Devanga Amanthie Sahabandu Witharanage
The wind whistled as the ocean mingled with the champagne sand glistening beneath a lucid sky awaiting its daily goodbye. Beyond the horizon shone a gallant sun. Blushed were the skies by its brilliant scarlet hue as they eagerly watched its proud descend from the heavens to the earth. A passing cloud caught its flame; a shade of saffron emerged. Gently setting alight its fellow passer-by’s, shades of tangerine meld with apricot traced the horizon. A deep amaranth celebrated the shy hues of rose, lace, and coral. Delicate yet eager, in their joyous manner, prodigal with warmth, they enveloped the last of the fading light.
New Lessons Learnt
Mother swings herself up and balances on the branch. Tucking in the leaves securely, she pats the nest, pressing it into shape. I clutch her tightly, feeling the warmth of her belly and the steady beat of her heart, her calm even breathing against my cheek.
I look up at the stars winking between the branches and leaves when suddenly a loud bang bursts through the night and Mother is falling. I fall with her, still holding her tight.
The rainforest has been my home for six months. We travel through the forest every day. Mother grasps a branch above and gently swings us both to the next branch. She doesn’t seem to move very quickly, but she sways from branch to branch without pausing.
The Blood of Cinderella
By TEOH SING FEI
Once upon a time, when ‘Cinderella’ joined the Royal household, the impetus to marriage was not romance, sex, or care. It was the purity of Royal blood, a continuation of a certain species, the succession of the kingdom. Thus, monarchical power protected itself from the dirt of foreign breeds through a classist discourse of kinship, virtue, and aesthetics.
Students have been interested in identifying and critiquing a power in the Brothers Grimm’s ‘Cinderella’, 1812, but they have a theoretical conflict in terms of the nature of this power. Beside basic didactic reading of the tale, dominant is ‘gender’ in this debate. As Panttaja (1993: 86) summarises, many “feminist and neo-Marxist critics have tended to view the tales as either patriarchal or bourgeois propaganda, as a socializing tool designed to create good little (modern) boys and girls.”
The God and the Devil Discourse
I’ve flirted with the rain before,
He teased my sun-kissed skin,
Then dared me to embrace the storm.
Are my first,
And purest form of love.