Monday, March 3, 2025

Whispers of the Unwritten: A World Without Books

 


Introduction 

In a world where books have been outlawed for over a century, words themselves have become relics of rebellion. Paper is contraband, and ink is synonymous with treason. Stories are whispered from ear to ear in hushed alleys, their survival dependent on fragile memories rather than the permanence of the written page. This is Novark, a sprawling metropolis where silence reigns and imagination is a crime.

In Novark, the governing body known as The Council of Pure Thought declared books illegal, claiming they polluted the mind with dangerous ideas. With each passing generation, literacy faded until only a select few could read — and they lived as fugitives. In this dystopian world, humanity has been cut off from its stories, history, and even its truths. What happens to a society when its voice is stripped away? What happens when stories only survive in the hearts of rebels?

Origins of the Book Ban

The ban did not happen overnight. It began with subtle censorship — redacting texts deemed too "disruptive." As wars raged over ideologies, leaders blamed books for the unrest. Fiction, philosophy, and poetry were seen as tools to foster dissent, filling people with ideas that conflicted with the official narrative. Slowly, books were removed from shelves and libraries were repurposed into "Memory Centers" — places where citizens were re-educated and conditioned to fear the written word.

Eventually, all physical books were confiscated, burned in colossal bonfires in the city square, their ashes swirling like ghosts above terrified crowds. Digital texts were purged from databases, and devices capable of storing words were reprogrammed to block any unauthorized content. The very act of reading or writing outside the Council's approved guidelines became an act of treason, punishable by exile or death.

The Silent Generation

A generation born without books became The Silent Generation — people who never knew the joy of getting lost in stories, who spoke only in clipped, functional phrases designed for utility, not expression. Language itself was reshaped to serve the state’s goals, reducing communication to the bare essentials. Emotions were dangerous; metaphors were outlawed. Without books, imagination withered.

In homes, parents feared telling their children bedtime stories. In schools, creativity was a punishable offense. People lived inside sterile, fact-based realities where entertainment consisted of state-approved broadcasts, carefully curated to promote obedience. Over time, imagination itself became a foreign concept, a myth of a bygone era.

The Keepers of Memory

But stories never truly die.

In the shadows, a secret network known as The Keepers of Memory emerged. These individuals were the descendants of librarians, poets, and storytellers who had memorized entire novels, histories, and poems before the purge. Each Keeper carried fragments of forbidden texts in their minds, passing them down orally in secret gatherings known as Whisper Circles.

Some Keepers dedicated their lives to preserving a single novel, committing every line to memory, while others carried bits and pieces of countless books, weaving their fragmented knowledge into new oral tales — hybrids of ancient wisdom and personal interpretation. They became the last bastions of human creativity, a living library, hunted relentlessly by the Council’s Purge Guards.

The Purge Guards

The Purge Guards were the enforcers of silence. Their primary task was to root out any trace of unauthorized storytelling, tracking down those who dared to memorize, recite, or create. They had technology to detect certain speech patterns associated with storytelling — the cadence of a tale, the lyrical lilt of a poem. Conversations flagged as suspicious were analyzed, and entire families could disappear overnight if they were suspected of being part of the Whisper Circles.

These guards were themselves illiterate, trained to see words as dangerous symbols, capable of infecting minds like a virus. To them, books were not objects — they were weapons, capable of toppling regimes and rewriting history. Their fear of books was religious, almost superstitious, passed down through generations of propaganda.

The Last Hidden Book

Among the Keepers, there was a legend — a story about the Last Hidden Book, a single surviving physical text believed to contain the history of the world before the ban. Its pages were said to hold the truth about why the Council feared words so much. No one knew what the book was or where it had been hidden, but its existence was a symbol of hope — proof that somewhere, beyond the choking silence, a voice still endured.

Some believed it was a novel, others a manifesto. Some whispered it was a diary kept by the last free writer. To the Council, it was the ultimate threat — the embodiment of rebellion, and the key to unraveling their carefully constructed reality.

The Child Who Remembered

In the heart of Novark, a child named Lira discovered a word carved into the underside of her grandmother’s table. It was a single word, "Imagine." Lira had never seen a word outside of government broadcasts. Words like "compliance" and "progress" were common, but this — this was different. It vibrated with forbidden energy.

Her grandmother, a silent woman with eyes full of secrets, saw the discovery and knew it was time. That night, she led Lira into the basement, where walls were covered with ancient chalk drawings — symbols of stories once told. She began to whisper, softly, a tale about a place where books once filled shelves, and people gathered to read for joy, for learning, for escape. Each word felt like contraband, a treasure stolen from time itself.

Rebellion of Words

Lira's mind opened like a floodgate. Each night, her grandmother whispered more — fragments of myths, verses of lost poems, pieces of novels burned long ago. The stories changed her. They gave her color in a gray world. And slowly, she realized that she wasn’t alone.

Other children — in alleys, abandoned buildings, underground tunnels — had also been taught fragments. They whispered to each other in code, weaving their own stories, building worlds from nothing but memory. They were the Rebellion of Words, children too young to fear imagination, too brave to silence their own voices.

A Reckoning of Silence

The Council underestimated the power of imagination. They believed that by outlawing books, they could erase stories themselves. But stories adapted. They found new forms — graffiti symbols hidden under bridges, songs sung in coded melodies, riddles passed hand-to-hand in the form of simple games. The world became a palimpsest of secret narratives.

When Lira and her fellow rebels uncovered the truth — that the Council feared books because books contained memories of past revolutions, records of corruption, and the promise of freedom — they knew what they had to do. They couldn’t bring back books, but they could turn themselves into books. Each of them would become a Living Story, preserving fragments, passing them on, teaching the next generation.

The Echoes of the Unwritten

The final battle was not fought with weapons but with words.

Lira stood in the heart of Novark’s central square, where the first bonfires had consumed the libraries. In the silence, she began to speak. Her voice carried fragments of stories long forgotten, her words a patchwork quilt of memory and imagination. Others joined her — one by one, hundreds of voices rising in a chorus of forbidden tales.

The Purge Guards, so conditioned to fear words, faltered. They had no defense against the power of stories. Words were ghosts, rising from the ashes. And in that moment, silence cracked.

The rebellion was not a war. It was a story retold.

Conclusion: A Future Rewritten

The Council fell, not because they were overpowered, but because they could not suppress the oldest truth of all — that humans are storytellers by nature. Books could be burned, words could be banned, but stories would always find a way to survive. In songs, in memories, in whispers between children.

The world without books became a world of oral storytellers, each generation preserving the fragments of what came before, adding their own tales, shaping a future rewritten by the power of imagination. The stories lived on.

Because stories, after all, are immortal

📖 Timeless Hearts: A Love Story Between Two Souls from Different Centuries

 



The Whispering Journal

In the heart of modern-day London, beneath the vaulted ceilings of the Royal Historical Society, Sarah Whitmore stood surrounded by history’s silent relics. Glass cases housed the artifacts of a world long gone — brass compasses, worn diaries, letters yellowed with age.

Among them lay a leather-bound journal, its cover weathered and cracked, a violet pressed flat between its pages. Sarah’s fingers traced the delicate petals, long dried but still beautiful.

Beside the flower, in neat, curling script, were the words:
To the one who finds me, you already have my heart.

A shiver danced down Sarah’s spine. The words felt too personal, too intimate — as though written for her, not some nameless stranger from history. She turned the page, her breath catching at the sight of the first letter.

The handwriting was careful, yet full of longing. Each line spoke of a love not yet lived, a yearning for someone the author had never met. Sarah could not explain why, but the words seemed to reach for her, tugging at something deep within her chest.

The Man Who Dreamed of Tomorrow

Far away in time, in the year 1823, Nathaniel Greaves stood at the edge of a meadow. His hands, stained with ink, rested at his sides. Before him stretched a sky heavy with storm clouds.

Nathaniel was no ordinary man.

For as long as he could remember, he had dreamed of her — a woman with auburn hair and storm-colored eyes. She walked streets lined with curious, horseless carriages. She stood in buildings made of glass and steel, her hands resting on glowing boxes filled with moving light.

He had loved her for years, this woman of the future. She haunted his waking hours and his nights alike, a shadow of something he couldn’t name.

And so he wrote to her. Letter after letter, filling page after page with words that might never be read.

But he had faith — faith that time was not a wall, but a veil.

 Threads of Dreams

Sarah woke with the scent of violets in her hair.

The meadow from her dreams was so vivid, she could almost feel the damp earth beneath her feet. There was a man standing there, his dark hair tousled by the wind, his eyes filled with a longing she didn’t understand — until she did.

It was him. The man from the letters.

Night after night, the dreams returned, each one clearer than the last. The more she read his words, the closer the dreams came to feeling like memories.

And in each dream, the man stood waiting, as though he knew she would come.

When Time Trembled

The whisper came on a cold, quiet evening in the museum, long after the visitors had gone.

“Sarah.”

She froze, the familiar voice echoing through the air. It was him — the voice from her dreams.

Heart pounding, Sarah returned to the glass case, her fingertips brushing the journal’s spine. Warmth spread beneath her skin, a pulse that didn’t belong to her.

The room shimmered — the air bending like ripples on a pond.

And then, he stood there.

Nathaniel Greaves.

They stared at each other, two souls from different centuries, face to face at last. There were no words for what they felt, only the quiet certainty that they had always known each other.

Always.


Borrowed Days

For a time, they were granted the impossible.

Nathaniel walked the streets of modern London, marveling at the strange beauty of Sarah’s world. They spent hours curled together on her sofa, trading stories — her childhood in the city, his in the rolling hills of Somerset.

He touched her face as though afraid she might vanish. She held his hand like a lifeline.

But time is a jealous force. It does not suffer trespassers lightly.

Clocks skipped minutes. Lights flickered. Shadows rippled in the corners of rooms, as though history itself was rewriting its lines. They were living on stolen time, and the universe was beginning to notice.

 Love Between Ticks of the Clock

With every passing day, Sarah and Nathaniel’s love grew — not in the hurried rush of stolen moments, but in the quiet space between them. They walked through the city at dawn, the world still asleep, their hands clasped tight.

He wrote her letters, not with ink on paper, but with his fingers tracing words into her palm.
You are my only constant, he would write.
And she would write back:
You are my home.

They kissed beneath the stars, two souls out of place but not out of love. Their story had no beginning, no end — only the beautiful now.

The Price of Forever

It was the little things at first.

Nathaniel’s hand would slip from hers, his form flickering like a candle’s flame. Books would vanish from shelves, their spines erasing themselves from history.

The timeline was unraveling.

In the hush of midnight, Nathaniel held Sarah close. “I cannot stay,” he whispered into her hair. “The past is calling me home.”

Tears burned her eyes. “Then take me with you.”

But they both knew it was impossible.

His hand trembled as he cupped her face. “I will find you again,” he promised. “In this life or the next.”

And Sarah, with her heart breaking, whispered, “I’ll wait.”

 When Time Took Him Back

One morning, he was simply gone.

The bed beside her was cold, the air still.

All that remained was his journal — left open to a new page, one she hadn’t written.

In her own handwriting, it read:
My dearest Nathaniel,
If time has stolen you away, I will chase you across centuries.
I will find you, no matter where the years hide you.

Tears slipped down her cheeks, but her heart knew the truth.

Their story wasn’t over.

The Echoes We Leave Behind

Years passed, but Sarah never stopped searching.

She read every letter, traced every artifact, hoping for a sign. And one day, buried in the archives beneath the museum, she found it.

A letter, written in Nathaniel’s hand.

To my Sarah,
Across every life, I will always find you.
— Nathaniel, 1847

Her heart stilled. Even after time had taken him, love had found a way to leave her a message.

She pressed the letter to her chest, tears mixing with laughter.

It was proof — love was stronger than time.

A Love That Defied Time

Their story would never be written in full.

It would appear in fragments — letters tucked into the folds of time, dreams whispered across the centuries. They would find each other, again and again, across lifetimes, always separated by the cruel mathematics of time, but never by love.

For theirs was a love that existed outside the boundaries of history — a love written in the stars, waiting for the day when time would finally surrender.

And when that day came, they would walk into forever, hand in hand.

The End — For Now

The Impact of Childhood Experiences on Adulthood



Introduction

The intricate relationship between childhood experiences and adulthood outcomes has long been a subject of psychological, sociological, and neuroscientific research. Childhood serves as the foundation upon which adulthood is constructed, with early experiences—whether positive or negative—shaping not only personality and mental health but also physical health, relationships, career choices, and even life satisfaction. This complex interplay between early experiences and adult life emphasizes the importance of understanding the long-term impacts of childhood experiences on adulthood.

This essay delves into the profound and multi-faceted ways in which childhood experiences influence adulthood. By exploring various dimensions—emotional, cognitive, social, and even biological—the essay provides a holistic view of how childhood events mold the adult self.


Emotional and Psychological Development

Childhood is the period when emotional resilience, coping mechanisms, and self-worth begin to form. Positive childhood experiences—such as nurturing environments, consistent parental love, and emotional validation—often result in emotionally stable adults who possess healthy self-esteem and emotional regulation skills.

On the flip side, adverse childhood experiences (ACEs), such as neglect, abuse, or parental conflict, have been strongly linked to a range of psychological challenges in adulthood. Adults who faced emotional neglect as children often struggle with attachment issues, trust, and self-esteem. Emotional neglect can subtly convey to a child that their emotions are unimportant, making it difficult for them to identify and express their feelings later in life.

Trauma in childhood, such as physical or emotional abuse, can lead to chronic conditions like post-traumatic stress disorder (PTSD), depression, and anxiety in adulthood. The body's stress response system, particularly the hypothalamic-pituitary-adrenal (HPA) axis, may become dysregulated, leading to heightened stress sensitivity throughout life.


Cognitive and Academic Impacts

Early childhood experiences also significantly impact cognitive development, which in turn affects educational attainment and professional success in adulthood. Secure, nurturing environments typically encourage curiosity, exploration, and problem-solving skills. When children receive intellectual stimulation, consistent encouragement, and positive reinforcement, they often develop strong cognitive skills and confidence in their abilities.

However, adverse childhood experiences can impair cognitive development. Chronic stress from childhood trauma interferes with brain development, particularly in areas like the hippocampus, amygdala, and prefrontal cortex—regions essential for memory, emotional regulation, and decision-making. As a result, children exposed to chronic adversity may struggle with attention, impulse control, and academic achievement.

Longitudinal studies show that children who experience severe neglect or prolonged stress may have lower IQ scores, reduced attention spans, and an increased likelihood of learning difficulties. These cognitive challenges can follow them into adulthood, affecting their career choices, earning potential, and even the ability to adapt to complex life situations.


Social Relationships and Attachment Patterns

Human relationships form the cornerstone of emotional well-being in adulthood. Childhood is the critical period when people learn the basic principles of trust, empathy, and communication, largely through interactions with caregivers and peers. Secure attachment—where a child feels safe, understood, and supported—lays the groundwork for healthy relationships in adulthood.

Children who experience consistent love and care are more likely to develop secure attachment styles. They approach adult relationships with confidence, are comfortable with intimacy, and have a healthy balance of independence and closeness.

Conversely, children exposed to inconsistent care, abandonment, or abuse often develop insecure attachment styles. These attachment patterns manifest in adulthood in various ways:

  • Anxious attachment: Adults may fear abandonment and crave excessive reassurance.
  • Avoidant attachment: Adults may struggle with intimacy, preferring emotional distance.
  • Disorganized attachment: Adults may oscillate between extremes, craving closeness but fearing vulnerability.

Unresolved attachment issues can contribute to dysfunctional relationships, patterns of codependency, or chronic loneliness in adulthood.


Physical Health and Biological Consequences

It may be surprising to some, but childhood experiences can influence physical health well into adulthood. Researchers have established clear links between adverse childhood experiences (ACEs) and chronic physical health conditions such as heart disease, diabetes, obesity, and autoimmune disorders.

The mechanism lies partly in the chronic activation of the stress response system during childhood adversity. When a child's brain perceives consistent threats—whether through abuse, neglect, or witnessing violence—the body remains in a constant state of heightened alert. This prolonged activation of the stress response leads to increased inflammation, impaired immune function, and metabolic disturbances that persist into adulthood.

The ACEs study conducted by the Centers for Disease Control and Prevention (CDC) and Kaiser Permanente highlighted the graded relationship between childhood trauma and adult health outcomes. The higher an individual's ACE score, the greater their risk for chronic illnesses, mental health disorders, and premature mortality.


Self-Identity and Self-Esteem

Childhood experiences play a significant role in shaping one's sense of identity and self-worth. Positive reinforcement, praise, and validation during formative years contribute to the development of a stable sense of self. When children are encouraged to explore their interests, express themselves freely, and take risks in a supportive environment, they grow into adults with a clear sense of identity and purpose.

On the contrary, children subjected to constant criticism, belittlement, or neglect often internalize a sense of inadequacy. They may become adults who struggle with self-doubt, impostor syndrome, or chronic low self-esteem. The internal dialogue shaped during childhood often becomes the script through which adults view themselves and the world.


Career Choices and Work Ethic

Childhood experiences not only shape personality and self-esteem but also influence career choices and work ethic. Children raised in environments that value education, curiosity, and perseverance often develop a strong sense of achievement motivation. They tend to approach challenges with resilience and a growth mindset, seeing failures as opportunities for learning.

Conversely, children who experience economic instability, neglect, or lack of role models may struggle to envision future success. They might develop a fixed mindset, viewing challenges as insurmountable obstacles rather than opportunities. Childhood trauma has also been linked to higher rates of job instability, underemployment, and workplace conflicts in adulthood.

Additionally, the need to please, seek approval, or avoid failure—traits that may have been survival mechanisms in childhood—can shape how adults approach their careers. Some become overachievers, driven by a deep-seated need to prove their worth, while others may shy away from ambitious goals due to fear of failure.


Parenting and Intergenerational Transmission

One of the most profound ways childhood experiences influence adulthood is through parenting. Adults often unconsciously replicate parenting styles they experienced, perpetuating cycles of warmth, neglect, or abuse across generations. A child raised in an environment rich in emotional support and healthy boundaries is more likely to provide similar care to their own children.

On the other hand, adults who experienced neglect or abuse in childhood may struggle with parenting, either by replicating harmful patterns or by overcorrecting, leading to permissiveness or anxiety-driven parenting. Breaking intergenerational cycles of trauma requires self-awareness, therapy, and conscious effort to rewrite ingrained behavioral scripts.


Resilience and Post-Traumatic Growth

While adverse childhood experiences often leave lasting scars, they do not inevitably doom individuals to poor outcomes. Many adults who faced childhood adversity develop remarkable resilience—a phenomenon known as post-traumatic growth. Through supportive relationships, therapy, and personal growth efforts, they transform pain into purpose.

Resilient adults often develop heightened empathy, emotional intelligence, and a sense of meaning from their experiences. They become advocates, mentors, or compassionate caregivers, channeling their hardships into helping others.


Cultural and Societal Influences

Childhood experiences and their impacts on adulthood are also shaped by cultural and societal contexts. In collectivist cultures, family honor, duty, and group harmony may shape childhood experiences, influencing how individuals approach relationships and career choices in adulthood. In contrast, individualistic cultures may emphasize personal achievement and independence, shaping different developmental trajectories.

Moreover, societal factors such as poverty, discrimination, and systemic inequities compound the effects of childhood experiences. Children growing up in marginalized communities may face additional layers of adversity, shaping their adulthood in ways intertwined with social justice and opportunity structures.


Conclusion

The impact of childhood experiences on adulthood is profound, multi-dimensional, and enduring. From shaping emotional regulation and attachment styles to influencing career paths, physical health, and parenting approaches, early experiences cast long shadows over adult life. Positive experiences lay the groundwork for healthy, fulfilling adulthood, while adverse experiences heighten risks for psychological, physical, and relational challenges.

However, these impacts are not deterministic. With self-awareness, support, and healing, individuals can rewrite the narratives of their childhood, turning pain into strength and adversity into wisdom. Understanding the lifelong ripple effects of childhood experiences underscores the importance of nurturing environments, early intervention, and fostering resilience in every child.

Sunday, March 2, 2025

Whispers of Devil’s Hollow A Horror Love Story Set in California


 

Evelyn Blackthorn’s hands trembled on the wheel as she steered her car along the winding coastal highway. To her left, the Pacific churned, dark waves crashing against jagged cliffs, throwing mist into the air like sea-blood. The California coast was beautiful in the kind of way that could kill you — sharp-edged and merciless, with no regard for how small you were.

Her mother’s journal lay open on the passenger seat, the faded ink barely legible. It had been twenty years since her parents’ car was found shattered and half-submerged along this stretch of Highway 1. No bodies, just twisted metal and the sea’s silence.

Devil’s Hollow was the last entry her mother ever wrote.

No map listed it. The GPS showed nothing but unmarked cliffs. The only directions Evelyn had were the jagged scribbles in her mother’s hand, a map drawn in desperate slashes of ink.

The first sign was a weather-worn plank jutting out of the ground, half-swallowed by moss.

DEVIL’S HOLLOW — EST. 1851

The sun dipped low, bruising the sky with purples and golds, and the air stung her nose with salt and the faintest scent of rot. Seagulls wheeled overhead, but they made no sound.


The house stood at the very edge of the world, balanced on a cliff that looked ready to collapse into the sea. Victorian in shape, gray and weathered like driftwood, it creaked beneath her every step.

The realtor who handed over the keys couldn’t meet her eyes.
“Most people don’t stay long,” he muttered.
“Why not?” she asked.
The man only shook his head and left.

That first night, Evelyn lay awake listening to the house breathe. The wind slipped through the walls, whispering secrets she couldn’t quite catch. Water pooled in the claw-foot tub though she hadn’t turned the faucet. And somewhere, faint as a heartbeat, came the sound of footsteps on wet wood.

She told herself it was nothing. Just the house settling.

Until she developed her photos the next morning.

In the corner of every frame stood a man — tall, blurred by mist, always just out of focus. By the water’s edge. Reflected in the glass. Even behind her in her car’s side mirror.

Always watching.


She met him on the third night.

The moon hovered above the sea, washing the cliffs in silver. Evelyn walked with her camera in hand, the mist curling around her ankles like fingers, cold and clinging.

He stood on the cliff’s edge — barefoot, soaking wet, his dark hair plastered to his forehead. His skin was pale, tinged with blue, and when he turned to her, her breath caught.

His eyes were the color of the deep — fathomless, cold, and full of longing.

“You shouldn’t be here,” he said softly.

Evelyn’s heart hammered, but she forced herself to speak. “Neither should you.”

A smile tugged at the corner of his mouth — not cruel, not kind.
“I have nowhere else to go.”


His name was Liam, or so he said. He appeared only at night, in the mist and shadows just beyond her reach. Sometimes, she woke to find him standing outside her window, his face half-hidden by fog, his eyes glowing like moonlight on water.

She should have been afraid. But she wasn’t.

Each night, they spoke. About the cliffs, the sea, the strange history of Devil’s Hollow. He knew things no one else seemed to — the stories that lived in the bones of the town.

“Devil’s Hollow is cursed,” he told her, his voice a whisper swallowed by the waves. “The sea takes what it’s owed.”

“What does it give back?” she asked.

Liam only smiled, and something in that smile made her shiver.


Evelyn found the town’s records in the dusty back corner of the library. There, buried among yellowed papers and water-damaged books, she found the legend of The Drowned Lovers — couples who walked the cliffs at night, drawn by whispers in the mist, only to vanish into the sea.

Sometimes, they came back — but not the same.

She found her mother’s name on the list of the missing. Beside it, in faded ink, was another name:

Liam Caldwell — Missing 1999

The cold sank into her bones.


The realization hit her like a wave.

Liam wasn’t just a ghost. He was her mother’s ghost — her first love, the boy who had vanished with her into the sea. But her mother came back. Alone.

“What happened to her?” Evelyn asked him one night.

Liam’s face was unreadable, his wet hair clinging to his cheek. “The sea let her go.”

“Why not you?”

He didn’t answer.

Instead, he stepped closer, his fingers trailing along her wrist. Cold. Like water that had never seen sunlight.
“You look like her,” he whispered. “But you’re not.”

That night, Evelyn dreamed of the sea opening beneath her feet, arms reaching up from the waves to drag her under. She woke with her skin cold and damp, salt clinging to her mouth.

And she wasn’t alone.

Liam stood in the corner of her room, watching her with eyes that no longer seemed entirely human.


The hunger came next.

Evelyn stopped eating. Stopped sleeping. Her skin paled to the color of fog, her hair stiff with sea-salt. The townsfolk stared when she passed, whispering behind their hands.

“She’s one of them,” they muttered. “Marked.”

On the last night of October, when the veil between the worlds was thinnest, Evelyn stood at the cliff’s edge, Liam beside her, their hands entwined.

“You have to let me go,” she whispered.

Liam’s grip tightened. “I can’t.”

The sea churned below, waves reaching like grasping fingers. Figures moved in the mist — the Drowned Lovers, their hollow eyes fixed on her.

Evelyn’s heart pounded. “Please.”

Liam turned to her, and for the first time, his mask slipped.

“I’ve waited too long.”

His kiss was salt and ruin, and his hands, cold as the tide, pushed her into the sea.


The water closed over her head, heavy and endless. She didn’t scream. There was no point. The sea wasn’t a thing you could fight — it was alive, and it wanted her.

Arms wrapped around her beneath the waves, pulling her down, down, until the world turned black and her lungs burned with saltwater. Liam’s lips brushed hers, whispering secrets into her mouth — secrets of the deep, of the lovers before them, of the hunger that had no end.

Her body rose back to the cliffs.

But it wasn’t her anymore.

It was something else.


Months Later

A new traveler arrived at Devil’s Hollow, drawn by rumors of the haunted town and the lovers who walked its cliffs. They found the old house, windows dark, air thick with mist and rot.

And there, at the edge of the world, stood a woman with skin pale as sea foam, her eyes dark as the deep. Beside her stood a man, his hand entwined with hers, their smiles as cold as the water below.

They waited.

For the next.

āφāĻŽাāϰ āĻĻেāĻ–া āĻļেāώ āĻŦুāϞেāϟ , āϞেāĻ–āĻ•: āĻ…āϜ্āĻžাāϤ āĻāĻ• āϏৈāύিāĻ•

 



 āϜāύ্āĻŽ āĻāĻ• āĻĒ্āϰāϤিāϜ্āĻžাāϰ

⧧⧝⧝ā§Ŧ āϏাāϞেāϰ āĻāĻ• āĻ­োāϰে āφāĻŽাāϰ āϜāύ্āĻŽ, āĻāĻ• āĻĒাāĻšা⧜ি āĻ—্āϰাāĻŽে। āϚাāϰāĻĻিāĻ•ে āϏāĻŦুāϜেāϰ āϏāĻŽাāϰোāĻš, āĻŽেāϘ āĻ›ুঁ⧟ে āϝাāĻ“ā§Ÿা āĻĒাāĻšা⧜েāϰ āĻŽাāĻĨা, āĻিāϰāĻিāϰে āĻšাāĻ“ā§Ÿাāϰ āϏাāĻĨে āĻŽিāĻļে āĻĨাāĻ•া āύাāĻŽ āύা āϜাāύা āĻĒাāĻ–িāϰ āĻĄাāĻ•। āφāĻŽাāϰ āĻŦাāĻŦা āĻ›িāϞেāύ āĻāĻ•āϜāύ āĻŽুāĻ•্āϤিāϝোāĻĻ্āϧা, āĻŽা⧟েāϰ āĻ—āϞা⧟ āĻāĻ–āύো āϏেāχ āϏāĻŦ āĻĻিāύেāϰ āĻ—āϞ্āĻĒ āĻুāϞে āĻĨাāĻ•ে āĻšাāϰি⧟ে āϝাāĻ“ā§Ÿা āϏোāύাāϞী āϚাāĻŦিāϰ āĻŽāϤ। āϜāύ্āĻŽেāϰ āĻĒāϰ āĻĨেāĻ•েāχ āĻļুāύেāĻ›ি, āĻŦাāĻŦা āĻŦāϞāϤেāύ — "āφāĻŽাāϰ āĻ›েāϞে āĻšāĻŦে āϏৈāύিāĻ•, āĻāχ āĻŽাāϟিāϰ āϜāύ্āϝ āϞ⧜āĻŦে!"

āĻļৈāĻļāĻŦāϟা āĻ•েāϟেāĻ›ে āĻ—āϞ্āĻĒ āĻļুāύে — āϝুāĻĻ্āϧেāϰ āĻ—āϞ্āĻĒ, āĻĻেāĻļেāϰ āĻ—āϞ্āĻĒ, āφāϰ āĻšাāϰি⧟ে āϝাāĻ“ā§Ÿা āĻŦāύ্āϧুāĻĻেāϰ āĻ—āϞ্āĻĒ। āĻŦাāĻŦা āĻĒ্āϰা⧟āχ āĻŦāϞāϤেāύ,
— "āϤোāϰ āĻĻেāĻ–া āĻšāĻŦে āύা, āĻ•িāύ্āϤু āĻāĻ•āĻĻিāύ āϤুāχ āĻāĻŽāύ āĻāĻ• āϏāĻŽā§Ÿেāϰ āĻŽুāĻ–োāĻŽুāĻ–ি āĻšāĻŦি, āϝāĻ–āύ āĻŽāύে āĻšāĻŦে āϤোāϰ āĻšাāϤে āĻĨাāĻ•া āĻļেāώ āĻŦুāϞেāϟāϟাāχ āϏāĻŦāϚে⧟ে āĻĻাāĻŽি!"
āφāĻŽি āϤāĻ–āύ āĻŦুāĻāϤাāĻŽ āύা, āĻļেāώ āĻŦুāϞেāϟেāϰ āĻŽাāύে āĻ•ী।


⧍ā§Ļ⧍ā§Ģ āϏাāϞেāϰ āϜাāύু⧟াāϰি। āϚাāϰāĻĻিāĻ•ে āĻšāĻ াā§Ž āĻĨāĻŽāĻĨāĻŽে āĻāĻ• āĻĒāϰিāĻŦেāĻļ। āĻĻেāĻļেāϰ āωāϤ্āϤāϰ-āĻĒূāϰ্āĻŦ āϏীāĻŽাāύ্āϤে āĻ…āϏ্āĻĨিāϰāϤা। āϰাāϜāύীāϤি, āĻŦিāĻĻ্āϰোāĻš, āφāϰ āφāύ্āϤāϰ্āϜাāϤিāĻ• āώ⧜āϝāύ্āϤ্āϰে āφāĻŽাāĻĻেāϰ āϚাāϰāĻĒাāĻļে āϝেāύ āĻ…āĻĻৃāĻļ্āϝ āĻāĻ•āϟা āφāĻ—ুāύ āϜ্āĻŦāϞāĻ›ে। āφāĻŽি āϤāĻ–āύ āϏেāύাāĻŦাāĻšিāύীāϰ āĻāĻ•āϜāύ āϞেāĻĢāϟেāύ্āϝাāύ্āϟ। āφāĻŽাāĻĻেāϰ āĻāĻ• āĻŦিāĻļেāώ āĻ…āĻĒাāϰেāĻļāύেāϰ āϜāύ্āϝ āĻĄাāĻ•া āĻšāϞো — āĻ—োāĻĒāύ āĻŦিāĻĻ্āϰোāĻš āĻĻāĻŽāύেāϰ āĻŽিāĻļāύ, āϝেāĻ–াāύে āĻļāϤ্āϰুāϰা āĻāϤāϟাāχ āĻļāĻ•্āϤিāĻļাāϞী āϝে, āφāĻŽাāĻĻেāϰ āĻāĻ• āĻŽুāĻšূāϰ্āϤেāϰ āĻ­ুāϞ āĻŽাāύেāχ āĻŽৃāϤ্āϝু।

āφāĻŽাāϰ āϰাāχāĻĢেāϞ, āφāĻŽাāϰ āĻšেāϞāĻŽেāϟ, āφāϰ āφāĻŽাāϰ āχāωāύিāĻĢāϰ্āĻŽ — āĻāĻ—ুāϞো āϝেāύ āφāĻŽাāϰ āφāϤ্āĻŽাāϰ āĻ…ংāĻļ āĻšā§Ÿে āĻ—েāĻ›ে। āĻĻেāĻļেāϰ āϜāύ্āϝ āϞ⧜āϤে āĻšāĻŦে — āĻŦাāĻŦাāϰ āϏ্āĻŦāĻĒ্āύ āφāϰ āφāĻŽাāϰ āĻļāĻĒāĻĨ āĻāĻ• āĻšā§Ÿে āĻŽিāĻļে āĻ—েāĻ›ে।


āϜুāϞাāĻ‡ā§Ÿেāϰ āĻĒ্āϰāĻĨāĻŽ āϏāĻĒ্āϤাāĻšে āφāĻŽাāĻĻেāϰ āĻĒাāĻ াāύো āĻšāϞো āĻāĻ• āĻ—োāĻĒāύ āĻŽিāĻļāύে। āĻĒাāĻšা⧜ি āĻāϞাāĻ•া⧟ āϞুāĻ•ি⧟ে āĻĨাāĻ•া āĻļāϤ্āϰু āĻ•্āϝাāĻŽ্āĻĒ āϧ্āĻŦংāϏ āĻ•āϰা āφāĻŽাāĻĻেāϰ āĻ•াāϜ। āφāĻŽাāĻĻেāϰ āϏāĻ™্āĻ—ে āĻ›িāϞ ⧧⧍ āϜāύেāϰ āĻāĻ•āϟি āĻĻāϞ। āφāĻŽāϰা āϏāĻŦাāχ āϜাāύāϤাāĻŽ, āĻĢিāϰে āφāϏা āĻšāĻŦে āύা, āĻ•িāύ্āϤু āĻĻেāĻļেāϰ āϜāύ্āϝ āĻŽāϰāϤে āĻ•াāϰো āĻĻ্āĻŦিāϧা āĻ›িāϞ āύা।
āĻĒাāĻšা⧜ি āĻĒāĻĨে āĻšাঁāϟāϤে āĻšাঁāϟāϤে āφāĻŽি āĻ…āύুāĻ­āĻŦ āĻ•āϰāϞাāĻŽ, āĻāχ āĻŽাāϟি, āĻāχ āĻ—āύ্āϧ — āϏāĻŦāχ āφāĻŽাāϰ āĻĒāϰিāϚিāϤ। āϝেāύ āĻāχ āĻŽাāϟিāϰ āύিāϚেāχ āϞুāĻ•ি⧟ে āφāĻ›ে āφāĻŽাāϰ āĻŦাāĻŦাāϰ āĻŦীāϰāϤ্āĻŦেāϰ āĻ—āϞ্āĻĒ।

āĻāĻ• āϰাāϤে āĻ•্āϝাāĻŽ্āĻĒে āĻŦāϏে, āφāĻŽি āφāĻŽাāϰ āĻĄা⧟েāϰিāϤে āϞিāĻ–āϞাāĻŽ:
"āϝāĻĻি āĻāχ āĻĒাāĻšা⧜েāϰ āĻ•োāϞে āĻŽৃāϤ্āϝুāĻ“ āφāϏে, āφāĻŽি āĻšাāϏিāĻŽুāĻ–ে āĻŦāϰāĻŖ āĻ•āϰāĻŦো। āĻāĻ• āĻšাāϤে āĻĨাāĻ•āĻŦে āϰাāχāĻĢেāϞ, āφāϰেāĻ• āĻšাāϤে āĻļেāώ āĻŦুāϞেāϟ।"


āϜুāϞাāĻ‡ā§Ÿেāϰ ā§§ā§Š āϤাāϰিāĻ–। āĻ­োāϰেāϰ āĻĒ্āϰāĻĨāĻŽ āφāϞো⧟ āĻļāϤ্āϰু āĻ•্āϝাāĻŽ্āĻĒেāϰ āĻ–ুāĻŦ āĻ•াāĻ›ে āĻĒৌঁāĻ›āϞাāĻŽ। āĻĒাāĻšা⧜েāϰ āĻ—া⧟ে āϞেāĻ—ে āĻĨাāĻ•া āĻ•ু⧟াāĻļা āφāĻŽাāĻĻেāϰ āĻĸেāĻ•ে āϰাāĻ–āĻ›িāϞ। āĻšāĻ াā§Ž āĻĻূāϰ āĻĨেāĻ•ে āĻ­েāϏে āĻāϞো āĻāĻ•āϟা āĻ—ুāϞিāϰ āĻļāĻŦ্āĻĻ। āφāĻŽাāĻĻেāϰ āĻĻāϞেāϰ āĻ•āϰ্āĻĒোāϰাāϞ āφāϜাāĻĻ āĻĒ⧜ে āĻ—েāϞেāύ। āφāĻŽি āϚোāĻ–েāϰ āϏাāĻŽāύে āĻĻেāĻ–āϞাāĻŽ, āϤাāϰ āĻŦুāĻ• āϚিāϰে āϰāĻ•্āϤেāϰ āϧাāϰা āύাāĻŽāĻ›ে।
āφāĻŽি āϰাāχāĻĢেāϞ āĻšাāϤে āύি⧟ে āĻĒাāϞ্āϟা āĻ—ুāϞি āĻ›ুঁ⧜āϞাāĻŽ, āĻĒাāĻĨāϰেāϰ āĻ†ā§œাāϞে āϞুāĻ•ি⧟ে āĻĨাāĻ•া āĻļāϤ্āϰুāϰ āĻŽাāĻĨা āĻĢাāϟি⧟ে āĻĻিāϞাāĻŽ। āφāϜাāĻĻেāϰ āύিāĻĨāϰ āĻĻেāĻš āĻĻেāĻ–ে āφāĻŽি āĻŽāύে āĻŽāύে āĻļāĻĒāĻĨ āĻ•āϰāϞাāĻŽ — āĻļেāώ āĻĒāϰ্āϝāύ্āϤ āϞ⧜āĻŦো।


āϰাāϤে āϝāĻ–āύ āϏāĻŦ āύিāϏ্āϤāĻŦ্āϧ, āϤāĻ–āύ āφāĻŽি āφāĻ•াāĻļেāϰ āĻĻিāĻ•ে āϤাāĻ•ি⧟ে āĻ­াāĻŦāϞাāĻŽ — āĻāχ āϰাāϤ āĻ•āϤāĻ—ুāϞো āĻŽাāύুāώেāϰ āύিঃāĻļ্āĻŦাāϏ āύি⧟ে āϝাāϚ্āĻ›ে। āφāĻŽাāĻĻেāϰ āĻ–াāĻŦাāϰ āĻļেāώেāϰ āĻĒāĻĨে, āĻĒাāύিāϰ āĻŦোāϤāϞāĻ—ুāϞো āĻĒ্āϰা⧟ āĻ–াāϞি, āĻ•িāύ্āϤু āϚোāĻ–েāϰ āĻ­েāϤāϰ āφāĻ—ুāύ āϜ্āĻŦāϞāĻ›ে।
āφāĻŽাāϰ āĻāĻ• āĻšাāϤে āϰাāχāĻĢেāϞ, āĻ…āύ্āϝ āĻšাāϤে āĻŦাāĻŦাāϰ āĻĻেāĻ“ā§Ÿা āĻĒুāϰāύো āϚাāĻŦিāϰ āϰিং — āϝাāϰ āĻ—া⧟ে āĻ–োāĻĻাāχ āĻ•āϰা āĻ›িāϞ "āĻŽুāĻ•্āϤি" āĻļāĻŦ্āĻĻāϟা।

āϏে āϰাāϤে āĻĻāϞেāϰ āϏāĻŦাāχ āĻāĻ•āϏাāĻĨে āĻŦāϏেāĻ›িāϞাāĻŽ। āĻ•েāω āĻ•েāω āύিāϜেāĻĻেāϰ āĻļেāώ āϚিāĻ ি āϞিāĻ–āĻ›িāϞ, āĻ•েāω āφāĻŦাāϰ āϚোāĻ– āĻŦāύ্āϧ āĻ•āϰে āύিāϜেāϰ āĻŦা⧜িāϰ āĻ•āĻĨা āĻ­াāĻŦāĻ›িāϞ। āφāĻŽি āĻļুāϧু āĻ­াāĻŦāĻ›িāϞাāĻŽ āĻļেāώ āĻŦুāϞেāϟāϟাāϰ āĻ•āĻĨা — āϏেāχ āĻŦুāϞেāϟ āϝেāϟা āĻšā§ŸāϤো āφāĻŽাāϰ āĻšāĻŦে, āĻ…āĻĨāĻŦা āĻļāϤ্āϰুāϰ āĻŦুāĻ• āϚিāϰে āϝাāĻŦে।


āϜুāϞাāĻ‡ā§Ÿেāϰ ⧧⧝ āϤাāϰিāĻ–। āφāĻŽাāĻĻেāϰ āĻĻāϞ āĻĨেāĻ•ে āĻšাāϰি⧟ে āĻ—েāϞ āĻĻুāχāϜāύ — āϏৈāύিāĻ• āύাāϏিāϰ āφāϰ āĻ•্āϝাāĻĒ্āϟেāύ āϤāύ্āĻŽā§Ÿ। āĻĒ্āϰāĻĨāĻŽে āĻ­াāĻŦāϞাāĻŽ, āĻļāϤ্āϰুāϰ āĻšাāϤে āĻĒ⧜েāĻ›ে, āĻĒāϰে āĻŦুāĻāϞাāĻŽ — āϤাāϰা āύিāϜেāϰাāχ āφāĻŽাāĻĻেāϰ āĻ…āĻŦāϏ্āĻĨাāύ āĻĢাঁāϏ āĻ•āϰে āĻĒাāϞি⧟েāĻ›ে।
āĻŦিāĻļ্āĻŦাāϏāϘাāϤāĻ•āϤাāϰ āĻ•্āώāϤ āϏāĻŦāϚে⧟ে āĻŦ⧜। āĻĻāϞেāϰ āĻ­েāϤāϰ āĻ…āĻŦিāĻļ্āĻŦাāϏেāϰ āĻŦিāώ āĻĸুāĻ•ে āĻ—েāϞ। āĻ•ে āĻŦāύ্āϧু, āĻ•ে āĻļāϤ্āϰু — āφāϞাāĻĻা āĻ•āϰা āĻ•āĻ িāύ āĻšā§Ÿে āĻ—েāϞ।


āϜুāϞাāĻ‡ā§Ÿেāϰ ⧍ā§Ģ āϤাāϰিāĻ–। āφāĻŽাāĻĻেāϰ āϚাāϰāĻĒাāĻļে āĻļāϤ্āϰুāϰ āϘেāϰাāĻ“, āĻ–াāĻŦাāϰ āύেāχ, āĻ—োāϞাāĻŦাāϰুāĻĻ āĻļেāώ āĻĒ্āϰা⧟। āφāĻŽাāϰ āϰাāχāĻĢেāϞে āĻŽাāϤ্āϰ āĻāĻ•āϟা āĻŦুāϞেāϟ। āϏāĻŦাāχ āĻŦāϞāϞ, āφāϤ্āĻŽāϏāĻŽāϰ্āĻĒāĻŖ āĻ•āϰো। āĻ•িāύ্āϤু āφāĻŽি āϜাāύি, āĻŦাāĻŦাāϰ āϏেāχ āĻ•āĻĨা — "āĻļেāώ āĻŦুāϞেāϟ āĻ•āĻ–āύো āφāϤ্āĻŽāϏāĻŽāϰ্āĻĒāĻŖেāϰ āϜāύ্āϝ āύ⧟, āϏেāϟা āϏāĻŽ্āĻŽাāύেāϰ āϜāύ্āϝ।"
āφāĻŽি āϚোāĻ– āĻŦāύ্āϧ āĻ•āϰāϞাāĻŽ। āĻŽāύে āĻŽāύে āĻŦাāĻŦাāĻ•ে āĻŦāϞāϞাāĻŽ,
— "āĻĻেāĻ–ো āĻŦাāĻŦা, āϤোāĻŽাāϰ āĻ›েāϞে āĻļেāώ āĻĒāϰ্āϝāύ্āϤ āϞ⧜ে āϝাāĻŦে।"


āϜুāϞাāĻ‡ā§Ÿেāϰ ⧍ā§Ŧ āϤাāϰিāĻ– āϰাāϤ। āĻļāϤ্āϰুāϰা āϝāĻ–āύ āφāĻŽাāĻĻেāϰ āϘিāϰে āĻĢেāϞেāĻ›ে, āϤāĻ–āύāχ āφāĻŽাāϰ āϰাāχāĻĢেāϞেāϰ āϏেāχ āĻļেāώ āĻŦুāϞেāϟāϟাāĻ•ে āφāĻŽি āĻ­াāϞো āĻ•āϰে āĻĻেāĻ–āϞাāĻŽ।
āϰāĻ•্āϤে āĻ­েāϜা āĻšাāϤ, āĻŦুāĻ•েāϰ āĻ­েāϤāϰ āĻĻāĻŽāĻŦāύ্āϧ āĻ•āϰা āϭ⧟ — āϏāĻŦ āĻ›াāĻĒি⧟ে āωāĻ āϞ āĻāĻ•āϟা āĻ…āύুāĻ­ূāϤি।
āφāĻŽি āϏেāχ āĻļেāώ āĻŦুāϞেāϟāϟা āϤুāϞে āύি⧟ে, āϰাāχāĻĢেāϞেāϰ āϚেāĻŽ্āĻŦাāϰে āĻ­āϰāϞাāĻŽ। āϏাāĻŽāύে āĻĻাঁ⧜াāύো āĻļāϤ্āϰুāϰ āĻ•āĻŽাāύ্āĻĄাāϰেāϰ āϚোāĻ–ে āϚোāĻ– āϰাāĻ–āϞাāĻŽ।
āϤাāϰ āϚোāĻ–ে āĻ›িāϞ āϤৃāĻĒ্āϤিāϰ āĻšাāϏি — āϝেāύ āϏে āϜাāύে, āφāĻŽাāĻĻেāϰ āĻĒāϰাāϜ⧟ āĻ…āύিāĻŦাāϰ্āϝ।
āφāĻŽি āĻšাāϏāϞাāĻŽ।
āĻ াāύ্āĻĄা āĻŽাāĻĨা⧟ āϟ্āϰিāĻ—াāϰ āϟাāύāϞাāĻŽ।
āĻļেāώ āĻŦুāϞেāϟāϟা āĻ›ুāϟে āĻ—ি⧟ে āϤাāϰ āĻ•āĻĒাāϞে āĻŦিāϧāϞো।

āφāĻŽি āĻĒ⧜ে āĻ—েāϞাāĻŽ। āϰāĻ•্āϤে āĻ­েāϏে āϝাāϚ্āĻ›িāϞ āφāĻŽাāϰ āĻļāϰীāϰ। āĻ•িāύ্āϤু āĻļেāώ āĻŽুāĻšূāϰ্āϤে āĻŽāύে āĻšāϞো — āφāĻŽি āϜিāϤে āĻ—েāĻ›ি।
āφāĻŽাāϰ āĻĻেāĻ–া āĻļেāώ āĻŦুāϞেāϟ āφāĻŽাāϰ āĻĻেāĻļেāϰ āϜāύ্āϝāχ āĻ›ুāϟেāĻ›িāϞ।


āĻāχ āĻ—āϞ্āĻĒ āĻ•েāω āϜাāύে āύা। āĻāχ āĻ—āϞ্āĻĒ āĻļুāϧু āϜাāύে āφāĻŽাāϰ āϰাāχāĻĢেāϞ, āφāĻŽাāϰ āĻŽাāϟি, āφāϰ āϏেāχ āĻļেāώ āĻŦুāϞেāϟ — āϝে āĻŦুāϞেāϟ āĻĻেāĻļāĻĒ্āϰেāĻŽেāϰ āϏাāĻ•্āώী āĻšā§Ÿে āφāĻ›ে āĻāĻ• āĻĒাāĻšা⧜ি āĻāϰ্āĻŖাāϰ āĻĒাāĻļে।
āĻ•ā§ŸেāĻ• āĻŦāĻ›āϰ āĻĒāϰ āĻāĻ• āĻļিāĻļুāϰ āĻšাāϤে āωāĻ āĻŦে āϏেāχ āϰাāχāĻĢেāϞ, āϏেāχ āĻ—āϞ্āĻĒ āϏে āĻŦāϞāĻŦে āĻ…āύ্āϝāĻĻেāϰ — āĻāĻ• āϏৈāύিāĻ•েāϰ āĻļেāώ āĻŦুāϞেāϟেāϰ āĻ—āϞ্āĻĒ।


"āĻļেāώ āĻŦুāϞেāϟ āĻ•āĻ–āύো āϭ⧟ āĻĒা⧟ āύা, āĻ•াāϰāĻŖ āϏে āϜাāύে āϤাāϰ āĻļেāώ āϝাāϤ্āϰা āĻšāĻŦে āĻĻেāĻļেāϰ āϜāύ্āϝ।"

Beneath the Fog, We Fell

 


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The last thing sixteen-year-old Lena Carter wanted was to move to a town no one had ever heard of.

Blackthorn Hollow wasn’t just small — it was practically invisible on a map. Tucked between endless stretches of forest, it had no mall, no Starbucks, and only one school where everyone knew everyone else. To Lena, it felt like exile.

The house didn’t help.

It was old, three stories of rotting wood and slanted floors, with a wrap-around porch that sagged like a tired sigh. The windows were long and narrow, like they were meant for watching — or being watched.

Her parents called it "charming." Lena called it haunted.

The first night, fog rolled in so thick it felt like the house had been swallowed by clouds. The dampness crept into her bones, and even the air tasted metallic, like something left to rust.

It was from her bedroom window, just past midnight, that Lena saw him.

A boy stood at the edge of the woods, barely more than a shadow through the mist. He didn’t move, didn’t wave — he only stared, his dark hair falling across his forehead, hands shoved deep into his pockets. Even from this distance, Lena could feel it — something magnetic, something that pulled at her ribs like an invisible string.

When she blinked, he was gone.


The next day at Blackthorn High, no one sat with her at lunch. Her second-hand sneakers and out-of-place hoodie made her stick out in a sea of familiar faces, all laughing at inside jokes and gossip she wasn’t part of.

She’d been poking at her fries for five minutes when someone slid into the seat across from her.

"You're the new girl in the Hollow House, right?"

Lena looked up to see a boy — tall, blond, with the effortless confidence that only belonged to football players and prom kings.

"Yeah," she said cautiously.

"You know it’s haunted, right?" He grinned, too wide. "They say it eats girls like you."

Before she could ask more, he was gone.


That night, the whispers began.

Lena was half-asleep when she heard them — soft, melodic, curling through her half-open window like smoke. They weren’t words, not really, but they were calling to her, beckoning.

She crept to the window, fingers trembling as she pushed the glass up. Cold air swept in, along with the fog, thick and clinging to her skin.

And there he was again.

Closer this time, standing at the very edge of the lawn, where the grass met the woods. His hoodie was black, blending into the night, but his face… pale, almost glowing in the moonlight.

He didn’t speak. But the whisper in her mind grew louder.

Come outside.

She didn’t remember making the choice. One second, she was standing at the window — the next, she was stepping barefoot onto the cold, wet grass, her breath curling in the air.

The boy turned and walked into the trees. Lena followed.


The forest was ancient.

The trees were twisted, their bark peeling like dead skin. Moss coated everything, muffling her footsteps. The fog was thicker here, dampening sound, swallowing the world until it was just Lena and the boy.

He stopped beside a fallen tree, glancing back at her with dark, unreadable eyes.

“You shouldn’t be here,” he said softly.

“You’re the one who brought me,” she whispered.

He smiled faintly. “I had to.”

“Why?”

His fingers brushed her wrist — they were cold, so cold — and her pulse fluttered beneath his touch.

“Because they want you,” he said.

Before she could ask who, the fog thickened, swallowing him whole.


At school the next day, Lena cornered the blond boy — Jason, someone called him — near his locker.

"What did you mean?" she asked. "About Hollow House?"

Jason’s smile faltered.

"You really don’t know?"

"Would I be asking if I did?"

He glanced around, lowering his voice. "There’s something in the woods. Been there longer than the town. A spirit, or a ghost, or both. It lures girls into the forest, and they never come back."

Lena’s mouth went dry.

"What about a boy?" she asked.

Jason’s brow furrowed. "What boy?"

She didn’t answer.


The next night, she found him again.

The boy was waiting at the edge of the forest, leaning against a tree. His hoodie melted into the shadows, but his face… his face was beautiful in a way shadows could be beautiful — sharp edges, hidden softness, something fragile beneath the dark.

“You came back,” he whispered.

Lena stepped closer. “Who are you?”

He hesitated, then, “I used to live in your house.”

Her stomach tightened. “What happened to you?”

He reached out, fingers brushing her hair back from her face. It should’ve been freezing — but his touch was like static, sharp and warm all at once.

“I died,” he said simply.

The air left her lungs.

“But not all the way.”

And then he kissed her.

His lips were cold — so cold they burned. But beneath the ice was something else: longing, hunger, and something darker. She should’ve pulled away. She didn’t.

When he broke the kiss, his eyes were darker than the sky, swirling with fog and shadow.

“They’ll come for you now,” he whispered. “Because you’re mine.”


The haunting began immediately.

Her reflection flickered in the bathroom mirror. Her phone glitched every time she tried to take a picture of herself. Whispers followed her through the halls of Blackthorn High.

And at night, she dreamed of him standing at the foot of her bed, his dark eyes full of something she couldn’t name — something between sorrow and love.

One morning, she woke to a handprint on her window. From the inside.


The next time she found him, he was waiting deeper in the woods, standing beside a tree split down the middle like a wound.

"Who are you?" she asked again. "Really."

“My name was Isaac,” he said. “A long time ago.”

Fog curled tighter around them. A mist-woman formed beside him, her smile too wide, her eyes voids.

“She feeds on love,” Isaac said. “She takes boys who fall for girls like you. Traps us here. Unless someone takes my place.”

Lena kissed him one last time.

Isaac dissolved into mist.

The whispers never left her after that.

Because love doesn’t always save you.

Sometimes, it haunts you.

āϏ্āϟাāϰ্āϞিং āχāύ্āϟাāϰāύেāϟ: āϏুāϝোāĻ—েāϰ āϜাāύাāϞা āύাāĻ•ি āĻļāĻ™্āĻ•াāϰ āĻĻāϰāϜা?(this text is teken from ai)

 


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āϏ্āϟাāϰ্āϞিং (Starlink) āχāύ্āϟাāϰāύেāϟ āϏাāϰ্āĻ­িāϏ āϏ্āĻĒেāϏāĻāĻ•্āϏেāϰ (SpaceX) āĻāĻ• āϝুāĻ—াāύ্āϤāĻ•াāϰী āωāĻĻ্āϝোāĻ—, āϝাāϰ āϞāĻ•্āώ্āϝ āĻšāϞো āϏ্āϝাāϟেāϞাāχāϟেāϰ āĻŽাāϧ্āϝāĻŽে āϏাāϰা āĻŦিāĻļ্āĻŦে āĻĻ্āϰুāϤāĻ—āϤিāϰ āχāύ্āϟাāϰāύেāϟ āϏংāϝোāĻ— āĻĒৌঁāĻ›ে āĻĻেāĻ“ā§Ÿা। āĻŦিāĻļেāώ āĻ•āϰে āĻĻুāϰ্āĻ—āĻŽ āĻāϞাāĻ•া, āϝেāĻ–াāύে āĻ…āĻĒāϟিāĻ•্āϝাāϞ āĻĢাāχāĻŦাāϰ āĻŦা āĻŽোāĻŦাāχāϞ āύেāϟāĻ“ā§Ÿাāϰ্āĻ• āĻĒৌঁāĻ›া⧟āύি, āϏেāĻ–াāύে āϏ্āϟাāϰāϞিংāĻ•েāϰ āϏāĻŽ্āĻ­াāĻŦāύা āĻŦিāĻĒুāϞ। āĻ•িāύ্āϤু āĻŦিāĻļ্āĻŦেāϰ āĻ…āύেāĻ• āĻĻেāĻļāχ āϏ্āϟাāϰāϞিংāĻ•েāϰ āĻāχ āϏāĻšāϜāϞāĻ­্āϝ āχāύ্āϟাāϰāύেāϟāĻ•ে āϏāĻšāϜāĻ­াāĻŦে āύিāϚ্āĻ›ে āύা। āĻŦāϰং āύাāύা āĻļāϰ্āϤ āφāϰোāĻĒ āĻ•āϰে āĻāϰ āĻŦিāϏ্āϤাāϰ āĻ েāĻ•াāύোāϰ āϚেāώ্āϟা āϚāϞāĻ›ে। āĻāχ āĻŦাāϧাāϰ āĻĒেāĻ›āύে āĻ•াāϰা āϰ⧟েāĻ›ে, āĻ•েāύ āϤাāϰা āĻāϟি āĻ•āϰāĻ›ে, āĻāĻŦং āĻāϰ āĻĒেāĻ›āύে āĻ•ী āϧāϰāύেāϰ āĻ­ূāϰাāϜāύৈāϤিāĻ•, āĻ…āϰ্āĻĨāύৈāϤিāĻ• āĻ“ āύিāϰাāĻĒāϤ্āϤাāϜāύিāϤ āĻ•াāϰāĻŖ āĻĨাāĻ•āϤে āĻĒাāϰে, āϏেāχ āĻŦিāĻļ্āϞেāώāĻŖ āĻāĻ–াāύে āϤুāϞে āϧāϰা āĻšāϞো।


ā§§. āϏ্āĻĨাāύী⧟ āϟেāϞিāĻ•āĻŽ āĻ•োāĻŽ্āĻĒাāύিāϰ āϏ্āĻŦাāϰ্āĻĨāϰāĻ•্āώা

āϏ্āϟাāϰāϞিংāĻ• āϝāĻĻি āϏāĻšāϜāϞāĻ­্āϝ āĻāĻŦং āĻ•āĻŽ āĻ–āϰāϚে āχāύ্āϟাāϰāύেāϟ āϏেāĻŦা āĻĻিāϤে āĻĒাāϰে, āϤাāĻšāϞে āĻĻেāĻļী⧟ āϟেāϞিāĻ•āĻŽ āĻ…āĻĒাāϰেāϟāϰāĻĻেāϰ āϜāύ্āϝ āĻāϟি āĻŦ⧜ āϧāϰāύেāϰ āĻšুāĻŽāĻ•ি। āĻŦিāĻļেāώ āĻ•āϰে, āωāύ্āύ⧟āύāĻļীāϞ āĻĻেāĻļāĻ—ুāϞোāϰ āϟেāϞিāĻ•āĻŽ āĻ•োāĻŽ্āĻĒাāύিāĻ—ুāϞো āφāĻ—ে āĻĨেāĻ•েāχ āĻŽāύোāĻĒāϞি āĻŦা āĻ…āϞিāĻ—োāĻĒāϞিāϰ āϏুāĻŦিāϧা āύি⧟ে āĻŦ্āϝāĻŦāϏা āĻ•āϰে āφāϏāĻ›ে। āϏ্āϟাāϰāϞিংāĻ• āφāϏāϞে āϤাāĻĻেāϰ āĻŦাāϜাāϰে āĻ­াāĻ™āύ āϧāϰāĻŦে। āĻ āĻ•াāϰāĻŖেāχ āϏ্āĻĨাāύী⧟ āϟেāϞিāĻ•āĻŽ āĻ•োāĻŽ্āĻĒাāύিāĻ—ুāϞো āϞāĻŦিং āĻ•āϰে āϏāϰāĻ•াāϰāĻ•ে āĻĻি⧟ে āϏ্āϟাāϰāϞিংāĻ•েāϰ āĻ•াāϰ্āϝāĻ•্āϰāĻŽে āĻļāϰ্āϤ āφāϰোāĻĒ āĻ•āϰাāϚ্āĻ›ে।

⧍. āύি⧟āύ্āϤ্āϰāĻŖেāϰ āĻĒ্āϰāĻļ্āύ

āϏ্āϟাāϰāϞিংāĻ• āϝেāĻšেāϤু āĻāĻ•েāĻŦাāϰে āϏāϰাāϏāϰি āϏ্āϝাāϟেāϞাāχāϟ āĻĨেāĻ•ে āĻŦ্āϝāĻŦāĻšাāϰāĻ•াāϰীāĻĻেāϰ āĻĄিāĻ­াāχāϏে āχāύ্āϟাāϰāύেāϟ āĻĒৌঁāĻ›ে āĻĻে⧟, āϤাāχ āĻĒ্āϰāϚāϞিāϤ āχāύ্āϟাāϰāύেāϟ āύি⧟āύ্āϤ্āϰāĻŖ āĻ•াāĻ াāĻŽোāϰ āĻŦাāχāϰে āĻāϟি āĻ•াāϜ āĻ•āϰে। āϏ্āĻŦাāĻ­াāĻŦিāĻ•āĻ­াāĻŦে, āϏāϰāĻ•াāϰāĻ—ুāϞোāϰ āχāύ্āϟাāϰāύেāϟ āύি⧟āύ্āϤ্āϰāĻŖেāϰ āĻ…āύ্āϝāϤāĻŽ āωāĻĒা⧟ āĻšāϞো āϏ্āĻĨাāύী⧟ āφāχāĻāϏāĻĒি āĻāĻŦং āϟেāϞিāĻ•āĻŽ āĻ•োāĻŽ্āĻĒাāύিāĻ—ুāϞোāϰ āĻ“āĻĒāϰ āĻĒ্āϰāĻ­াāĻŦ āĻ–াāϟাāύো। āĻ•িāύ্āϤু āϏ্āϟাāϰāϞিংāĻ•āĻ•ে āϏেāχāĻ­াāĻŦে āύি⧟āύ্āϤ্āϰāĻŖ āĻ•āϰা āĻ•āĻ িāύ। āĻĢāϞে, āĻ…āύেāĻ• āϏāϰāĻ•াāϰāχ āϜাāϤী⧟ āύিāϰাāĻĒāϤ্āϤা āĻ“ āϏাāχāĻŦাāϰ āύি⧟āύ্āϤ্āϰāĻŖেāϰ āĻ•āĻĨা āĻŦāϞে āϏ্āϟাāϰāϞিংāĻ•েāϰ āĻŦিāϰুāĻĻ্āϧে āĻ…āĻŦāϏ্āĻĨাāύ āύিāϚ্āĻ›ে।

ā§Š. āϏাāϰ্āĻŦāĻ­ৌāĻŽāϤ্āĻŦ āĻ“ āϜাāϤী⧟ āύিāϰাāĻĒāϤ্āϤা

āϏ্āϟাāϰāϞিংāĻ•েāϰ āĻŽাāϧ্āϝāĻŽে āĻ•োāύো āĻĻেāĻļেāϰ āϜāύāĻ—āĻŖ āϝāĻĻি āϏāϰাāϏāϰি āĻŦাāχāϰেāϰ āĻ•োāύো āĻĒ্āϰāϤিāώ্āĻ াāύেāϰ (āϏ্āĻĒেāϏāĻāĻ•্āϏ āĻŦা āϝুāĻ•্āϤāϰাāώ্āϟ্āϰেāϰ āύি⧟āύ্āϤ্āϰāĻŖাāϧীāύ) āχāύ্āϟাāϰāύেāϟ āĻŦ্āϝāĻŦāĻšাāϰ āĻ•āϰে, āϤাāĻšāϞে āϏেāχ āĻĻেāĻļেāϰ āϏাāϰ্āĻŦāĻ­ৌāĻŽāϤ্āĻŦ āĻĒ্āϰāĻļ্āύāĻŦিāĻĻ্āϧ āĻšāϤে āĻĒাāϰে। āĻŦিāĻļেāώ āĻ•āϰে, āϏ্āĻŦৈāϰāϤাāύ্āϤ্āϰিāĻ• āϏāϰāĻ•াāϰāĻ—ুāϞো āϝাāϰা āϜāύāĻ—āĻŖেāϰ āϤāĻĨ্āϝāĻĒ্āϰāĻŦাāĻš āĻ•āĻ োāϰāĻ­াāĻŦে āύি⧟āύ্āϤ্āϰāĻŖ āĻ•āϰāϤে āϚা⧟, āϤাāϰা āϏ্āϟাāϰāϞিংāĻ•āĻ•ে āϭ⧟ āĻĒা⧟। āĻ•াāϰāĻŖ, āĻāϟি āύিāώেāϧাāϜ্āĻžা āĻ“ āϏেāύ্āϏāϰāĻļিāĻĒ āĻā§œি⧟ে āϜāύāĻ—āĻŖāĻ•ে āϏ্āĻŦাāϧীāύāĻ­াāĻŦে āϤāĻĨ্āϝ āĻĒাāĻ“ā§Ÿাāϰ āϏুāϝোāĻ— āĻ•āϰে āĻĻিāϤে āĻĒাāϰে।

ā§Ē. āĻ­ূāϰাāϜāύৈāϤিāĻ• āĻĒ্āϰāϤিāĻĻ্āĻŦāύ্āĻĻ্āĻŦিāϤা

āϏ্āϟাāϰāϞিংāĻ• āϝেāĻšেāϤু āĻŽাāϰ্āĻ•িāύ āĻĒ্āϰāϤিāώ্āĻ াāύ āϏ্āĻĒেāϏāĻāĻ•্āϏেāϰ āωāĻĻ্āϝোāĻ—, āϤাāχ āĻ…āύেāĻ• āĻĻেāĻļ āĻāϟিāĻ•ে "āφāĻŽেāϰিāĻ•াāύ āĻĒ্āϰāĻ­াāĻŦ āĻŦিāϏ্āϤাāϰ" āĻšিāϏেāĻŦে āĻĻেāĻ–ে। āϚীāύ, āϰাāĻļি⧟া āĻāĻŦং āχāϰাāύেāϰ āĻŽāϤো āĻĻেāĻļāĻ—ুāϞো āϏ্āĻĒāώ্āϟāĻ­াāĻŦে āϏ্āϟাāϰāϞিংāĻ•েāϰ āĻŦিāϰুāĻĻ্āϧে āĻ…āĻŦāϏ্āĻĨাāύ āύি⧟েāĻ›ে, āĻ•াāϰāĻŖ āϤাāϰা āĻŽāύে āĻ•āϰে āĻāϟি āĻŽাāϰ্āĻ•িāύ āĻ—ো⧟েāύ্āĻĻা āϏংāϏ্āĻĨাāĻ—ুāϞোāϰ āϏāĻšা⧟āĻ• āĻšāϤে āĻĒাāϰে। āĻāĻŽāύāĻ•ি āχāωāϰোāĻĒেāϰ āĻ•িāĻ›ু āĻĻেāĻļāĻ“ āϏ্āϟাāϰāϞিংāĻ•āĻ•ে āϏāύ্āĻĻেāĻšেāϰ āϚোāĻ–ে āĻĻেāĻ–ে, āĻ•াāϰāĻŖ āχāωāϰোāĻĒ āύিāϜāϏ্āĻŦ āϏ্āϝাāϟেāϞাāχāϟ āχāύ্āϟাāϰāύেāϟ āύেāϟāĻ“ā§Ÿাāϰ্āĻ• āϤৈāϰিāϰ āϚেāώ্āϟা āĻ•āϰāĻ›ে। āĻāχ āĻ­ূāϰাāϜāύৈāϤিāĻ• āĻĒ্āϰāϤিāĻĻ্āĻŦāύ্āĻĻ্āĻŦিāϤাāϰ āĻ•াāϰāĻŖে āϏ্āϟাāϰāϞিংāĻ•েāϰ āĻ“āĻĒāϰ āĻŦিāĻ­িāύ্āύ āĻļāϰ্āϤ āφāϰোāĻĒ āĻ•āϰা āĻšāϚ্āĻ›ে।

ā§Ģ. āĻ—োāĻĒāύ āύāϜāϰāĻĻাāϰি āĻ“ āĻĄেāϟা āĻĒ্āϰাāχāĻ­েāϏি

āϏ্āϟাāϰāϞিংāĻ•েāϰ āĻŽāϤো āĻāĻ•āϟি āĻŦৈāĻļ্āĻŦিāĻ• āύেāϟāĻ“ā§Ÿাāϰ্āĻ•েāϰ āĻ“āĻĒāϰ āύিāϰ্āĻ­āϰāϤা āϤৈāϰি āĻšāϞে āϏেāχ āĻĻেāĻļেāϰ āϜāύāĻ—āĻŖেāϰ āϝাāĻŦāϤী⧟ āĻĄেāϟা, āϝোāĻ—াāϝোāĻ— āĻāĻŦং āĻ…āύāϞাāχāύ āĻ•াāϰ্āϝāĻ•্āϰāĻŽ āϏāϰাāϏāϰি āĻŽাāϰ্āĻ•িāύ āĻĒ্āϰāϤিāώ্āĻ াāύেāϰ āĻšাāϤে āϚāϞে āϝেāϤে āĻĒাāϰে। āĻāĻŽāύ āφāĻļāĻ™্āĻ•া āĻĨেāĻ•েāχ āĻ…āύেāĻ• āĻĻেāĻļ āϏ্āϟাāϰāϞিংāĻ•েāϰ āĻ•াāϰ্āϝāĻ•্āϰāĻŽে āύাāύা āϰāĻ•āĻŽ āĻŦাāϧা āϏৃāώ্āϟি āĻ•āϰāĻ›ে। āϜাāϤী⧟ āύিāϰাāĻĒāϤ্āϤাāϰ āĻĻোāĻšাāχ āĻĻি⧟ে āĻĄেāϟা āϞোāĻ•াāϞাāχāϜেāĻļāύ āύীāϤি āϚাāĻĒি⧟ে āĻĻেāĻ“ā§Ÿা āĻšāϚ্āĻ›ে, āϝাāϤে āϜāύāĻ—āĻŖেāϰ āϤāĻĨ্āϝ āĻĻেāĻļেāϰ āĻ­েāϤāϰেāχ āĻĨাāĻ•ে।

ā§Ŧ. āĻĒ্āϰāϤিāĻĻ্āĻŦāύ্āĻĻ্āĻŦী āĻŽāĻšাāĻ•াāĻļ āĻĒ্āϰāĻ•āϞ্āĻĒāĻ—ুāϞোāϰ āϏ্āĻŦাāϰ্āĻĨ

āϏ্āϟাāϰāϞিংāĻ• āĻļুāϧু āĻĒৃāĻĨিāĻŦীāϤে āχāύ্āϟাāϰāύেāϟ āϏেāĻŦা āύ⧟, āĻŦāϰং āĻŽāĻšাāĻ•াāĻļ-āĻŦাāĻŖিāϜ্āϝেāϰ āĻāĻ•āϟি āĻŦ⧜ āĻ…ংāĻļ āĻĻāĻ–āϞ āĻ•āϰে āύিāϤে āĻĒাāϰে। āĻ āĻ•াāϰāĻŖে āϝাāϰা āχāϤোāĻŽāϧ্āϝেāχ āĻŽāĻšাāĻ•াāĻļ āĻŦ্āϝāĻŦāϏা⧟ āύেāĻŽেāĻ›ে āĻŦা āύাāĻŽāϤে āϚা⧟, āϤাāϰা āϚাāχāĻŦে āϏ্āϟাāϰāϞিংāĻ•āĻ•ে āϝāϤāϟা āϏāĻŽ্āĻ­āĻŦ āφāϟāĻ•ে āϰাāĻ–āϤে। āϚীāύেāϰ "āϏ্āϟাāϰāύেāϟ", āχāωāϰোāĻĒেāϰ "āχāϰিāϏ" āĻĒ্āϰāĻ•āϞ্āĻĒ, āĻāĻŽāύāĻ•ি āĻ­াāϰāϤেāϰ "āĻ­াāϰāϤ āϏ্āϝাāϟāύেāϟ" – āĻāϏāĻŦ āωāĻĻ্āϝোāĻ— āϏ্āϟাāϰāϞিংāĻ•েāϰ āϏāĻ™্āĻ—ে āϏāϰাāϏāϰি āĻĒ্āϰāϤিāϝোāĻ—িāϤা⧟ āύাāĻŽāĻŦে। āĻĢāϞে, āϏংāĻļ্āϞিāώ্āϟ āĻĻেāĻļেāϰ āϏāϰāĻ•াāϰāĻ—ুāϞো āϏ্āϟাāϰāϞিংāĻ•েāϰ āĻ“āĻĒāϰ āĻ•āĻ োāϰ āĻļāϰ্āϤ āφāϰোāĻĒেāϰ āĻĒāĻĨে āĻšাঁāϟāĻ›ে।


ā§­. āϏ্āĻĨাāύী⧟ āφāχāύ āĻ“ āϟ্āϝাāĻ•্āϏ āχāϏ্āϝু

āĻ…āύেāĻ• āĻĻেāĻļ āϏ্āϟাāϰāϞিংāĻ•েāϰ āĻ•াāĻ› āĻĨেāĻ•ে āĻĒ্āϰāϚāϞিāϤ āϟেāϞিāĻ•āĻŽ āϞাāχāϏেāύ্āϏ āĻĢি, āϏ্āĻĒেāĻ•āϟ্āϰাāĻŽ āϚাāϰ্āϜ āĻāĻŦং āĻŦিāĻ­িāύ্āύ āĻ•āϰ āφāĻĻা⧟ āĻ•āϰāϤে āϚা⧟। āĻ•িāύ্āϤু āϏ্āϟাāϰāϞিংāĻ• āĻāĻŽāύāĻ­াāĻŦে āĻ—ā§œে āωāĻ েāĻ›ে āϝে, āĻāϟি āĻ…āύেāĻ•āϟাāχ āĻĒ্āϰāϚāϞিāϤ āĻ•াāĻ াāĻŽোāϰ āĻŦাāχāϰে āĻ•াāϜ āĻ•āϰে। āĻĢāϞে, āĻĻেāĻļāĻ—ুāϞো āĻļāϰ্āϤ āφāϰোāĻĒেāϰ āĻŽাāϧ্āϝāĻŽে āϏ্āϟাāϰāϞিংāĻ•āĻ•ে āĻŦাāϧ্āϝ āĻ•āϰāϤে āϚাāχāĻ›ে āϏ্āĻĨাāύী⧟ āφāχāύ āĻŽেāύে āϚāϞāϤে āĻāĻŦং āĻ•āϰ āĻĒ্āϰāĻĻাāύ āĻ•āϰāϤে।

ā§Ž. āϏāϰāĻ•াāϰ-āĻŦিāϰোāϧী āφāύ্āĻĻোāϞāύে āϏāĻšা⧟āĻ• āĻ­ূāĻŽিāĻ•া

āχāϤিāĻŽāϧ্āϝে āχāωāĻ•্āϰেāύ-āϰাāĻļি⧟া āϝুāĻĻ্āϧāϏāĻš āĻŦিāĻ­িāύ্āύ āϰাāϜāύৈāϤিāĻ• āϏংāĻ•āϟে āϏ্āϟাāϰāϞিংāĻ• āĻ—ুāϰুāϤ্āĻŦāĻĒূāϰ্āĻŖ āĻ­ূāĻŽিāĻ•া āϰেāĻ–েāĻ›ে। āϝুāĻĻ্āϧāĻŦিāϧ্āĻŦāϏ্āϤ āĻāϞাāĻ•া⧟ āϏ্āϟাāϰāϞিংāĻ• āχāύ্āϟাāϰāύেāϟ āύা āĻĨাāĻ•āϞে āχāωāĻ•্āϰেāύেāϰ āϏেāύাāĻŦাāĻšিāύী āĻŦা āĻŦেāϏাāĻŽāϰিāĻ• āύাāĻ—āϰিāĻ•āϰা āϝোāĻ—াāϝোāĻ— āĻ•āϰāϤে āĻĒাāϰāϤ āύা। āĻ āϧāϰāύেāϰ āωāĻĻাāĻšāϰāĻŖ āĻĻেāĻ–ে āĻ…āύেāĻ• āϏ্āĻŦৈāϰাāϚাāϰী āϏāϰāĻ•াāϰ āφāĻļāĻ™্āĻ•া āĻ•āϰāĻ›ে, āĻ­āĻŦিāώ্āϝāϤে āϤাāĻĻেāϰ āĻŦিāϰুāĻĻ্āϧেāĻ“ āϏ্āϟাāϰāϞিংāĻ• āĻŦ্āϝāĻŦāĻšৃāϤ āĻšāϤে āĻĒাāϰে। āϏেāχ āφāĻļāĻ™্āĻ•া āĻĨেāĻ•ে āφāĻ—েāĻ­াāĻ—েāχ āĻļāϰ্āϤ āφāϰোāĻĒ āĻ•āϰে āĻāϟি āĻ েāĻ•াāύোāϰ āϚেāώ্āϟা āĻ•āϰāĻ›ে।


⧝. āĻŽাāϰ্āĻ•িāύ āĻĒ্āϰāĻ­াāĻŦ āĻ“ āĻŦৈāĻļ্āĻŦিāĻ• āύি⧟āύ্āϤ্āϰāĻŖ

āĻ…āύেāĻ• āĻĻেāĻļāχ āĻŽāύে āĻ•āϰে, āϏ্āϟাāϰāϞিংāĻ• āĻšāϞো āϝুāĻ•্āϤāϰাāώ্āϟ্āϰেāϰ āĻŦৈāĻļ্āĻŦিāĻ• āĻĒ্āϰāĻ­াāĻŦ āĻŦিāϏ্āϤাāϰেāϰ āĻšাāϤি⧟াāϰ। āĻŽাāϰ্āĻ•িāύ āϏāϰāĻ•াāϰ āĻ“ āϤাāĻĻেāϰ āϏাāĻŽāϰিāĻ• āĻ—ো⧟েāύ্āĻĻা āϏংāϏ্āĻĨাāĻ—ুāϞো āϏ্āϟাāϰāϞিংāĻ•āĻ•ে āĻŦ্āϝāĻŦāĻšাāϰ āĻ•āϰে āĻ…āύ্āϝাāύ্āϝ āĻĻেāĻļেāϰ āχāύ্āϟাāϰāύেāϟ āĻ…āĻŦāĻ•াāĻ াāĻŽোāϤে āύāϜāϰāĻĻাāϰি āĻ•āϰāϤে āĻĒাāϰে। āĻĢāϞে, āĻĒ্āϰāϤিāϰāĻ•্āώা āĻ“ āĻ•ৌāĻļāϞāĻ—āϤ āĻ•াāϰāĻŖে āĻ…āύেāĻ• āĻĻেāĻļ āϏ্āϟাāϰāϞিংāĻ•āĻ•ে āϏ্āĻŦাāĻ—āϤ āύা āϜাāύি⧟ে āĻŦāϰং āύাāύা āϰāĻ•āĻŽ āĻļāϰ্āϤ āĻĻি⧟ে āφāϟāĻ•ে āϰাāĻ–াāϰ āϚেāώ্āϟা āĻ•āϰāĻ›ে।


ā§§ā§Ļ. āϜāύāĻ—āĻŖেāϰ āϤāĻĨ্āϝāĻĒ্āϰāĻŦাāĻš āύি⧟āύ্āϤ্āϰāĻŖেāϰ āϰাāϜāύীāϤি

āĻŦিāĻļ্āĻŦেāϰ āĻ…āύেāĻ• āĻĻেāĻļāχ āĻāĻ–āύ āĻĄিāϜিāϟাāϞ āϏাāϰ্āĻ­েāχāϞ্āϝাāύ্āϏ āĻāĻŦং āϤāĻĨ্āϝ āύি⧟āύ্āϤ্āϰāĻŖāĻ•ে āϰাāώ্āϟ্āϰāĻ•্āώāĻŽāϤা āϧāϰে āϰাāĻ–াāϰ āĻ…āϏ্āϤ্āϰ āĻšিāϏেāĻŦে āĻŦ্āϝāĻŦāĻšাāϰ āĻ•āϰāĻ›ে। āĻāĻŽāύ āĻ…āĻŦāϏ্āĻĨা⧟ āϏ্āϟাāϰāϞিংāĻ•েāϰ āĻŽāϤো āϏ্āĻŦাāϧীāύ āĻ“ āύি⧟āύ্āϤ্āϰāĻŖেāϰ āĻŦাāχāϰে āĻĨাāĻ•া āχāύ্āϟাāϰāύেāϟ āϏাāϰ্āĻ­িāϏ āϚাāϞু āĻšāϞে, āϏāϰāĻ•াāϰেāϰ āϏেāχ āĻ•্āώāĻŽāϤা āĻĻুāϰ্āĻŦāϞ āĻšā§Ÿে āĻĒ⧜āĻŦে। āϤাāχ āĻļāϰ্āϤ āφāϰোāĻĒেāϰ āĻŽাāϧ্āϝāĻŽে āϏ্āϟাāϰāϞিংāĻ•āĻ•ে āύি⧟āύ্āϤ্āϰāĻŖেāϰ āφāĻ“āϤা⧟ āφāύাāϰ āϚেāώ্āϟা āĻ•āϰāĻ›ে āĻŦিāĻ­িāύ্āύ āϏāϰāĻ•াāϰ।


āϏāĻŽ্āĻ­াāĻŦ্āϝ āĻ•াāϰা āĻāϰ āĻĒেāĻ›āύে?

ā§§. āϏ্āĻĨাāύী⧟ āϟেāϞিāĻ•āĻŽ āĻ…āĻĒাāϰেāϟāϰāĻĻেāϰ āϞāĻŦি

āϤাāϰা āϏāϰাāϏāϰি āϏāϰāĻ•াāϰāĻ•ে āϚাāĻĒ āĻĻিāϚ্āĻ›ে āϏ্āϟাāϰāϞিংāĻ•েāϰ āĻ“āĻĒāϰ āĻļāϰ্āϤ āφāϰোāĻĒ āĻ•āϰāϤে।

⧍. āĻĒ্āϰāϤিāĻĻ্āĻŦāύ্āĻĻ্āĻŦী āĻŽāĻšাāĻ•াāĻļ āϏংāϏ্āĻĨাāĻ—ুāϞো

āϤাāϰা āĻĒ্āϰāϤিāϝোāĻ—িāϤা⧟ āϟিāĻ•ে āĻĨাāĻ•āϤে āϏ্āϟাāϰāϞিংāĻ•েāϰ āĻĒāĻĨ āĻ•āĻ িāύ āĻ•āϰāϤে āϚাāχāĻ›ে।

ā§Š. āϏāϰāĻ•াāϰ āĻ“ āĻ—ো⧟েāύ্āĻĻা āϏংāϏ্āĻĨাāĻ—ুāϞো

āϤাāϰা āϜাāϤী⧟ āύিāϰাāĻĒāϤ্āϤা āĻ“ āύāϜāϰāĻĻাāϰি āĻ•্āώāĻŽāϤা āϧāϰে āϰাāĻ–āϤে āϚা⧟।

ā§Ē. āφāύ্āϤāϰ্āϜাāϤিāĻ• āϜোāϟ (āϚীāύ-āϰাāĻļি⧟া āĻŦ্āϞāĻ•)

āĻŽাāϰ্āĻ•িāύ āĻĒ্āϰāĻ­াāĻŦ āĻ েāĻ•াāϤে āϤাāϰা āϏ্āϟাāϰāϞিংāĻ• āĻŦিāϰোāϧী āĻ…āĻŦāϏ্āĻĨাāύ āύিāϚ্āĻ›ে।

ā§Ģ. āύীāϤিāύিāϰ্āϧাāϰāĻŖী āϏংāϏ্āĻĨাāĻ—ুāϞো

āϤাāϰা āϟ্āϝাāĻ•্āϏ āφāĻĻা⧟ āĻ“ āύীāϤিāĻŽাāϞা āĻĒ্āϰ⧟োāĻ— āύিāĻļ্āϚিāϤ āĻ•āϰāϤে āϚা⧟।


āωāĻĒāϏংāĻšাāϰ

āϏ্āϟাāϰāϞিংāĻ• āχāύ্āϟাāϰāύেāϟ āϏেāĻŦা āϝে āĻļুāϧু āĻĒ্āϰāϝুāĻ•্āϤিāĻ—āϤ āωāĻĻ্āĻ­াāĻŦāύ āύ⧟, āĻŦāϰং āĻāϟি āĻ­ূāϰাāϜāύীāϤি, āĻ…āϰ্āĻĨāύীāϤি, āĻāĻŦং āϤāĻĨ্āϝāĻĒ্āϰāĻŦাāĻšেāϰ āύি⧟āύ্āϤ্āϰāĻŖেāϰ āĻŽāϤো āϏ্āĻĒāϰ্āĻļāĻ•াāϤāϰ āĻŦিāώ⧟ āϜ⧜ি⧟ে āφāĻ›ে, āϤা āĻĒāϰিāώ্āĻ•াāϰ। āĻŦিāĻļ্āĻŦāϜু⧜ে āĻŦিāĻ­িāύ্āύ āĻļāĻ•্āϤিāĻļাāϞী āĻĒāĻ•্āώāχ āĻāχ āĻĒ্āϞ্āϝাāϟāĻĢāϰ্āĻŽāϟিāĻ•ে āĻĨাāĻŽাāϤে āĻŦা āϏীāĻŽিāϤ āĻ•āϰāϤে āϚাāχāĻ›ে। āĻĢāϞে, āϏ্āϟাāϰāϞিংāĻ•েāϰ āϝাāϤ্āϰা āϏāĻšāϜ āĻšāĻŦে āύা। āϤāĻŦে, āĻŽাāύুāώেāϰ āϤāĻĨ্āϝāĻĒ্āϰাāĻĒ্āϤিāϰ āϏ্āĻŦাāϧীāύāϤাāϰ āĻĒāĻ•্āώে āĻāϟি āĻāĻ• āĻŦ⧜ āφāĻļাāϰ āφāϞো āĻšā§Ÿে āĻĨাāĻ•āĻ›ে।