items.

Serene lake, its dark, still water reflecting the surrounding landscape. A small, verdant island sits prominently in the mid-ground. This island features lush tropical vegetation, including several palm trees, and a small, aged-looking stone structure, possibly an arch or a small pavilion, near its centre. The structure appears to be made of light-grey or tan stone, weathered by time and exposure to the elements. There are no people visible in the image. The scene is set in a tropical or subtropical climate. The background is dominated by a gently sloping hill densely covered with lush green vegetation. Houses and buildings are interspersed within this greenery, appearing mostly as residential structures, scattered among the trees. The hills rise smoothly to meet the sky. The sky is a soft, light blue, with just a hint of cloud cover, suggesting a calm, possibly slightly overcast day. The lighting is soft and diffused, indicative of either early morning or late afternoon light. There are no harsh shadows. The overall colour palette is muted yet vibrant: dark greens of the foliage, darker greys and browns of the buildings and stone structure, the dark grey-blue of the calm lake, and the pale, washed-out blue of the sky.

White, balustraded walkway that extends from the lower-middle foreground into the middle distance, curving gently to the right. The walkway borders a serene body of water, seemingly a lake or pond, that stretches across the lower-middle and lower-background. The walkway's white balustrade is punctuated by decorative arched sections in a scalloped pattern. A reddish-brown, weathered metal structure forms the foreground, appearing as a part of the walkway's supporting structure. It shows signs of wear and tear, with patches of peeling paint and visible metal. The walkway itself has several people walking on it; they're small figures, their actions and details indistinguishable. On the opposite side of the walkway, the ground meets the water; a white, segmented structure runs parallel to the walkway in the water at the far left edge.

Picturesque bridge spanning a serene lake. The bridge is characterised by a high, white, textured wall along its sides, punctuated by regularly spaced, slightly rounded, white pillars. The wall's texture is rough and slightly uneven, not perfectly smooth. A simple metal railing runs along the bridge's edge, providing a boundary between the walkway and the water. Several individuals are scattered along the bridge's walkway. Most are children, walking in small groups or individually, seeming casually dressed in light-coloured clothing. One adult is visible, dressed in what appears to be a light-coloured shirt and pants, near the centre of the scene. These figures are small in the overall perspective, giving a sense of scale to the scene. Two boats or floating platforms are visible in the lake, near the bridge. A large, ornate stone planter containing vibrant pink flowers sits on the bridge, near the left side of the frame.

I was aware that this journey would be enamouring with fortitude, deprivation induced from suffering depersonalisation, based on the redness that quickly developed from the sunburn. Similar to the Buddha, exploring this subtropical setting as a vagrant without any reservations or travel plans. I think his first stop after leaving India was Sri Lanka.

Close-up, slightly high-angle shot focusing on a person's upper arm and shoulder. The arm is positioned diagonally across the frame, extending from the upper left to the lower right. The person is not actively doing anything; the arm is simply presented for observation. The skin shows significant sunburn, with a distinct line delineating the area exposed to the sun (a deep, reddish-brown hue) from the unexposed area (a much paler, almost white tone). The sunburn appears blotchy and slightly textured. The skin also exhibits several small, scattered blemishes or freckles, most visible in the less sunburnt area. A portion of a maroon-coloured garment is visible at the top and side of the frame, indicating clothing on the person. A small, indistinct part of an earring or similar accessory is slightly visible near the shoulder.

I made frequent visits to Kandy's Murugan Kovil, advocating for unwavering passage through anticipated impediments.

Crumpled, slightly dirty tourist entrance permit. The permit is rectangular, with its edges showing signs of wear and tear, particularly at the top left and bottom corners where it appears creased and frayed. The overall texture suggests it's made of thin, possibly laminated, paper or plastic. The permit itself is the dominant object, occupying almost the entire frame. The text on the permit is predominantly in a bold, sans-serif font, appearing in shades of purple and red against a background image of a vibrant peacock. The peacock's tail feathers are spread out, showcasing their intricate pattern of blues, greens, and golds.

Walked across a river to get to Kandy from a cheap hotel I booked outside of town.

Shallow, rocky riverbed carving a sinuous path through lush green vegetation. The river itself is narrow, with patches of stagnant, murky water interspersed with exposed, sun-baked rocks of varying shades of brown and gray. A partially dilapidated, man-made structure—a low, crumbling stone or concrete dam or weir—is visible near the centre, featuring remnants of a rusty metal framework across the river's channel. The river appears to be low on water, almost dried up in sections. The vegetation consists mainly of tall, vibrant green grasses and shrubs lining the riverbanks, spilling over into the foreground. No people or animals are visible.

Flagged over a tut tut, went into town, and visited a Buddhist Kovil.

Large, serene statue of Buddha, depicted in a seated meditation posture (dhyanasana). The Buddha is light beige or cream-coloured, with smooth, subtly textured robes draped elegantly. The facial features are calm and peaceful, with a slight, gentle smile hinted at the corners of the lips. The statue's size is imposing, dwarfing the surrounding structure. The Buddha's hands rest gently in his lap. The statue sits on a low, pink platform.

Inside of a three-wheeled vehicle, likely a tuk-tuk, looking out through the wind shield. The wind shield is partially obscured by a noticeable circular sticker, torn at the edges and showing a faded, tan under layer. A smaller, rectangular sticker reading Y033-DY is neatly affixed to the upper right. The vehicle's interior is dark and mostly obscured. A portion of the speedometer is visible at the bottom, hinting at a muted red needle.

This location offers an exceptional view of Kandy Lake.

Panoramic view of Kandy, Sri Lanka, from a high vantage point, likely a hill overlooking the city. There are no people visible. The main objects are: A large, tranquil lake occupies a central portion of the mid ground, its calm, dark green-grey water reflecting the surrounding sky and buildings. The city of Kandy is densely packed with buildings, mostly low-rise structures with reddish-brown tile roofs, suggesting traditional Sri Lankan architecture. These buildings extend across the mid ground and into the background, nestled amidst lush greenery. A few taller, modern buildings are interspersed among the low-rise structures, indicating a mix of old and new construction. The foreground is dominated by a vibrant mass of green foliage, a profusion of tropical trees and plants. The hillside slopes gently down towards the lake. The hills continue into the background, providing a backdrop to the city.

Vibrant, intensely orange and yellow Canna lily, positioned slightly off-centre towards the bottom third of the frame. Its petals are a striking blend of fiery orange and sunny yellow, with delicate, almost translucent edges. The flower is in full bloom, its petals unfurled in a dramatic, almost theatrical display. Surrounding this central flower is a lush bed of other Canna lilies, a mix of oranges, yellows, and hints of red, all displaying various stages of bloom, creating depth and a sense of lively growth. The lilies are planted along a paved walkway that curves gently around a calm body of water. The walkway is flanked by low stone walls and metal railings. There are no people visible in the scene.

Panoramic view of Kandy Lake, Sri Lanka, nestled within a vibrant green landscape. The lake itself is a calm, dark teal, reflecting the surrounding sky and foliage. A portion of a basketball court is visible in the foreground, partially obscured by lush vegetation. The city of Kandy sprawls across the background, showcasing a mix of low-rise buildings in muted earth tones, punctuated by occasional white structures. Hills heavily forested with deep green trees rise gently beyond the lake and the city, creating a layered backdrop. A white structure, possibly a stupa or temple, is faintly visible on a distant hill to the left. There are no people visible in the image.

Upon observing Sri Lankans walking along railway tracks, I discovered a cafe where I shared bundi laddo with Rosie.

Disused, overgrown train tracks ascending a gentle incline. Several individuals are visible walking along these tracks, appearing as small figures from a high vantage point. They are dressed in simple, everyday clothing, predominantly dark hues, and seem to be casually strolling uphill. Their actions and postures suggest a relaxed pace, lacking any urgency. The tracks themselves are composed of aged, weathered wooden sleepers, the gaps between showing patches of brown earth and scattered debris. Overlying the tracks are three parallel dark gray-metallic horizontal pipes or beams, appearing sturdy and possibly part of a bridge structure that the viewer is seemingly on. environment is lush, with dense vegetation, primarily tall grass, lining the sides of the tracks. The background shows a continuation of this greenery, with hints of trees and buildings in the distance, suggesting an urban fringe or a less developed residential area. The overall colour palette is muted: greens from the vegetation, earthy browns from the soil and wood, and dark grays and blacks from the pipes and figures. The lighting appears to be natural daylight, relatively soft and diffused, indicating possibly an overcast sky or shade from the foliage.

Dominating the foreground are a white cup and saucer holding a light brown, frothy beverage (likely tea or coffee), positioned slightly left of centre. Beside it, a shallow, silvery-grey metal plate with ornate edging holds remnants of a vibrant orange, crumbly confection—possibly a type of Indian sweet. A rag doll, centrally positioned but slightly off-center, is seated on a stainless steel chair. The doll is striking, with a light tan face, light brown yarn hair styled in pigtails, and a bright green dress adorned with colourful embroidery and beading along the neckline and hem. It wears what appears to be silver jewellery. The background is blurry but reveals the interior of what seems to be a bustling South Asian-style cafe or restaurant. There are metallic chairs, tables, and other patrons (partially visible) in the distance. A man in a red shirt is visible near the back, suggesting a staff member. A doorway leads to the outside, which is brightly lit.

I came across a drunken man and some mosaic art. Both Indians and Sri Lankans struggle with intoxication.

Elderly man with long, greying white hair and a full, white beard, lying asleep on a tiled walkway. He's resting on his side, his head supported by his left arm, which is bent beneath his cheek. His right arm is extended outwards, palm down, on the ground. He's dressed in a light lime green polo shirt, and a glimpse of blue and white patterned fabric is visible underneath the shirt, suggesting a pair of pants or a sarong. His skin is deeply tanned and shows signs of age and sun exposure. His expression is peaceful but his countenance suggests weariness or exhaustion. Near his head, a red plastic bag partially holds up a striped pillow providing some cushioning. A partially visible, clear, square-shaped bottle resembling a liquor bottle lies near the wall behind him.

Arrived in Jaffa, but was disappointed that my hotel room didn't work.

Wall dominates the frame, exhibiting a subtly textured surface with a matte finish. Its colour is a pale, creamy beige, suggestive of painted drywall or plaster. Several faint, irregular discolouration patches are noticeable, predominantly concentrated on the left-hand side, appearing as light brown or greyish smudges, possibly water stains or age-related discolouration. A slight corner of another wall is visible on the far left, forming a clean, sharp 90-degree angle. A rectangular light switch, off-white in colour and with a slightly glossy surface, is centrally positioned on the right side. The switch plate displays a simple, unadorned design, with a centrally placed button. The setting appears to be an interior wall within a residential or institutional building. The background is uniformly the wall itself, devoid of any other elements. The lighting is even and diffused, lacking harsh shadows or highlights, suggesting either ambient indoor lighting or soft, indirect light. The colour palette is muted and neutral, consisting primarily of shades of off-white and pale beige. The discolouration on the wall introduces a slightly warmer, brownish tone in localised areas.

Nightlight with a lime-green plastic shade, resembling a stylised mushroom cap, emitting a warm, yellowish light from its base. The light is plugged into a double wall socket, which is a standard, off-white color and shows some signs of age and wear, including minor discolouration and what seems to be a slight crack or damage on one of the sockets. The switches on both sockets are off. There are no people present. The background is a light beige or off-white wall with noticeable imperfections—subtle discoloration, small blemishes, and a faint vertical crack running down its surface. The overall lighting is subdued, likely indoor ambient lighting, with the nightlight’s glow providing the brightest element of the scene. The colour palette is muted and warm, dominated by the off-white of the wall and the subtle yellowish glow of the nightlight against the lime green shade.

Light gray, possibly metal or composite, door or wall panel. The panel exhibits several vertical streaks of discoloration, possibly water stains or dirt, running from top to bottom in an uneven pattern. The stains are light brownish-gray, a slightly darker shade than the background. At the bottom of the panel, a horizontal white frame separates the panel from what appears to be the lower portion of the door or wall. A brushed stainless steel grab bar, angled slightly downwards, is affixed to the frame. A simple latch mechanism is visible on the door frame near the grab bar.

I tried opening a nailed-down window for air, then I scowled at my suicidal scars.

Dirty, multi-paned window with a security grille. The window panes are rectangular and divided by thin, off-white metal bars forming a grid. The window frame is a faded, yellowish-beige, showing significant wear, with chipped and peeling paint, particularly noticeable at the joints between the panes. A rusty, metallic latch or lock is visible on the left side of the frame, suggesting a mechanism to secure the window. No people are present.

Pale, linear scars etched across the skin's surface. These marks vary slightly in width and depth; some are fainter and barely visible, while others are more pronounced, appearing as thin, white lines against the warmer skin tone. The streaks are mostly horizontal but display some subtle curves and slight deviations from perfect parallelism, suggesting a degree of irregularity in their formation. The skin itself has a slightly rough texture, visible in fine granularity. Fine hairs are sparsely visible, adding to the skin's realistic depiction. No other objects or people are present.

While Communist evils simmered in northern Sri Lanka, attention was diverted to all the cool vintage cars.

Vibrant red and white political poster, affixed to a weathered, textured wall. The poster is predominantly red, with white lettering and graphics. The poster's primary visual element is a stylised depiction of three figures, rendered in black silhouette, wielding hammers and a sickle, iconic symbols of communism. The figures are positioned dynamically, suggesting collaborative work or struggle. Above the figures, a large red 1 is prominently featured, likely symbolizing May Day (International Workers' Day). The hammer and sickle are also featured separately in red on the white upper section. Below the central image, there’s Tamil text, which appears to be the party's name, slogan, and other campaign-related information. At the bottom, NDMLP is displayed prominently in a rectangular box, accompanied by a translation indicating New Democratic Marxist Leninist Party. Additional Tamil text specifies locations for rallies or meetings.

Vintage, heavily worn-down truck, prominently featuring the letters KMH on its yellow-cream cab. The truck's body is a patchwork of faded blue, red, and cream paint, showing significant signs of rust and age. Its headlights are round and slightly yellowed. The truck has a wooden cargo area. A small bouquet of yellow flowers adorns the grill. The license plate, 247974, is visible.Several people are visible in the far background, small and indistinct, suggesting a busy street scene. They are too far away to make out any details about their appearance or actions.

I discovered a second Murugan Kovil and a friendly Shiva Kovil.

Hindu temple entrance, ornately decorated. Above the entrance, a golden statue of a Hindu deity, likely Lord Murugan (given the peacock imagery), stands majestically. The deity is adorned with intricate jewelry and holds what appears to be a spear or weapon. Two large, vibrant peacock statues flank the central figure. Smaller, white statues of what seem to be other deities or guardians are positioned on either side of the entrance at ground level. A large, rectangular sign bearing Tamil script is prominently placed directly above the temple door. A simple wooden door with vertical bars forms the main entrance to the temple. A bicycle is parked to the left of the temple structure, suggesting a street scene.

Leonie with light blonde hair partially visible beneath a draped, lilac-pink shawl or scarf. The shawl, which has subtle gold detailing along its edges, is loosely wrapped around her head and shoulders, partially obscuring their hair and framing their face. She has a prominent, round forehead with a small, dark red bindi centrally placed between her eyebrows. Her expression is serious, almost pensive, with a neutral, slightly downturned mouth. A small, light-coloured piercing is visible in her left nostril. She is wearing a purple tie-dye-style shirt underneath the shawl. She appears to be standing on a street, facing the camera directly. In the background, slightly out of focus, is a person on a scooter, moving away from the camera.

To prevent shelling, kovils were painted with red and white vertical stripes during the civil war.

Partially dilapidated Hindu temple, characterised by a contrasting architectural style. The front section features a bright white, intricately carved gable and pillared portico, suggesting a more recent renovation or addition. This contrasts sharply with the adjacent, older sections of the building, which are clad in reddish-brown tiled roofs and painted with bold, vertical red and white stripes. The building shows signs of age and wear; some of the white paint is chipped or stained, and the red and white stripes are faded in places. A woman, seemingly young, stands facing away from the camera slightly to the left, in front of the temple’s rusty red metal fence. She is dressed in a dark blue, knee-length dress and crimson leggings, carrying a pinkish-purple handbag. She appears to be observing the temple.

In Sri Lanka, flowers were stunning, and I discovered a quaint Ganapathy Kovil close to Nalir Kovil.

Cluster of vibrant pink flowers, seemingly from a climbing plant, taking up a significant portion of the foreground. The flowers are densely packed, with numerous individual blossoms, each delicately shaped with a multitude of soft pink petals. They appear to be in full bloom, with some showing a slightly deeper pink hue in their centres. The flowers are attached to slender, reddish-brown stems which are partially twined around each other, indicative of a climbing or vine habit. The stems are surrounded by bright green foliage, comprised of small, ovate leaves arranged in an alternate pattern along the stems. Some leaves are simpler and elliptical in shape, while others showcase a more pinnate structure, with multiple leaflets branching from a central stem -possibly from another plant growing near the flowering one. A thin, rusty brown wire is seen loosely wrapped around one of the main stems.

Vibrant, intricately detailed Hindu temple entrance. Dominating the entrance is a large, colourful statue of Ganesha, the elephant-headed god, seated on a throne. He is depicted in a traditional pose, holding his attributes. The statue is brightly painted with reds, greens, blues, and golds. Above Ganesha, a gopuram—the characteristic tower of a South Indian temple—rises. It is multi-tiered and richly decorated with smaller statues of deities and mythical figures, all rendered in a similar bright colour palette. Intricate carvings and decorative elements abound.

Nalir Kovil.

Towering, intricately carved Gopuram (temple tower) of a South Indian temple. The Gopuram is multi-storied, appearing to be at least seven stories high, and is richly adorned with gold-coloured ornamentation. Countless small, detailed sculptures and decorative elements cover its entire surface, creating a dense, layered effect. The carvings depict various figures, likely deities, mythical creatures, and floral motifs. The base of the Gopuram is a darker brown, contrasting with the gilded upper sections. A dark brown, heavy wooden door is visible at the base of the Gopuram. A dark brown or black metal fence surrounds the base of the temple, and a section of a low, concrete curb or barrier is in the foreground. No people are visible in the image.

Large, ornate Hindu temple, its gopuram (tower) dominating the scene. The gopuram is golden-hued, richly decorated with intricate carvings and details, appearing almost jewel-toned in the twilight light. Two smaller, flanking gopurams are visible on either side of the main structure. The temple's entrance is a large, shadowed archway. A few indistinct figures can be seen near the entrance, but they are too small to discern any details. The temple sits behind a low wall with alternating red and white vertical stripes. The foreground is a mostly empty, flat, sandy or dusty area. A single piece of discarded paper is visible near the bottom left. The scene is set outdoors, in what appears to be a temple courtyard or open space. The background features a sparse, low-lying horizon line with a few scattered trees visible to the right. The sky is a soft pastel blend of pale blues, pinks, and oranges characteristic of twilight or sunrise. The clouds are thin and wispy, with areas of lighter and darker tones.

Savored a delicious masala dosai at the immaculate Nalir restaurant.

Masala dosa, a South Indian crepe, presented elegantly on a rectangular stainless steel tray. The dosa is light golden-brown, slightly browned in places, suggesting it's been cooked on a hot griddle. It's rolled up loosely, revealing a soft, almost creamy interior. It rests on a vibrant green banana leaf, partially visible underneath, adding a touch of natural texture and color contrast. Two small, stainless steel bowls are positioned in the upper middle of the tray. One contains a bright yellow-orange sambar (a lentil-based vegetable stew), while the other holds a light green chutney (a condiment). The position and slight overlap of these elements guide the viewer’s eye across the composition.

I took a photo of my gold earrings because I had to sell them because I was out of money.

Earrings are the focal point, positioned slightly off-centre, with one earring subtly ahead of the other. They are small, round, and gold, featuring a central floral design intricately detailed with what appears to be multi-colored gold (perhaps different karats or colored gold inlay). The floral motif is composed of several stylized petals radiating from a central point, accented with tiny specks of color, possibly red, white, or silver. The central circle is encircled by a row of small, evenly spaced golden beads, creating a textured halo effect. Each earring has a small, almost invisible post visible at the top.

I ran into a dead puppy on my way to the jeweller's.

Deceased young dog lying on a dark gray asphalt surface. The dog appears to be a small to medium-sized mixed breed, predominantly black with tan markings on its legs and face. Its fur is short. The body is sprawled on the ground, its legs extended, suggesting a limp, lifeless posture. The head is turned slightly to its side. A significant amount of blood is visible around its head and partially under its body, staining the asphalt. There are minor visible wounds on one leg. The dog seems to be a puppy or very young dog. The background is entirely composed of the asphalt road surface, which is textured and shows various shades of dark gray, with small aggregates visible. The lighting is even, with no harsh shadows, suggesting diffused daylight or overcast conditions. The overall colour palette is muted and sombre, dominated by dark grays and the stark red of the blood. The blood has a slightly glossy texture, contrasting with the matte surface of the asphalt.

Obtained help from Murtumari Amman before going into the Jewellers.

Richly adorned goddess seated majestically on a golden throne. She is the focal point, occupying most of the frame. Her attire is extravagant: a vibrant red and gold sari embellished with intricate patterns and sparkling details, suggesting opulence and divinity. Her complexion is light, and her expression is serene yet regal. She wears heavy gold jewelry, including necklaces, bangles, earrings, and a crown, all meticulously detailed. Her multiple arms (characteristic of many Hindu goddesses) are gracefully posed, holding various symbolic objects – possibly a weapon, a flower, or a blessing gesture. At the bottom of the image, three severed male heads are depicted, a common motif in some depictions of the goddess, symbolising the triumph of good over evil.

faded, slightly crumpled receipt from a jewellery store, New Maithily Jewellers, predominantly in green text against a white background. The receipt is the central focus, taking up most of the frame. It's a handwritten and stamped document, showing details of a purchase. The handwriting varies in style and legibility. The top shows the store's name and contact information, including phone numbers and an address in Tamil script. The customer's information is filled out at the top.

Walked to the coastline, and rested by a fort.

Rag doll, positioned in the lower left corner. The doll is light beige with light blue eyes, rosy cheeks, and light blonde yarn hair. It's wearing a vibrant green dress adorned with a silver sequinned trim around the neckline. The doll appears to be looking towards a body of water. No other people are visible. The background features a calm, expansive body of water under a mostly clear, bright blue sky. A few wispy clouds are scattered across the sky. A series of blue-topped docks or jetties extends horizontally across the middle-ground, leading out into the water. Several small boats are moored at these docks. The foreground is a sandy, textured shoreline with a light beige, almost tan, colour. Patches of sparse, dry-looking grass peek through the sand. The lighting suggests it's midday; the sun is bright, casting even lighting across the scene.

Tranquil moat, a long, narrow body of still, dark-greenish water, reflecting the sky and the surrounding structures. The moat is bordered by low, grassy banks and runs parallel to a section of ancient, weathered stone walls, which form a low, fortress-like structure. These walls, a muted gray-brown, show signs of age and wear, with patches of vegetation sprouting from cracks and crevices. Beyond the wall, a flat, grassy expanse extends to the horizon. Power lines stretch across the right side of the image, leading the eye towards a slightly elevated area with sparse, low-lying trees. The foreground features a simple, black-and-white painted curb along a paved road, separating the viewer from the moat. No people or animals are visible.

Coast was eeiry, empty yet distraught.

Weathered, partially dilapidated boat, resting on a muddy shore. It's positioned slightly off-centre to the left, angled towards the viewer. The boat is predominantly off-white or light beige, with faded red and possibly blue stripes along its hull. It appears abandoned and neglected, showing signs of wear and tear. There are no people present in the image. The scene is a tranquil, coastal landscape under a pale blue sky dotted with fluffy white cumulus clouds. The background features a calm, shallow body of water stretching to the horizon, where a low-lying landmass is visible. This landmass appears flat and potentially marshy, with subtle hints of dark green vegetation. In the mid-ground, thin, dark lines suggest structures in the water, possibly aquaculture or fishing installations. The shore is a textured mixture of mud, small stones, and rocky debris.

I discovered a hotel room that was cleaner; however, the plastic chairs exacerbated my anxiety from the torture I endured with an ETC machine by Internal State Security employees in sector 14 of Gandhinagar in 2007.

Seated centrally in the foreground on a bed, slightly off-center to the left. The doll is fair-skinned with blonde yarn hair, wearing a vibrant lime green dress adorned with intricate, dark-colored embroidery that resembles traditional South Asian or folk styling. She wears a simple necklace. The doll is posed in a slightly relaxed manner, arms slightly out to the sides. A white bed with a black and white checkered runner dominates the bottom right of the image. The bedding is crisp and appears relatively new. A dark brown plastic chair with ornate detailing sits to the left, near the vanity area, appearing slightly worn or used. The scene is a modestly furnished bedroom. The walls are plain white, emphasising the furniture. The floor is light-coloured tile, appearing clean but simple.

In the evening I found a small Mutumari Kovil.

Small, intricately dressed statue of what appears to be a Hindu deity, possibly a form of Ganesha. The statue is predominantly white or light beige, with a rounded head and what seems like elephantine features, though partially obscured. It’s adorned in a vibrant teal and gold patterned garment, draped in flowing folds. The dress is richly decorated with gold accents, giving a sense of opulence. The statue's hands are posed in a traditional devotional gesture. To the right, a simple, hanging lantern made of glass and metal casts a warm, orange glow. Inside, a small flame burns brightly, illuminating the scene. Near the base of the statue, there are small bowls, one metallic and possibly containing ash or some other offering, and another white bowl which could be used for offerings. A small, cylindrical container, possibly a small tin or candle, sits near the lantern.

Rust-free retro automobile.

Vintage Austin Cambridge car, predominantly white with a vibrant red roof. The car is parked on the side of a road, angled slightly away from the viewer, showing its rear three-quarter view. The car appears slightly dusty or weathered, suggesting age and use. Its chrome detailing, particularly the bumpers and tail lights, are slightly tarnished but still reflective, catching the sunlight. The license plate, 38 7797, is clearly visible. Inside the car, two light-coloured, possibly stuffed animal, objects are partially visible in the rear seat. There's no human presence directly interacting with the car, although distant figures are visible in the background.