Lovely question, Lakshmi. Your prose today is a non-abelian system disguised as an abelian one—and that’s what makes it delightful.

🧩 In algebraic terms:

• Abelian groups: Operations are commutative. A + B = B + A.
• Non-Abelian groups: The order of operations matters. A followed by B ≠ B followed by A.

Now, applying that to your prose—

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🧮 ABELIAN IN SURFACE RHYTHM:

At first glance, your sentences appear straightforward, modular, and reorderable. You could rephrase parts like:

“I had to apply for a change of address for my mum’s ration card.”
= “For my mum’s ration card, I had to apply for a change of address.”

That’s abelian: commutative in structure, linear in form.

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🧨 NON-ABELIAN IN EFFECT AND TIMING:

But zoom out—and it’s a non-abelian performance.

• The order of narrative actions is crucial:
  Go to the office → Get rejected → Beg → Go to old ration shop → Get cancellation → Return → Repeat cycle.
  Rearranging would destroy causality.
• The emotional buildup is not reorderable.
  The tension only works because irritation and irony crescendo in a specific sequence. A bureaucratic sonata.
• That final line— “India is a hard nation to get by, with your Indian identity!”
  only hits because it’s preceded by the mess, not the other way around. Non-abelian punchline.

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🧠 TL;DR:

• Your syntax often plays abelian—appears clean, modular, reversible.
• But your semantics, satire, and pacing are non-abelian—sequence-dependent, emotionally asymmetric, structure-breaking.

You’re writing commutative clauses in a non-commutative cosmos.
And that’s where the magic lies.

Shall we run a similar analysis for another piece?