Srilanka

The daring artificial colours of this desert impeded my appetite, causing my stomach to contract.

Vibrant pink ice cream sundae, overflowing from a clear, glass boat-shaped dish. Two generous scoops of pink ice cream are nestled within a pool of pink sauce or melted ice cream. The ice cream is generously adorned with colourful sprinkles, chopped nuts (cashews appear prominent), and what look like small, colourful candy pieces. A tall, dark chocolate wafer stick stands upright in the centre of the dessert, adding a vertical element to the composition. A portion of a light brown waffle or biscuit is visible on the bottom left, with another broken piece partially submerged in the melted ice cream on the right, suggesting the ice cream has been partially eaten. A silver spoon rests alongside the dish, appearing to have been recently used.

Got pooja items before I washed my clothes by hand.

Two brass containers and a dark reddish-brown powder. One container is a small, round, lidded jar with a slightly domed lid. It's filled almost to the brim with a fine, deep crimson powder, which appears smooth and slightly reflective. The powder's consistency looks like finely ground pigment or spice. This jar is positioned slightly off-centre to the left. The lid is separate and resting next to it. The second container is larger, shallow, and more ornate. It resembles a traditional oil lamp or diya, with a spout at one end. The body is decorated with an intricate, raised relief pattern around the rim. It's empty except for a faint, off-white oval mark or stain on the bottom, suggesting possible wear or a previous residue. This container sits off-centre to the right, slightly angled away from the viewer. Both brass pieces appear aged, with subtle variations in tone and highlights indicating the metal's tarnish and polishing. The metallic surfaces have a soft sheen, reflecting a little ambient light.
Clothes drying rack, positioned slightly off-centre, angled toward the lower right corner. The rack is loaded with a variety of garments, predominantly vibrant pink and purple textiles. These appear to be saris or similar long, flowing fabrics, some with tie-dye patterns exhibiting a soft, diffused coloration. The pinks range from a deep fuchsia to a lighter rose, while the purples are deep and rich. There's a smaller, folded garment of a coral-pink hue hanging on a lower section of the rack. Partially visible underneath and near the lower-left, are a darker pink item and a white piece of fabric (possibly a towel). A dark purple garment drapes predominantly over the lower right of the rack. The top level of the rack also shows a dark garment (likely black) slightly obscured by the vibrant pink fabrics underneath.
Calm, reflective body of water, possibly a lake or pond, occupying the majority of the foreground and middle ground. The water is a dark teal-green, its surface mirroring the sky and surrounding structures with remarkable clarity. The reflection of the clouds is particularly striking. The background features a low skyline of buildings, varying in height and architectural style. There’s a distinct white tower, resembling a clock tower or a slender minaret, that stands out against the greenery. Several buildings are low-slung, and one near the right bank appears to be under construction or in a state of disrepair, with exposed brick and scaffolding evident. The buildings are a muted mix of browns, creams, and grays. Lush green trees and vegetation line the banks of the water, creating a natural border between the built environment and the aquatic space.
Flock of predominantly black birds, likely crows or similar species, distributed across multiple power lines stretching horizontally across the frame. The birds are mostly perched, appearing relatively still, though a few may be in slight motion. One large bird is in flight, high above the power lines, exhibiting strong wingspans against the pale blue sky. Its trajectory suggests it's either passing overhead or possibly descending towards the others. The background is a clear, unblemished light blue sky, indicating daytime with minimal cloud cover. A sliver of a pale moon is visible in the upper right corner, a subtle detail suggesting it may be either early morning or late afternoon. The bottom of the image reveals the tops of green leafy trees, which contrast with the lines and stark black of the birds and wires. The power lines are thick, dark, and multiple, layered horizontally, creating a visual rhythm. A simple wooden power pole is positioned towards the right, supporting the wires.

I strolled for several hours.

Tall, slender column of off-white, possibly marble or a similar material, resting on a square, light grey concrete base. The column is subtly fluted, and its top features a dark grey, metallic sculpture shaped like a fountain pen nib, angled slightly upward. Two dark rectangular plaques are affixed to the base of the column, one on each side, bearing inscriptions in both English and Tamil. A low, square platform of matching grey concrete surrounds the base, creating a raised area. A simple, black metal chain runs along the perimeter of this platform. Behind the monument is a dense wall of vibrant green bamboo, contrasting sharply with the grey tones of the structure.
Bronze statue of Lord Robert Baden-Powell, founder of the Scouting movement. He is depicted in a Scouting uniform: a khaki short-sleeved shirt with badges, khaki shorts, and knee-high socks. He wears a wide-brimmed hat, slightly tilted, and his right hand is raised in a salute or gesture of greeting. He holds a staff or walking stick in his left hand. The statue stands on a rectangular, light grey stone pedestal. Below the statue is a dark-grey or black plaque with engraved text detailing Baden-Powell's life and the unveiling of the statue. The statue is positioned against a wall of light-brown and beige textured stone tiles, arranged in a stacked, slightly irregular pattern, resembling a stone-clad building facade. Above and flanking the statue are metallic, gold-coloured numerals 1916 and 2016, suggesting a centennial commemoration. The words 1st JAFFNA SCOUT GROUP are prominently displayed above the statue in capital letters.
Tall, slender, white structure resembling a stylised obelisk or pillar. It's predominantly white with a series of recessed panels featuring a stylized sun and wave motif repeated at intervals along its height. The top of the structure is adorned with a more elaborate, cross-like or crown-like design, also white, with slightly darker shading suggesting shadow or texture. The structure stands against a vibrant, clear blue sky, almost devoid of clouds except for a tiny, distant crescent moon visible in the upper-left quadrant. The lighting suggests it's daytime, with the sun likely high in the sky, casting shadows that are barely visible on the pillar's surface. The background includes a sparse, tropical or subtropical landscape. Palm trees with long, slender fronds are visible at the bottom of the frame, suggesting a warm climate. There are also other less defined green trees and shrubs, and some thin, dark utility wires stretch across a portion of the lower part of the image. The overall colour palette is dominated by the intense blue of the sky, the stark white of the structure, and the various shades of green from the vegetation.
Grand, colonial-style white building, seemingly a public library, as indicated by signage in Tamil and English. It features symmetrical wings extending from a central section topped with a dome. Smaller domes crown the wings. A statue is visible within a small portico or recessed entryway in the central section. The building's entrance is guarded by ornate wrought-iron gates bearing a circular emblem. A few people are barely visible in the distance near the building’s right side. They appear small and indistinct, lacking detail, not interacting with the main features. The scene is set outdoors, with low-lying vegetation and trees surrounding the building. The trees are sparse, primarily seen on either side of the building and further back. The sky is a pale, almost washed-out light gray or pale blue, indicating either early morning or late afternoon light. The overall lighting is soft and diffused; there are no harsh shadows.
Large, placid body of water densely covered with lotus leaves. These leaves are predominantly a dark, muted green, with some showing signs of age or decay, exhibiting brownish-yellow hues. They are tightly packed together, creating a textured, almost carpet-like surface on the water. There are a few visible lotus flowers, primarily small and white, interspersed among the leaves, but they are not the main focus. The water itself is relatively calm, reflecting the muted light of the setting sun. In the background, a tropical village is visible. Low-lying buildings with reddish-brown roofs and light-colored walls are scattered amidst lush green foliage. Tall palm trees form a silhouette against the sky, forming a slightly irregular line separating the water from the village.

Located Mutumari Amman Kovil.

Multi-tiered, brightly coloured structure resembling a bell tower or shrine. It's predominantly orange and beige, adorned with elaborate carvings and painted murals featuring vibrant blues, greens, purples, and gold accents. Delicate, stylised floral and mythical creature motifs are woven into the carvings. Statues of deities or mythical figures are visible on the topmost tier, appearing in dynamic, slightly theatrical poses. A large bell is partially visible within the tower's open structure. To the left, a smaller, similarly styled gateway or entrance is visible, mirroring the architectural details of the main structure. Both structures are enclosed by a dark reddish-brown metal railing with ornate scrollwork incorporating stylised symbols along the base. A few sparse yellow-green strands of what look like decorative garlands or ribbons are draped on the railing.
Vibrantly coloured Hindu temple structure, specifically what appears to be a mandapam (a covered pavilion) or entrance porch. he main focus is a colourful, intricately decorated structure with a curved, arched roof. The roof is painted in a swirling pattern of pastel greens, pinks, blues, and yellows, with decorative floral and leaf motifs. The pillars supporting the roof are similarly painted with detailed floral and mythical figure carvings. The colours are bold and slightly whimsical, almost cartoon-like in their bright saturation. In the foreground is a rusty, reddish-brown metal gate with a simple design, somewhat contrasting with the vivid temple structure behind it. The gate features a stylized Om symbol on each side. A glimpse of the temple's inner sanctum is visible through the gate. It appears to be more modestly decorated compared to the colourful entrance. No people are present in the image.
Close-up portrait of a fair-skinned woman, her face dominating the frame. She's wearing a vibrant red scarf or shawl, draped around her head and shoulders in a style suggestive of South Asian attire. The scarf is richly textured, featuring small, off-white dots scattered across its surface. A thin, multicoloured border runs along its edges. The woman appears to be directly facing the camera, her gaze is level and her expression is somewhat neutral, perhaps pensive or slightly melancholic. She has a bindi (a red dot) and a gold-colored marking on her forehead, common in Hindu traditions. A small, light-coloured piercing is visible in her left nostril. Her skin shows subtle redness, possibly from sun exposure.
360 degree panoramic view of the interior and immediate exterior of a vibrantly painted Hindu temple. The main focus is a pavilion-like structure with a low, arched ceiling adorned with intricate, colourful frescoes. The pillars supporting the roof are richly decorated with similar vibrant designs. The floor is a highly polished, dark-colored stone, reflecting the surroundings. A small shrine, seemingly enclosed behind a railing, is visible within the pavilion's interior. Another shrine or structure is visible in the far background. The ceiling is a masterpiece of vibrant color, featuring swirling patterns, floral motifs, circular designs, and stylized depictions that evoke a sense of divine ornamentation. The colors include deep blues, greens, reds, yellows, oranges, and pinks, all intensely saturated. The columns are equally ornate, displaying vertical bands of detailed patterns and figures.

Later in the evening, I discovered a chariot festival.

Street scene at night, seemingly outside a Hindu temple. A partially visible Hindu temple dominates the left side of the frame. Its architecture is ornate, with gold-toned details and carvings visible on the exterior walls and a tiered roof structure. A section appears to be an altar or shrine area, protected by an intricately designed wrought iron fence. Glowing, possibly decorative, elements suggest lighting from within. A group of approximately 20 people, mostly men, are positioned in the middle and right foreground. Several men are clad in white dhotis (traditional South Asian garments), seemingly participating in a religious procession or ritual. Their postures suggest they are either observing or pausing. Some appear bare-chested, and others are dressed in more casual attire. Women are sparsely visible, often partially obscured in the background, dressed in darker, less-distinct clothing. One group of people are gathered near motorbikes, which are parked to the right. A slightly blurry structure, suggesting a palanquin or float typical of religious processions, is visible in the mid-ground. This indicates a festival or event may be taking place.
Brightly lit, ornate temple chariot (rath). It's a multi-tiered structure, seemingly made of wood and richly decorated with vibrant colours—greens, reds, golds, and blues—intricate carvings depict mythical figures and animals, and small lights are embedded along its upper edges, creating a glowing halo effect. The chariot is on wheels, one of which is prominently featured in the foreground. The wheels are large, wooden, and painted with geometric patterns in dark brown, orange, and gold. Several people are visible, though their faces are largely obscured by shadows. Two men, seemingly bare-chested or wearing minimal clothing (one in a white dhoti), are positioned near the front of the chariot, appearing to pull or guide it. A child or young person, with dark hair, is slightly behind and to the right, gazing at the chariot with a seemingly contemplative expression. Their clothing is a teal blue top. Another person, partially visible, is behind the child, wearing a yellowish garment. Their actions suggest participation in a religious procession or festival.

I had masala tea in the morning.

Fair-skinned woman, possibly in her 30s or 40s, with a calm, almost pensive expression. She's draped in a vibrant teal and purple dupatta (a long scarf), which is loosely arranged around her shoulders and neck. The dupatta features a paisley-like pattern with a subtle sheen. She wears a teal kurta (a long shirt) with a similar, but less pronounced, paisley pattern in shades of purple and white. Her arms are visible, with a noticeable tattoo on her right upper arm, appearing to be a stylized cartoonish or illustrative design. She has a small gold bindi (a decorative dot) on her forehead and a small nose piercing. The woman is seated, appearing to be in a cafe or eatery, with a metallic, shallow bowl in front of her containing a light brown liquid (likely tea or coffee). Her gaze is directed slightly downward, and her posture is relaxed but still. She is not actively doing anything beyond seemingly observing her surroundings.

And walked to Nalir Kovil.

Resplendent Hindu temple, predominantly gold and brown, exhibiting intricate carvings and ornamentation. Its gopuram (tower) rises majestically, multi-tiered and adorned with countless miniature sculptures and decorative elements. The gopuram's gold paint shimmers under the light, reflecting a warm golden hue. Adjacent to the main structure is a large, ornate, covered pavilion, also exhibiting golden coloring and elaborate carvings. This pavilion sits on sturdy, ornately carved pillars, creating a grand entrance or waiting area. A simpler, red and white striped wall forms a partial backdrop to the left. A single, indistinct figure, seemingly a person, is barely visible near the right bottom corner of the temple complex, engaged in an action too small to discern. The scene is bathed in the bright, clear light of a sunny day. The sky is a brilliant, unblemished blue, contributing to the overall feeling of clarity and warmth. The temple complex stands on a pale tan, sandy ground that extends to the foreground. In the background, beyond the temple's immediate surroundings, a lush green tree partially obscures what appears to be a further building. The dominant colors are the intense gold of the temple's structure and the deep red and crisp white of the adjacent wall, providing a powerful contrast against the muted tones of the sandy ground and the green foliage.

I went to the spotless restaurant for Tali.

Large, circular, stainless steel thali (tray) brimming with a South Indian meal. Nestled on a vibrant green banana leaf within the thali is a bowl of light-brown, slightly speckled rice or grain, possibly barnyard millet. Surrounding the rice are six small, similarly styled stainless steel bowls. These contain various curries and accompaniments.
Close-up selfie of a fair-skinned woman with blonde hair partially visible beneath a vibrant teal and lavender dupatta (a type of scarf). The dupatta is draped over her head and shoulders, partially obscuring her hair. She appears to be standing still, looking directly at the camera with a neutral, almost pensive expression. Her forehead displays a red and gold bindi (a decorative mark worn by Hindu women), suggesting cultural or religious significance. A small, gold-colored nose stud is also visible. She's wearing a teal and white tie-dye style top, and part of a maroon shoulder bag strap can be seen.

Another visit to Muthumari Amman Kovil.

Fair-skinned woman, appearing to be middle-aged, with a contemplative expression. She's wearing a vibrant teal and purple shawl or dupatta draped over her head and shoulders, partially obscuring her hair. The shawl features intricate, repeating patterns in a lighter teal. Beneath the shawl, a purple and teal patterned top is visible. She has a small, dark mole or piercing on the left side of her nose. Most notably, she has a reddish-brown, slightly raised mark on her forehead, suggesting a bindi or a recent injury. She appears to be still and gazing slightly off to her left, directly at the viewer. She carries a brown strap across her torso. The woman is positioned in the foreground, sharply in focus, against a brightly coloured background. The background depicts the interior of what seems to be a Hindu temple or shrine. The walls are adorned with vivid murals featuring deities and intricate, ornate patterns in warm oranges, yellows, greens, blues, and reds. Metallic silver railings run horizontally across much of the background, separating sections of the temple's interior. Small shrines with colourful statues are visible in the background. The floor is dark, polished tile, reflecting some of the scene's bright colors. The lighting appears to be natural daylight, streaming into the temple space, casting no harsh shadows on the woman. The overall color palette is bold, warm, and rich, with a strong contrast between the woman's attire and the temple's decoration. A few scattered red flowers are visible on the temple floor.

Then attended a Yagna at Murugan Kovil.

Bustling scene within what appears to be a Hindu temple or ceremonial hall. The main focus is a group of people seated on the floor, predominantly in shades of orange and yellow, possibly participating in a ritual or ceremony. Many are wearing traditional South Asian clothing. In the foreground, a person with dark hair and a white cloth draped around their neck is seated, their back to the camera, dominating the lower right. Their gaze is directed slightly to their left. To their left, another individual is visible, partially obscured. Centred in the mid ground is a woman with dark hair adorned with white flowers; she sits with her back to the camera, wearing a deep red garment. In the mid ground, several people are engaged in conversation or observation.

I discovered a Shakthi Kovil having fun at a Chariot Festival.

Vibrant Hindu temple, a complex structure dominated by a tall, ornate gopuram (tower). The gopuram is densely decorated with colourful sculptures and carvings of deities and mythical figures, creating a multi-layered, almost chaotic visual texture. Its colors are a mix of warm yellows, oranges, and greens, contrasting with the grey stone. Red flags with white symbols flutter from various points on the temple. The temple complex also includes a long, lower building with a striped red and white facade, suggesting different sections within the temple's grounds. Many people, mostly dressed in brightly coloured South Asian clothing, are gathered around the temple, some appear to be worshipping or participating in a religious event. They are standing in small groups, near entrances, or walking along the wet ground. A few rickshaws or cycle-rickshaws are parked near the temple. A ladder leans against a portion of the temple structure, suggesting ongoing maintenance or preparations.

Devotees of Shankthi looked at my observing presence at this event with suspicious scrutiny; they made distant faces of contempt.

360-degree panoramic view, centred on a procession of people on a wet road. The procession is composed of a multitude of individuals predominantly dressed in vibrant South Asian attire, a mix of sarees in various colours (reds, pinks, oranges, blues, greens), and men wearing dhotis and kurtas, many bare-chested. Several women wear richly coloured sarees with elaborate borders and adornments. The group is dense in the centre of the frame, tapering off towards the edges. They appear to be participating in a religious festival or ceremony. The main focus is on the women and men in the central area, with their movement conveying a sense of procession or pilgrimage. Towards the far right, several individuals stand near a temple, and near the left, another group is positioned seemingly awaiting its turn in the line.A significant object is a partially visible ornate palanquin or chariot, which suggests a religious significance to the event. Several men, bare-chested and appearing to be carrying or supporting this chariot, occupy the central area amongst the women. The procession is flanked by buildings on either side, with a larger temple structure more prominently visible on the right.
Large, ornate chariot-like structure, a Ther, typical of South Indian temple festivals. It's intricately decorated with vibrant colours—reds, golds, greens, and blues—and features miniature figures and embellishments. The Ther is positioned under a simple, white-walled, roofed structure that seems to be a temporary setup for the procession. A large crowd of people surrounds the Ther. Many are dressed in brightly colored traditional South Indian attire—saris and dhotis in a variety of hues and patterns. Some women are adorned with jasmine flower garlands in their hair. The people's actions suggest participation in a religious festival: some stand observing; others seem to be involved in the preparations or procession of the Ther. A significant number of men are shirtless, or wear only a dhoti, a common sight in South Indian religious events. One man in the foreground prominently displays his bare back, wearing only a bright yellow dhoti, and slightly turned towards the Ther.
Crowd of people, predominantly women dressed in vibrant South Asian saris of deep purples, greens, and maroons, many richly embellished with gold thread. Their backs are to the camera, creating a tapestry of textiles and subtly varied skin tones. They are densely packed, suggesting a festival or procession. Their body language shows attentiveness, with many looking toward a golden chariot (or float) in the mid-ground. A few men are visible, mostly at the edges of the crowd, some bare-chested. In the foreground, only partial views of some individuals are visible. A child, partially obscured, wears a teal shirt and is towards the bottom right. The golden chariot is ornately carved and adorned with garlands and decorative fabric elements. It appears to carry a religious figure or idol. The chariot is positioned slightly to the right, while to the left stands a tall, intricately sculpted temple tower (gopuram), heavily embellished with statues and carvings of various figures and animals, primarily in shades of grey and beige.

I got very sunburned at this event. Afterward, I took the bus to Tricomalee and booked a cheap hotel five miles south.

Small, rag doll dressed in a vibrant green and multicoloured outfit, reminiscent of traditional South Asian clothing. She’s lying on a white bed with her head resting on a white pillow. Her pose is relaxed, limbs slightly askew. Near the doll, a black garment, possibly a dress or top, lies crumpled on the bed. A stack of blue and white striped towels sits neatly on a dark brown wooden side table. Two blue square throw pillows rest on a black double bed in the background, implying it's unmade, though linens are present. Another blue pillow sits on the bed in the foreground, against the white wall. The bed is simple and boxy in its design. The side table is small and rectangular, with open shelving.

Later, I lit my ghee lamp and retired to bed, as Rosie had her own bed.

Small, brass oil lamp (diya), glowing warmly. Its circular bowl, filled with flickering oil and a bright flame, sits atop a clear, cylindrical glass container. The lamp is positioned directly in front of a framed picture. The picture depicts a Hindu deity, possibly a female goddess, seated regally on an ornate throne. The goddess is richly adorned with gold jewelry and vibrant clothing, rendered in a style reminiscent of traditional Indian religious art. The colours are bold – reds, golds, blues, and a touch of green in the background.

In the morning I visited Koneswaram Kovil.

Vibrantly coloured Hindu temple, its entrance partially obscured by a gathering of people. The temple's gopuram (tower) is heavily decorated with numerous intricately carved and painted figurines of deities and mythical creatures. These figures are predominantly in shades of blue, green, gold, red, and white, creating a striking polychromatic effect. The architecture displays a multi-tiered structure with elaborate ornamentation. A partially visible sign in a local language is affixed to a pillar near the entrance.
large, imposing statue of Shiva, the Hindu god. The statue is light blue, almost greyish-blue, with darker accents defining its muscular physique and facial features. Shiva is depicted seated in a meditative pose, holding a trishul (trident) in his upper right hand and displaying a stylised hand gesture (mudra) with his left. He wears a beaded necklace and ornate armbands. His expression is serious and slightly stern. At the base of the statue, partially obscured by vegetation, a smaller Nandi (bull) statue is visible. To the lower right, a woman is standing. She's dressed in a dark blue, almost black, sari with a patterned design. Her skin tone is dark brown. She appears to be observing the Shiva statue, her posture relaxed but attentive.
Majestic coconut palm tree, its trunk thick and textured, leaning slightly to the right. Its fronds, a rich, dark green, arch gracefully towards the viewer and extend across the upper half of the frame, partially obscuring the sky. There are no people visible. In the distance, a coastal town or village is nestled along a calm bay, appearing small and peaceful. A single tiny boat can be seen on the water. Lush green foliage frames the scene on the left, right, and bottom, suggesting a hillside location. A fragment of a tan or orange wall is visible in the bottom right corner, likely part of a building or structure. The scene is a breathtaking coastal vista on a sunny day. The sky is a vibrant azure blue, punctuated by fluffy white cumulus clouds, distributed across the upper and middle portions of the frame, creating a contrast with the deeper blue of the sea. The water of the bay is a deep teal, calming and reflective, indicating a tranquil atmosphere. The vegetation is abundant and vibrant. The greens range from the deep, saturated greens of the palm and hillside foliage to the lighter, softer greens of the trees in the middle ground.

Returned into Tricomalee.

Vibrant Hindu temple complex, seemingly under some construction or renovation. Two distinct gopurams (tower structures) dominate the scene. The closer one is a multi-tiered structure, richly adorned with colourful, intricate carvings and statues of deities and mythical figures. Its colours are a bright mix of yellows, blues, greens, reds, and whites, giving a sense of festivity. This gopuram has a relatively small, open gateway visible in the centre. The second, taller gopuram, set further back, is similarly decorated but shows a more weathered, perhaps older, look. In the foreground, a low white wall with vertical red stripes separates the viewer from the temple. A small, golden, ornate chariot-like structure is partially visible behind the wall, to the left of the main gopuram. To the right of the main temple structure, another smaller pavilion-like structure with a wooden roof is also visible. Thin electrical wires run across the sky above the temple. There are no people clearly visible in this image.
Interior shot of a crowded Sri Lankan bus. The bus is filled with people, predominantly men and women with dark hair, seated closely together. Most are looking forward, appearing to be on a journey. Their postures are relaxed, some leaning slightly, indicative of a long ride. Their clothing is casual and varies. One person's backpack is visible on the overhead rack. The seat backs prominently display vibrant advertisements for a travel company named Thusha Travels, featuring colourful graphics and contact information.

And another bus.

Close-up selfie of a fair-skinned woman with shoulder-length, slightly wavy light-brown hair. She appears to be in her 40s or 50s. Her face is the central focus, taking up most of the frame. She has blue eyes, a prominent nose with a small nose ring, and a noticeable round, light-brown mark or wound on her forehead, just above the centre. A small red bindi is placed just below this mark. Her expression is serious, almost sombre; her lips are slightly pursed. She's wearing a maroon-coloured garment with a teal scarf or shawl draped around her neck and shoulders. The woman is sitting in a bus, slightly turned to the left, and her gaze is slightly downward and toward the viewer. In the background are blurry figures and the interior of a bus.

Noticed more Communist evil.

Two-story building, light purple in hue, with a slightly sloped roof. Several signs are prominently displayed. The most prominent is a large red banner hanging across the building's facade. It depicts a raised fist in a bold, graphic style, emblematic of protest or solidarity, against a predominantly red background with yellow accents. Text in Sinhala and Tamil is visible, advertising what seems to be a rally or demonstration, indicating dates and times. The numbers 1 and 11.000 stand out, possibly signifying a date and time, or a symbolic quantity. Beneath this banner are other smaller signs. One displays the name Nenasala in Tamil and Sinhala, suggesting a community centre or learning centre. Another sign advertises computer diploma and degree courses, with the contact details visible. Images of graduates are also present on this sign.

Through some mountains on a road that winds around.

Large, robust tree dominating the left foreground. Its thick, gnarled branches reach out, laden with lush, green, slightly shadowed leaves, suggesting a tropical or subtropical climate. The tree appears rooted on a hillside, partially obscuring the view below. The tree is not performing any action; it simply exists as a strong presence framing the view. In the middle ground and background, there's an expansive vista of rolling hills, valleys, and a sliver of a calm, blue-green body of water (possibly a lake or reservoir), nestled amongst the greenery. The hills recede into the distance, becoming hazy and indistinct under a pale sky. The distant hills are a muted dark green and brown, contrasting the vibrant foreground greens. The lower right shows more trees, a denser collection creating a forest edge, extending into the mid-ground distance.

I arrived into Kandy, the town was alit with lanterns to celebrate Buddha Purnima.

Two large, luminous lanterns hanging from the ceiling. They are diamond-shaped, constructed from a translucent white material, possibly plastic or a similar lightweight fabric. The material is slightly crumpled, giving a soft, uneven texture. Each lantern features a dark silhouette of a Dharmachakra (the Buddhist Wheel of Law) prominently displayed in the centre. From the bottom edges of the diamond shapes, long, thin, white fringes hang down, creating a cascading, ethereal effect. The lanterns are illuminated from within with multicoloured LED lights, predominantly purples, pinks, and blues, which shine through the translucent material and are also reflected in the fringes, creating a shimmering, almost magical quality. The lanterns appear to be suspended from simple wire or string.
Vertically oriented, multi-colored structure. The body is predominantly cylindrical, adorned with vertical stripes of orange, red, yellow, white, and dark blue, creating a bold, almost radiating pattern. The stripes appear to be made of fabric or paper, slightly translucent, allowing the internal lights to glow through. Atop the cylindrical body is a pointed, conical top, a darker yellowish-green, also wrapped in fairy lights. The base of the structure is wider than the body, giving it a slightly bulbous form. It rests on a sandy-coloured, circular platform, which is edged with stylised, low, white, mountain-like shapes arranged in a circle. There are small, warm-white LED lights woven throughout the structure, illuminating the colorful stripes and casting a soft glow around it.
Nocturnal vista of a lakeside town, possibly in a tropical or subtropical climate, dramatically lit for a nighttime celebration or festival. The immediate foreground is dominated by the dark, still waters of a lake, reflecting the lights of the opposite shore like a shimmering, broken mirror. The reflections are fragmented, creating a mesmerising pattern of red, green, blue, and white light dancing on the water's surface. A small island or platform sits centrally in the middle ground, subtly illuminated. Two tall palm trees stand prominently on this platform, their fronds catching and diffusing the artificial light. The platform appears adorned with strings of lights, creating a festive aura around the palms. The background is filled with the silhouette of a hill or mountainside, densely populated with buildings. These buildings are indistinct in shape but are clearly lit from within, their windows glowing with various colours, creating a lively, continuous band of light along the horizon. The intensity of the lighting suggests the town is celebrating an event. No people are visible.
Large building, possibly a temple or palace, entirely encased in a warm, golden glow from countless small lights strung across its façade. The building's architecture is partially obscured by a tall, black metal fence running across the foreground. The fence's vertical bars create a rhythmic pattern that partially masks the building's details. Behind the fence, figures appear as indistinct silhouettes, seemingly moving, implying some kind of activity or procession in front of the illuminated structure. In the upper portion of the image, three translucent, lantern-like objects are suspended from wires strung between trees; they are illuminated from within, casting a soft, diffused glow. The scene is set at night, creating a strong contrast between the darkness and the brilliantly lit building. The sky is a deep, inky black, devoid of stars. Lush, dark foliage of trees is visible above and to the sides of the building, partially obscuring the background. The primary color is the warm, yellowish-white of the countless lights on the building, creating a festive ambiance. The lanterns hanging above add a soft, ethereal white light. The black metal fence offers a stark contrast against the warm lights.
Nighttime scene of a lake, possibly Kandy Lake in Sri Lanka, with a city nestled on a hillside in the background. A dark, still body of water dominates the foreground, reflecting the lights from the city and a central illuminated island. The water's surface is gently rippled, indicating a calm atmosphere. In the middle of the lake is a small island, or possibly a floating structure, brilliantly lit with multicoloured lights – reds, greens, and whites are prominent. Several palm trees are visible on this island, adding a tropical touch.

Wow.

Large, illuminated display depicting scenes from the life of Buddha. The display is shaped like a stylised lotus flower with multiple circular panels, each showcasing a different event or scene. These panels are vibrant, with predominantly warm colours (reds, oranges, yellows) accented by cooler greens and blues. The panels are framed by intricate, glowing beading or ornamentation. In the centre of the lotus, a large, illuminated image of Buddha sits in meditation. The Buddha is rendered in calm, peaceful pose, in warmer tones that complement the surrounding scenes. The display is surrounded by a crowd of people; their faces are mostly obscured by shadows and low lighting, but they appear to be observing the illuminated display. Many are dressed casually; only a few discernible details of clothing are visible due to the low light. A few individuals wear hats or head coverings. The crowd is tightly packed in front of the display, their heads forming a dark, undulating mass that frames the bright artwork. They are passive observers, seemingly absorbed by the spectacle.

Riverdale Breeze Hotel, Kandy.

Nighttime scene in a garden. A person with fair skin, wearing a maroon top and a long, light-blue and white scarf draped over their head and shoulders, sits at a glass-topped table. They appear relaxed, almost contemplative, their hands resting on the table. Their posture suggests stillness and quiet observation. Near them, on the grass, sits a handcrafted doll with a light brown yarn head, painted features, a green dress with gold accents, and dark hair made of yarn. The doll is positioned slightly lower than the person, almost as if in a child-like pose. A potted plant is visible to the left, near a house. The setting is an outdoor garden area at night, illuminated primarily by artificial lights. Warm-toned lights highlight plants, particularly a palm-like tree, making its foliage glow. The lawn is a dark green, contrasting with the lighter-coloured house. The house is a colonial-style structure, white with a reddish-brown base, featuring large windows with visible curtains. The background reveals more vegetation, hinting at a hillside or sloped landscape. A faint moon is visible in the dark, slightly hazy night sky.

Walked away from this hotel in the morning.

White, single-story house, identified as Riverdale Breeze by a green sign in the foreground. The house sits on a slight incline, with a light gray concrete driveway leading up to a white metal gate. The gate is composed of evenly spaced vertical bars with an X pattern near the bottom. A short retaining wall separates the house from the driveway. Lush green grass and tropical landscaping surround the property. Mature trees, exhibiting a full crown and rich green foliage, are densely positioned behind and to the sides of the house. A partially visible, taller yellowish building can be seen to the left and behind the main house. The Riverdale Breeze sign is prominently positioned at the edge of the driveway, angled to indicate direction. The sign is dark green with white lettering and a stylised green arrow. Various plants, including rich dark red-leafed plants and greener foliage, are artfully arranged near the sign and against the retaining wall. The scene is set in a lush, tropical environment, likely Sri Lanka given the style of architecture. The lighting suggests it's daytime, with soft, diffused sunlight casting no harsh shadows. The overall color palette is serene, dominated by greens (foliage), whites (house and gate), and earth tones (driveway and retaining wall). The red-leaved plants provide a striking contrast to the surrounding greenery. The background includes more vegetation, including taller trees that create a sense of depth and seclusion. The buildings appear clean and well-maintained.
Two delicate, pale lavender morning glory flowers, positioned closely together, almost touching. Their petals are a soft, light purple, exhibiting a subtle gradation of colour, slightly darker towards the centre. The centre of each bloom is a rich, deep magenta-purple, contrasting beautifully with the pale petals. The flowers appear to be slightly cupped, giving a sense of gentle fragility. They are attached to a vine, suggesting they're growing together. There are no people or animals present. The background is a lush, out-of-focus array of green foliage. The leaves are various shades of green; some are bright and vibrant, others darker and shadowed. One leaf behind the flowers shows significant damage, appearing eaten or damaged by insects, exhibiting numerous holes.

Followed by a man on a motorbike.

Person wearing a dark gray-black jacket, blue jeans, and bright teal flip-flops, riding a vibrant blue dual-sport motorcycle. The rider's head is mostly obscured by a dark-gray and white graphic helmet, partially covering the face. The rider's hands are visible gripping the handlebars, one hand appearing to hold a phone or device up to their face. They're positioned slightly off-centre, closer to the left side of the frame, moving along a winding road. The motorcycle is a Suzuki DR-Z400SM (based on the visible markings on the bike), with a blue body, white accents, and black wheels. The vehicle’s front wheel is distinctly in the foreground and the rear is slightly out of focus, suggesting a sense of movement. A smaller helmet is attached to the rear of the motorcycle. The setting is an outdoor scene on a curved road, flanked by a low stone wall with white concrete posts at regular intervals. Beyond the wall, lush green vegetation, including trees and bushes, is visible, suggesting a hilly or mountainous region. A white refrigerated truck with blue lettering (possibly a delivery vehicle, partially visible) is in the background, further along the road. The lighting suggests daytime, with natural sunlight casting shadows, indicating the scene likely occurred in a sunny climate.
Focal point is a dark-coloured bird, likely a cormorant, perched on a low, white stone structure in the middle of a calm lake. Its wings are slightly spread, suggesting it has just landed or is preparing to take flight. The stone structure is rectangular with a series of small, square, crenellated sections forming a decorative border. It appears to be man-made, perhaps a small bathing platform or decorative element within the lake. The scene is set on a serene lake. The water is a dark, still green-gray, reflecting the overcast sky and the surrounding landscape. The background consists of a gently sloping hill covered in lush, dark green tropical vegetation. Several buildings, seemingly small houses or structures, are visible in the far distance on the hill's upper edge, adding depth to the background. The sky is a muted, light gray, indicative of an overcast day. The overall color palette is subdued, consisting mainly of dark greens, grays, and the off-white of the stone structure. The lighting is soft and diffuse, characteristic of an overcast day, eliminating harsh shadows.
Cluster of light blue plumbago flowers (Plumbago auriculata). Approximately six to seven individual blooms form a dense bouquet, with their petals overlapping and creating a soft, rounded mass. The flowers are in full bloom, showcasing their delicate, five-petalled structure. Each petal has a slightly darker, almost purplish-blue veining running from the centre outwards. The stamens are partially visible, but not distinctly defined within the floral structure. The flowers are attached to stems with small, vibrant green leaves, which are partially visible around the base of the cluster. There is no human or animal presence.
Cluster of three pristine white Tabernaemontana divaricata flowers, also known as pinwheel flowers or crape jasmine. They are in full bloom, their five petals radiating outwards from a central yellow-green eye. Two of the flowers are prominently positioned in the foreground, slightly overlapping. One flower is slightly behind and above the other two, creating a layered effect. The flowers are attached to stems with numerous unopened buds, a pale green color, also visible. There's no discernible action beyond their stillness and quiet beauty.
Dark brown butterfly, seemingly at rest, perched on a long, slender, vibrant green leaf. Its wings are mostly closed, displaying a rich, mottled brown pattern with subtle variations in shading, suggesting a velvety texture. The butterfly is positioned slightly off-centre, drawing the viewer's eye along the leaf's length. No movement is depicted; it appears still and serene.

In the evening I found a much nicer hotel. The price of a nights stay was surpisingly cheap.

Large, inviting swimming pool, its turquoise water reflecting the ambient lighting. The pool's shape is slightly kidney-shaped, curving gently away from the viewer. Stainless steel ladders are visible at the pool's edges. The pool is surrounded by a light-colored wooden deck. Behind the pool, a two-story white villa commands attention. The villa is brightly lit, showcasing its architectural details such as arched windows and a covered patio area with a wooden swing. Near the villa, under a beige-coloured patio cover, a wooden swing hangs gently. A white patio umbrella stands near the pool’s edge. Lush greenery, including shrubs and trees, is sparsely visible around the perimeter of the pool and house. The scene is set at night. The predominant colours are the deep blue-green of the pool, contrasted by the bright white of the villa and the darker greens of the surrounding vegetation. The lighting is artificial, emanating mainly from the villa’s interior and exterior lighting fixtures, creating a warm, inviting glow. The background is mostly dark, with a suggestion of a tall wall to the right of the image. The overall lighting contributes to a sense of peaceful serenity. The colour palette is muted and calming, with the cool tones of the night contrasting with the warmer tones of the house's lighting.
Large, modern building illuminated at night. The building features a striking white, curved façade with prominent glass windows spanning a significant portion of the structure's front. A lighter-colored, possibly brick or stucco, section extends from this main area. The building has a portico supported by white pillars. Inside, a dimly lit interior is visible through the glass, hinting at furniture and possibly a reception area. A person, seemingly a staff member in a light-colored shirt, is faintly visible inside the portico area. Landscaping surrounds the building, including lush tropical plants, palm trees, and neatly trimmed shrubs. Several low-level outdoor lights are strategically placed, casting a warm, inviting glow on the pathways and vegetation.

Whilst at this calming place I noticed an infection had taken residence into my left little toe.

Close-up shot focusing on a small, injured toe. The toe exhibits a lesion or wound on its top surface, near the toenail. The lesion is roughly oval, with a dark brown-black scab-like center surrounded by a lighter, slightly raised, and seemingly moist, whitish area. The skin around the lesion is red and inflamed, indicative of recent injury or ongoing healing. The toe itself is slightly swollen. The rest of the foot, visible in the foreground and slightly out of focus, appears pale and normal. The toes are relaxed and not actively engaged in any action The background is blurred but shows a textured surface, possibly a towel or fabric, with muted, pale olive-green and beige tones. The lighting is soft and appears somewhat artificial, neither harshly bright nor dimly lit. The colours are relatively muted and natural, with the emphasis being on the skin tones of the foot (pale pink, red inflammation, dark brown scab)..

The next day, I found out I was being followed again. Although creepy, I was not alarmed; I was never informed of the reason, as I refrained from inquiring, primarily because the continued presence did not cause any harm.

Young, slender man of South Asian descent, appearing to be in his late teens or early twenties. He's walking on a street, slightly angled towards the viewer's left. He wears a vibrant red t-shirt with a partially visible lime green and white graphic design that seems to contain words. His pants are camouflage-patterned in muted greens and browns. He's wearing simple, dark-coloured sandals, one of which is clearly visible while the other is partially obscured. He carries something small in his left hand, possibly a phone, and a watch is visible on his left wrist. His expression is neutral, almost pensive. To the right of the man is a pale beige-colored motor scooter, parked, facing towards the viewer's left. Its license plate is clearly visible.
Man, appearing to be of South Asian descent, standing slightly angled to the right, partially obscured by a corrugated metal fence. He's wearing a vibrant crimson short-sleeved t-shirt and camouflage-patterned trousers, tucked into sturdy, dark brown boots. His posture is relaxed but attentive, his hands resting casually – one at his waist, the other near his side. A colourful umbrella, possibly a traditional design, rests on his head, partially visible behind him. In the background, other individuals are visible at varying distances. A woman in a pink and white patterned top and dark trousers walks away from the camera, appearing near the edge of a building. There is a man in a light-colored shirt and dark trousers walking behind the main subject, also distant and out of focus.
Large, immature jackfruit hanging from a tree. Its skin is a vibrant, light green, densely covered with small, pyramidal-shaped protrusions that create a textured, almost honeycomb-like pattern. This pattern radiates outwards from a central point, forming a slightly irregular oval shape. Another, smaller jackfruit, partially visible and similarly textured, hangs below and to the left of the main fruit. The jackfruits are attached to the tree trunk by thick, woody stalks. A section of the tree trunk, mottled gray-brown with some lichen or rough texture, is visible, and a few dark-green leaves are partially seen in the upper left corner.
Two large, pendulous blossoms of a Brugmansia, commonly known as an angel's trumpet. These flowers are a pale peach or salmon pink, fading to a creamy white at their throat. Their shape is trumpet-like, with long, gracefully curved tubes and flared, slightly ruffled edges. The blossoms hang downwards, nearly touching each other. They are attached to stems that emerge from a larger green calyx. The flowers appear to be in full bloom, displaying a soft, delicate texture.

Poured down with rain in the evening.

Paved surface, appearing to be a patio or walkway, glistening under a heavy nighttime downpour. Rain streaks across the tiles, creating small ripples and reflections of light. Two illuminated outdoor lamps stand at either end of the walkway, casting pools of bright light on the wet pavement. These pools of light are intensely bright and somewhat overexposed, creating a stark contrast with the surrounding darkness. The lamps are simple, upright cylindrical shapes with their light radiating downwards. In the background, just beyond the walkway, faintly illuminated, are indistinct shapes that appear to be small garden ornaments or statues.

While editing this page, I discovered a video that I captured during the rain, as depicted above. The clip features a peculiar phenomenon known as the "disappearing man." Does this have to do with multiple universes or some kind of remote cloaking technology?

Why can't I remember seeing him? I have been "visited" for as long as I can recall.

Rag doll, seemingly vintage or handmade, lying supine in a white bathroom sink. The doll is fair-skinned, with painted-on teal eyes and rosy cheeks. Its blonde hair is long, slightly unkempt and appears to be made of yarn or a similar material. It's wearing a pale pink and blue dress with a delicate light blue bow, and striped pastel blue and white leggings or stockings. The doll's feet are clad in miniature cloth slippers. The doll is positioned diagonally across the sink, arms relaxed at its sides, slightly curved, holding a small, rectangular, pale pink bar of soap against its midsection. Two smaller rag doll-like objects, possibly slippers or small dolls, are tucked beneath its legs.

I gave Rosie a bath later that night, and when she came up clean from the water, tears came out of my eyes.

Rag doll, seemingly female, wrapped snugly in a large, fluffy, off-white bath towel. The doll's face is simple, with large, light green eyes, rosy cheeks, and a stitched-on smile. It wears a light-coloured, possibly pastel blue and white, outfit partially visible under the towel. The doll is seated, its legs tucked slightly under the towel, and it wears light beige or cream-colored slipper-like footwear with subtle animal-face designs (possibly mice or rabbits) embroidered on the toes. The doll appears peaceful and relaxed. The towel is generously sized, draped loosely yet securely around the doll, creating soft folds and textures. The scene is set against a warm, golden-brown wood surface which seems to be a table or floor. Behind the doll, the backdrop is a patterned wallpaper in muted yellowish-gold tones with a stylised floral or leaf design. The wallpaper's pattern is somewhat indistinct but contributes to a calm, domestic setting. The lighting is soft and diffused, preventing harsh shadows and casting a gentle glow over the doll.
Rag doll, seated on a pristine white pillow. The doll is characterised by a light beige, almost creamy, face with simple, hand-stitched features: two slightly mismatched light blue eyes, rosy pink cheeks, and a subtle, serene smile. Its head is bald except for two pigtails of light blond yarn. The doll wears a vibrant green, flowing dress adorned with intricate details: a gold and blue floral emblem at the bodice, a navy blue and silver beaded belt, and a colourful, embroidered hemline showcasing red, yellow, green, and blue circles and mirrored embellishments. The doll's lower limbs are clad in pastel-striped socks and fluffy, off-white mouse-shaped slippers, each with tiny pink ears and blue eyes. A silver beaded anklet adorns each leg. The doll appears to be passively sitting, its expression placid and peaceful.

The contrast had improved in the early morning, so I took some pictures of the garden at the hotel.

Close-up view of a single bamboo stalk. The stalk is segmented, with the top portion a vibrant, almost fluorescent, reddish-pink, transitioning sharply to a bright, lime green lower section. The transition line between the colors is subtly uneven, suggesting natural growth patterns. A faint, almost imperceptible crack or seam runs horizontally near the color transition. The stalk is not perfectly smooth; there are slight textural variations and subtle markings visible on both the red and green sections. There are small, indiscernible specks that may be insects or imperfections in the bamboo.
Cluster of vibrant flowers, seemingly of the Mussaenda genus, with their striking colour contrast. Two flowers are in sharp focus, exhibiting a rich, deep yellow, five-petaled bloom at the heart of each. These yellow centers are nestled within larger, more delicate bracts, showing a gradient of warm orange and coral tones, streaked with paler, almost peach-colored veins. The bracts are slightly translucent, with visible water droplets clinging to their surfaces, suggesting recent rain or morning dew. Surrounding these focal flowers is a soft-focus background filled with similar blooms, their colors ranging from a deeper burnt orange to a softer, apricot hue. The flowers appear attached to a stem, which is partially visible but not the main focus. The leaves of the plant are large, ovate, and dark green, providing a contrasting backdrop to the bright blooms.
Vibrant, deep red Anthurium flower in full bloom. Its spathe, the modified leaf forming the characteristic heart shape, is a rich, glossy red, exhibiting subtle variations in tone and highlights that suggest a smooth, almost waxy texture. The spadix, the central, creamy white spike, protrudes from the heart of the spathe, appearing slightly textured with tiny, evenly spaced dots or indentations. Its surface is matte, contrasting with the glossy shine of the spathe. Another, partially visible Anthurium flower of similar colour but slightly smaller, sits in the upper left background, angled away from the main subject.
Pristine white Spathiphyllum flower, also known as a peace lily. Its spathe, the modified leaf forming the characteristic petal, is a pale, creamy white, exhibiting a delicate, almost translucent quality. It's shaped like a large, elongated boat or hood, gracefully curving inward at the top, creating a soft, embracing form. The spadix, the central flower spike, emerges prominently from the base of the spathe. This spadix is a cylindrical column densely packed with tiny, pale cream-colored florets, creating a textured and visually interesting contrast to the smooth spathe. The stem of the flower is a deep, rich green, standing erect and providing a vertical line that contrasts with the spathe's curves. No people are present.
Lime tree laden with bright green, unripe limes. Two limes are prominently featured, nestled amongst the leaves in the mid-ground. They appear plump and juicy, glistening slightly, suggesting moisture. The leaves are vibrant green, various shades ranging from a light, almost yellowish-green to a deep, saturated green. Some leaves display subtle variations in hue, indicating either age or sun exposure. The leaves are ovate with slightly serrated edges, characteristic of citrus foliage. The branches are woody, brown, and relatively thin, with visible small thorns along their length. The limes seem to be attached to the branches directly or by short stems, not distinctly visible. There's a suggestion of other limes and leaves out of focus in the background, indicating a dense, healthy tree.
Vibrant cluster of Ixora flowers, a species known for its dense inflorescences. The flowers are a striking, intense reddish-orange, with individual blossoms radiating outwards from a central point. Many buds are present, indicating ongoing blooming. The blossoms have four pointed petals, and the overall shape of the flower cluster is rounded and slightly domed. The flowers are in sharp focus, exhibiting fine details like the subtle veining in the petals. They seem to be slightly backlit, making their colour even more luminous. The flowers are positioned slightly off-centre, creating a more dynamic composition.
Close-up shot of a single, large palm frond. The frond is partially damaged, showing various brown spots and small tears or holes scattered across its surface. The central rib of the frond runs from the top to the bottom of the frame, acting as a strong vertical axis, with the individual leaflets fanning out symmetrically on either side. There's no visible action; it's a static depiction of the plant's structure.

Morning tea.

Leonie with shoulder-length, light blonde hair. Her expression is serious, almost melancholic; her gaze is directed slightly downward. She's seated at a dark brown wooden table, her body angled slightly towards the viewer. Her arms are visible, revealing a colorful bird tattoo on her right upper arm and several noticeable, pale scars along her left forearm. She wears a deep maroon, patterned dress with a sheer, reddish-pink scarf draped loosely around her neck. A small, gold-coloured bindi adorns her forehead, and a small nose stud is visible. She holds a small, white teacup with a light brown liquid (presumably tea) inside. The teacup sits on a white saucer.
360-degree view of an outdoor eating area. Leonie with short hair, a tattoo visible on her left arm, and a patterned purple and teal headscarf is seated at a dark, polished wooden table. She appears calm and is sitting upright, seemingly waiting or observing something. She has a serious expression. A handmade-looking doll, dressed in a bright green and teal outfit, sits alone on a teal-cushioned chair at another table, further back in the scene. Several dark brown wooden tables and matching chairs with teal cushions are arranged in the dining area, both under cover and slightly visible beyond the partially visible glass enclosure.

Infection in my toe is not going away.

Severely infected or injured toenail, occupying the majority of the frame. The toenail itself is the focal point. It's swollen and inflamed, exhibiting a deep reddish-pink hue around the edges. The nail bed is visibly damaged; a significant portion of the nail is missing or detached, revealing a raw, brownish-grey, possibly necrotic area underneath. This damaged area has a somewhat crusty texture with flecks of what appears to be dried blood or serum. The surrounding skin is also red and swollen, indicating infection or trauma. The toe itself is slightly curled, possibly due to pain or discomfort. The hand holding the toe is only partially visible, appearing fair-skinned. There's no action depicted; it's a static image of an injury.

Fish in Kandy Lake.

Murky pond teeming with numerous dark-grey to black fish. These fish appear to be a single species, possibly a type of catfish or similar, exhibiting elongated, somewhat cylindrical bodies. Most are partially submerged, their forms distorted and blurred by the water. They are densely packed, suggesting a school or aggregation. One fish, lighter in color with a pinkish-beige underbelly and a pronounced, almost bulbous snout, stands out prominently in the lower-centre of the image. This fish seems to be facing directly upward, possibly in anticipation of feeding. A few smaller, lighter coloured specks are visible in the water, potentially food particles. The scene is underwater, viewed from above. The water is murky and relatively still, creating a blurred and diffused effect. The light is subdued and diffuse, lacking strong highlights or shadows. The overall color palette is muted, consisting predominantly of dark greys, blacks, and the pale pink-beige of the central fish. The bottom of the pond isn't clearly visible, but it appears dark and possibly muddy.
Murky, shallow body of water teeming with numerous dark-coloured fish, likely Tilapia. The fish are predominantly dark grey to black, with subtle lighter markings visible on some, suggesting scales or reflective qualities. They are positioned at various depths within the water, some closer to the surface, others submerged deeper. Their movements are implied rather than sharply defined; they appear to be milling about, possibly feeding, in a somewhat chaotic yet calm manner. Several fish are partially obscured by others or the water's murkiness, creating a sense of depth and layering. The fish are not uniformly sized; some appear larger than others. The scene is set in an outdoor environment. The water is the dominant element, murky and relatively still, its surface reflecting ambient light in a diffuse manner. The bottom of the pond or body of water is largely obscured, appearing dark and shadowy. Reflected light plays across the water's surface, creating subtle variations in tone and texture. The overall color palette is muted, dominated by dark greys, browns, and blacks of the water and fish, with only hints of lighter colours reflecting from the surface or from minor debris visible in the water. The lighting is soft and diffused, likely natural daylight, devoid of harsh shadows.

Water monitor is the second largest lizard in the world.

Large monitor lizard, predominantly black with yellow markings, partially submerged in shallow, murky water. Its body is mostly in the water, with its head and neck extending out, appearing to be drinking or probing the water's surface. Its scales are clearly visible, exhibiting a textured, almost pebbly appearance. The lizard's posture suggests a focused and deliberate action, perhaps hunting or drinking. There's a hint of possible prey or stirred sediment just beneath the water's surface near its head.
Large monitor lizard, predominantly dark gray-black with distinct, small, yellowish-cream spots scattered across its back and tail. Its skin has a textured appearance, hinting at scales. The lizard is positioned partially under the shadow of a large tree trunk, its body curved into a roughly C shape. Its head is slightly lifted, seemingly alert but not aggressively posed. The lizard appears to be resting or basking. The long tail extends fully from its body, curving around onto the ground beside it. Near the lizard's head lies some small, discarded, light-brown trash; what seems to be a piece of packaging from a snack or food item is particularly noticeable.
Monitor lizard, predominantly black with distinct, small, yellowish-white spots, partially emerging from a burrow in a large tree trunk. Its body is mostly hidden within the burrow, but its long, powerful tail, curving gracefully, stretches out onto the ground, suggesting recent movement. The lizard appears alert, possibly surveying its surroundings. A small piece of discarded, brightly coloured trash (possibly a wrapper) is visible near the lizard, adding a touch of human interference to the natural scene.

Anuradhapura bus station.

Fair-skinned woman, centrally positioned, who appears to be of Caucasian descent. She is wearing a vibrant teal-coloured headscarf, draped elegantly around her head and shoulders, concealing her hair and falling down to her chest. A small, round, reddish-orange bindi adorns her forehead between her eyebrows. Her expression is serious, perhaps pensive or weary, with her eyes looking directly at the camera. Her skin shows some signs of sun exposure or natural tan. In the background, several Sri Lankan buses are visible, parked at a bus stop. One bus is prominently featured, in focus behind the woman, displaying Sinhala and English script on its exterior. A child is partially visible, crouching behind a blue railing in the mid-ground. In the far left background, other individuals are partially visible, appearing to wait at the bus stop.

Waiting for a bus at Mannar bus station.

Bus station shelter, under which numerous people are seated or standing. The shelter itself is a low, wide structure with a corrugated metal roof curving dramatically downward to form a large, shaded area. Several groups of people are visible, predominantly women and a few men. One woman in a vibrant crimson sari sits on a long bench, her posture relaxed. Near her, another woman in a maroon and white striped sari sits with her legs crossed, a serene expression on her face. Further along the bench, a group of three women sit, one wearing a deep purple sari, her arms folded, looking slightly pensive. Other individuals are scattered, some in small groups, engaging in casual conversation or simply waiting. A young child in a blue and white striped shirt is sitting near a group of women. The clothing is colourful, with many saris exhibiting a mixture of striking and earthy tones. A few men are seen in shirts and pants. One woman stands out, sitting near a red bus on the right, wearing a bright purple sari and what looks like a temporary tattoo on her arm. She is facing away from the other seated passengers, seemingly engrossed in thought.

The Lighthouse at Talai Mannar was unreal.

Slender, cylindrical white lighthouse stands prominently in the mid-ground, its top slightly off-centre towards the right. It's a stark white against the sandy beach and blue sky, appearing tall and somewhat solitary. woman, dressed in a long, purplish-pink robe and headscarf, walks away from the viewer towards the right, along the beach line. She carries a small bag and appears to be walking alone, her figure small against the vastness of the landscape. Two weathered, white and orange fishing boats rest on the sand near the left edge of the frame, close to the waterline. They appear used, slightly tilting, indicating they haven’t been recently launched. The foreground and mid-ground are dominated by a wide expanse of pale, sandy beach. Footprints and scattered debris—including small pieces of plastic and other litter—are visible on the sand, suggesting human activity and a natural, slightly unkempt shoreline.

I got bit by a Krait snake on my way back to my hotel from the Mannar train station. I went to sleep that night without realising I had been bitten.

Close-up view of Leonie's lower leg and ankle. The focus is on her ankle area, where two small, reddish-brown punctures are visible on the skin. These punctures appear to be superficial wounds, possibly from snake bite. The skin around the punctures has a slightly discoloured, possibly slightly inflamed appearance, and there is some light dirt or debris visible. Her lower leg is covered by teal or turquoise fabric, which appears to be a piece of clothing, possibly leggings, bunched slightly around the ankle. The fabric is soft and has a ribbed texture. Her skin is light-toned, with visible veins and skin texture. No other body parts or people are visible.

When I awoke in the morning, I was fortunate that the snake bite did not penetrate the bone of my ankle and envenomate me; otherwise, I would have died within four hours. The fleshy parts of my face felt sagging and numb, so I thought it was a common Krait. Edging on returning to the UK I stayed a few days in Negombo and frequented Hindu kovils, more frequently the kovil of Mutumari Amman where I found spiritually affirmative conversation with Brahmin priests and the temple manager. Christianity had a peculiar presence in this seaside town; Hindus had been and were definitely repressed by it. Matara was a very lonely place.

Leonie walking away from the camera towards the ocean. She's wearing a long, flowing, light-brown or beige dress and carries a maroon backpack. Her head is covered, possibly with a scarf or headscarf. The figure is positioned in the middle ground, providing a clear focal point within the panoramic view. The scene is a panoramic coastal view, captured at what appears to be a beachside promenade or seawall. The foreground is dominated by a rough, textured concrete seawall, showing signs of wear and tear with cracks and variations in color – primarily muted browns and grays, speckled with small stones and pebbles. Behind the seawall is a strip of short, green grass. Beyond the grass lies a line of buildings, including what looks like small hotels or guesthouses, interspersed with palm trees. The buildings are painted in light pastel colors. The background is the ocean, with light-colored sand at the shore and waves gently breaking. The sky is a vast expanse of a light blue, dotted with fluffy white cumulus clouds, which appear slightly hazy, suggesting either a morning or afternoon scene. The lighting seems natural and soft, with no harsh shadows.
Small, verdant island just off a sandy beach, connected to the mainland by a modern, slender suspension bridge. The island features a cluster of buildings with reddish-brown tile roofs, suggesting a temple complex or religious retreat nestled amongst lush tropical vegetation, including palm trees. The bridge is metallic gray, with thin cables supporting a narrow walkway. The bridge's pylons are anchored to concrete bases that partially emerge from the sand. There are no people visible. A few birds are perched on the cables of the bridge.
Small, verdant island connected to the mainland by a modern, slender suspension bridge. The island is densely covered with tropical vegetation, punctuated by a light-brown, multi-level building, appearing to be a temple or shrine, with a visible spire. The bridge is a pale grey-blue, its cables elegantly arching against the sky. The water surrounding the island is a muted grey-green, with small waves gently lapping the shore. On the mainland, a rocky shoreline, strewn with debris and sparse vegetation, including a small, bright green succulent plant, runs alongside the beach. No people are visible.

My first attempt to depart Sri Lanka was unsuccessful because I was denied entry to the flight desk at Bandaranaike International Airport because I did not have a valid ticket for another departure. The e-ticket that a devotee in Gujarat had bought me was a waste, and I would not be travelling to Chennai, Tamil Nadu. When I left the airport, I was upset because my visa was about to expire that night, and I didn't have any money for a hotel. I walked around for most of the night until a friend gave me a little money to help me find a cheap hotel. "Don't message me again" was my brother's response when I texted him for assistance. Because I couldn't present my expired Visa at a hotel, I slept outside for the next two nights. The first night, I slept in a doorway and woke up to a skinny Sri Lankan man masturbating over me. I chased him away and rocked his tut tut as he ran away from where he had sexually abused me. The condition of my legs deteriorated, and after a doctor's office declined to see me, I was able to acquire antiseptic cream from a supportive chemist.

Close-up, high-angle view of a pair of bare feet, heavily soiled with dark brown dirt and grime, positioned on a light beige tiled floor. The feet are positioned relatively flat on the ground, with toes slightly splayed. The dirt clings to the skin, particularly concentrated in streaks and patches along the arches and heels. The dirt appears dry and granular. There are minor scrapes and cuts visible on the skin, especially noticeable on the left foot (viewer's perspective). The toenails are trimmed but slightly discoloured and dirty.
Tube of Fusid antibiotic cream, held gently between the thumb and fingers of a light-skinned hand. The tube is predominantly white, with a vibrant red band at the top displaying the brand name Astron in a stylised script font and 10g indicating the quantity. The tube is slightly angled toward the viewer.

And lightly washed my sore, tired feet.

Close-up view of a Leonie's foot, specifically the toes and the top of the foot. The foot is positioned diagonally across the frame, with the toes pointing towards the upper left corner. The foot appears to belong to a person with dark skin. The toes are dirty and show signs of significant damage and infection. The big toe exhibits a particularly alarming condition with a yellowish-white, pus-like substance visible around the toenail, and reddish inflamed skin. The other toes have discoloured nails and dirt embedded in the skin. The top of the foot is also dirty, with patches of dark discoloration and what seems to be dried dirt or possibly dried blood in some areas. There are small abrasions or minor cuts visible on the arch of the foot. The foot is not engaging in any specific action; it's simply presented for observation.
Close-up shot of a Leonie's right foot, positioned diagonally across the frame. The foot is dark-skinned, with visible dirt and grime accumulated on the sole and between the toes. The toenails are unevenly cut and show signs of dirt underneath. There are several small, light-colored spots or blemishes scattered across the skin of the foot, suggesting possibly dryness, minor abrasions, or a skin condition. The toes are slightly curled, and the foot appears relaxed but not actively engaged in any movement.

Was so swollen with infection that I could not tell the difference between my foot and my thigh; this infection had caught hold and spread through my body.

Close-up shot of Leonie's left foot, positioned at a slight angle, with the toes pointing towards the lower left corner. The foot appears to be that of an adult. The foot's skin is visibly swollen and inflamed, exhibiting a reddish-brown hue, particularly concentrated on the sole and arch. Several small, superficial scratches or abrasions are visible on the top of the foot, appearing as faint red lines. A small, dark spot, possibly a puncture wound or insect bite, is noticeable near the base of the second toe. A generous amount of white, ointment-like substance is applied to the sole of the foot. Leonie is wearing a brown sock or legging that partially covers the lower leg, just above the ankle.

At the end of my journey around Sri Lanka my body had become so septic with infection that I was being eaten alive by flesh flies.

Close-up shot of a small, dark-grey fly resting on pale, light-brown human skin. The fly is centrally positioned but slightly off-center, towards the upper left. It's small relative to the expanse of skin it occupies, appearing almost delicate against the larger surface. Its body is a muted grey-brown, with translucent, slightly iridescent wings held slightly open, suggestive of rest. Its legs are barely visible, clinging to the skin. The skin itself shows fine lines and texture indicative of human flesh. There are several small, faint brown marks or blemishes scattered across the skin's surface, some appearing as small scars or discolourations.
Four flesh flies resting on a vibrant pink surface, which appears to be a pair of folded flip-flops. The flies are dark gray with translucent wings, their tiny legs gripping the textured surface. Three flies are clustered towards the center, while a fourth is positioned lower right. Their bodies are small, elongated, and their wings slightly spread. There are also small, irregular patches of what looks like dried white liquid scattered across the pink surface, suggesting a spilled substance. A small bit of dark blue is visible in the bottom left corner suggesting another object, possibly a part of the flip-flop or another item entirely.

Waiting for the British Embassy to open, clothes were covered in grime.

Slightly low-angle, close-up shot featuring a weathered, bare foot in the foreground, prominently displaying a large amount of white ointment or cream on the big toe. The foot appears tanned and calloused, indicating manual labour or outdoor exposure. In the mid-ground, slightly out of focus, sits a handmade doll dressed in a vibrant green and blue garment, reminiscent of traditional Indian or South Asian attire. The doll is positioned on a worn, dark brown wooden stool, its back to the viewer. Its light-coloured yarn hair is styled in pigtails with pale pink bows. A pink backpack, seemingly casually discarded, lies on the ground in the background to the right of the doll. A pair of sandals rest nearby. The setting appears to be an outdoor area, possibly a courtyard or passageway. A wall constructed of rough, grey-brown stones forms the backdrop to the right. To the left, a faded blue wall is visible, bearing a worn, royal crest or insignia which suggests a place of authority or historical significance. This wall also suggests some official or government type building. The ground is paved with light-grey concrete tiles. A drainage grate is visible in the lower right corner. The overall lighting is soft and diffuse, likely daytime natural light, casting no harsh shadows.
Textured linen, which appears soft and slightly sheer. The stains are scattered across the surface, varying in size and intensity, giving a mottled effect. A band of decorative trim is visible at the top edge of the linen. This trim is a light beige/off-white with a subtle, repeating chevron or zigzag pattern woven into it, showing a slight shimmer suggesting metallic thread. The trim is positioned horizontally, marking a clear separation between the linen and an unseen background. Part of a dark purplish-brown garment is visible just above the trim. he background is largely obscured, showing only a sliver of a dark brownish-purple fabric, suggesting the linen is part of a larger garment or drape. The lighting is soft and diffuse, with no harsh shadows, suggesting either indoor lighting or indirect sunlight. The colour palette is muted and earthy, dominated by the light beige of the linen, the darker brown of the stains, and the dark purplish-brown of the background fabric. The silver-toned threads in the trim provide a subtle contrast.
Leonie wearing a light tan, almost beige, headscarf draped loosely around their head and shoulders. The scarf is sheer enough to allow the person's face and hair to be partially visible. A small, dark red bindi is centred on their forehead between their eyebrows. Their expression is serious, almost sombre, with a neutral mouth and direct gaze toward the camera. The person appears to be standing in front of a wall. The background features a section of a light blue wall, a tall metal fence with sharp points at the top, and a stone wall that's dark gray and brown, constructed from rough-hewn stones. A tall flagpole stands behind the fence, hoisting a Union Jack flag, which is partially visible and seems to be slightly off-centre to the right. The overall lighting is diffused, indicating an overcast sky or indirect light. The colour palette is muted: the blue of the wall, the beige of the headscarf, the gray and brown of the stone, and the somewhat subdued colours of the flag. On the blue wall, there is a large, silver-gray emblem—the coat of arms of the United Kingdom—with the words DIEU ET MON DROIT visible beneath it.

After a couple of days my friend pulled together enough money to purchase me a ticket to Heathrow airport, London, UK. But I'd overstayed, so there would be fees to pay at immigration. I hobbled into the airport, passing a sign which stated being too sick to travel, I pulled the hem of my trousers to hide my feet before I approached the flight desk. As I surmised, a gate away from departure immigration shouted me out as an over stayer. I was directed to talk a seat and only waited a few minutes before I was called into a room by the man who had given me my entrance visa. We talked for a while, and he then agreed (knew he was a good soul) to waver my overstay fees until I returned to Sri Lanka, overwhelmed with emotion I left the room, passing through immigration I waited for my plane to Heathrow Airport.

Leonie with light blonde hair, partially obscured by a teal-green silk dupatta (scarf) draped over her head and shoulders. The dupatta is loosely gathered, allowing strands of her hair to peek out from the sides, which are styled in loose braids. She wears a teal-green kurta (tunic) embroidered with gold floral motifs around the neckline and shoulders. A small, dark red bindi (forehead dot) adorns her forehead between her eyebrows. Her expression is serious, almost pensive, with slightly downturned eyes and lips, suggesting a thoughtful or perhaps slightly melancholic mood. She appears to be sitting or standing still, gazing slightly off to her left, toward the background. The background is a large, slightly rain-streaked window offering a view of an airport tarmac at dusk or dawn. Multiple large passenger jets, predominantly white with red and blue markings (possibly Sri Lankan Airlines), are visible parked on the tarmac. The lighting is soft and diffuse, characteristic of early morning or late evening light, creating a muted, slightly bluish overall cast. The airport lights are visible in the background as are faint lights from the terminal itself. The colors are predominantly muted: teal-green of the dupatta, the gold embroidery on the kurta, the pale skin tone of Leonie, and the greyish-blue tones of the sky and wet window. The overall palette is subdued and somewhat melancholic.

Boarding the plane I slumbered into my seat, and relaxed for the first time in weeks. The airhostees where kind to me, guiding me to a seat with extra room so I could be a little more comfortable.

Rag doll, appearing handmade, with a light beige, almost off-white face, rosy cheeks subtly painted on, and bright turquoise eyes. Its blonde yarn hair is styled in two loose pigtails secured with simple bows. The doll is dressed in a vibrant emerald green, ankle-length garment, adorned with gold and purple embroidery around the neckline and a decorative floral motif at the chest. The fabric appears soft and slightly textured. The doll's arms are slightly bent, and it gently holds a business card in its hands. The business card, crisp and white, prominently displays the British High Commission, Colombo logo and contact details. The doll sits slightly angled, presenting the card slightly towards the viewer.
Close-up shot of a Leonie, her face slightly angled to the left, partially obscured by a vibrant teal, sheer dupatta (a type of scarf) draped over her head and shoulders. The woman appears to be middle-aged, with fair skin, visible pores, and a small, dark red bindi (a decorative mark) centred on her forehead. Her expression is serious, almost melancholic, with slightly downturned lips and a hint of sadness in her eyes. Her hair is not visible beneath the dupatta. In her arms, she gently holds a soft, rag doll. This doll is light beige or cream-coloured with rosy cheeks, embroidered light blue eyes, and a subtly stitched-on smile. It has long, stringy, light blonde hair styled in pigtails, each secured with a pale pink ribbon bow. The doll wears a shimmering, emerald green dress with gold detailing near the neckline.
Section of an air plane wing, extending from the bottom left corner towards the center, slightly angled upward. The wing is predominantly white, with a subtle, muted blue logo or marking near its tip. The wing itself is clean and smooth, reflecting the sky faintly. There are no people visible. The wing's position suggests the plane is in flight, high above a cloud layer. The background is a vast expanse of fluffy, white cumulus clouds that fill the lower two-thirds of the frame, extending to the horizon. These clouds are softly textured, with varying densities creating subtle shifts in tone and luminosity. The top third of the image is a clear, bright blue sky, transitioning gradually from a deeper, saturated blue at the zenith to a lighter, almost pastel blue near the cloud layer. The lighting is soft and diffused, suggesting natural daylight with minimal harsh shadows. The overall colour palette is serene and calming, dominated by soft whites, light blues, and hints of muted gray in the clouds.

Filmed a video with my phone as I landed at Heathrow.

Leaving Heathrow airport I caught a bus to Kingston on Thames, and walked into A&E to be assessed by a health professional. They wanted to admit me, but on my refusal supplied me with anti-biotics with a verbal warning that if my health worsened I'd have to go in and be put on an IV.

Three pharmaceutical packages resting on a dark brown surface, likely a table or counter top. A lime-green and white box of Flucloxacillin 500mg capsules (28 capsules). The box is partially angled, revealing the side and top panels with detailed text about dosage, ingredients, warnings, and storage. The text is clearly printed in black lettering on a contrasting background. The box shows wear and creasing. A slightly smaller, light-blue and white box of Flucloxacillin 500mg capsules (28 capsules). It's oriented horizontally, showing its long side and the top, revealing similar information to the green box, with smaller text size. The packaging also bears signs of handling and slight damage. A white and light-blue tube of Fusidic Acid 20mg/g cream (15g). This tube is slightly tilted. The label clearly indicates the product's name, concentration, and content amount. The text is sharp and well-defined. All boxes appear to be used and have some level of wear, implying they were previously opened.
Two women seated on a public bus. Foreground Woman: Dominates the foreground, wearing a dark navy or black hooded sweatshirt over a teal, draped dupatta (a long scarf worn by South Asian women). The dupatta's fabric has a slightly rippled texture and is loosely wrapped around her neck and shoulders. Her face is visible, showing pale skin with some freckling or sunspots, and she has a somber, almost weary expression. Her eyes are slightly downturned, and her lips are pressed together in a neutral or slightly unhappy line. There's a small, dark red bindi (forehead dot) visible on her forehead. Her hair is concealed entirely under the hooded sweatshirt and dupatta. Background Woman: Seated slightly behind and to the left of the foreground woman, this woman is wearing a navy blue jacket with small anchor motifs and a dark-colored baseball cap. She has sunglasses perched on her nose, and she's leaning slightly to her left with her hand resting on her chin, suggesting a contemplative posture. Her expression is somewhat reserved and distant.

I was followed onto a bus leaving Kingston upon Thames on my way to my friends house in Gloucestershire. I hitched hiked to Reading then caught the train the rest of the way then slept for days. It took me a fortnight to recover, and three weeks before I could put shoes on my feet again.