Dear friend,
I am writing to you because the news of your recent tussle has reached my ears. I am deeply concerned by what transpired the other day, and even more by the mindset that you may still be holding on to.
I heard that you had a fight with your roommate last sunday. From your previous correspondence, I can tell that you haven't been getting along very well with him, partly because he has been borrowing your things without your permission. But by nature that you are the new kid on the block, you have been tolerant towards him.
However, the last straw probably came when he took your costume, the elaborate silk robe that you were supposed to wear on your set the following day. As such, I believe that it was only in a moment of anger, that you gave him a hard knock on the face, sending him across the room. In fact, I bumped into him yesterday at the canteen and was surprised to see his left cheek and eye still donning the remnant damage of your heavy punch.
I know you had landed yourself a major cameo in a scene, and you were terribly thrilled about being on your best, looking at your best. Hence he triggered off the explosion when he laid his hand on something that's precious to you. Well, I agree that we all have things that are very precious to us that we want to cordon off and mark as our own possessions. But you see, my friend, there is no need to be mad over an incident like this. If you were to sit down and think carefully about it, there is no need to be so possessive over any property that comes from this place and belongs to this place. Did you have to pay for your room? Did you have to buy the furniture inside? Did you have to sew your own costume? Or were they just passed on to you by our management?
I'm only saying so because everything here is marked as company property, not personal property - from your room, your bed, your desk, your costumes, your make up, down to even the pen and paper which you will be replying me with. You didn't have to come up with your own supplies, did you? They are given to you, just as they were given to me by being part of the cast of this production. (That's the wonderful thing about working here isn't it?) Hence, since they were provided without a fee, excessive hogging or hoarding is discouraged.
But of cos, we all have to take care of the property that have been entrusted in our care. So perhaps the key lies in being protective, yet not possessive.
Nonetheless, to make a fair statement, I do agree that your roommate can be rather obnoxious. He always walks with a strut that exudes an air of arrogance and self-importance! As a consolation, we do have a protocol for room rotation in place. If you would like, you can take your petition to the producer and he may do a swap for you. But in the meantime, please do bear with him for now, and find less destructive ways of venting your frustration.
And before I end here, if there was any misinformation of the incident that I've reported, I ask for your forgiveness. I am aware that information passed from tongue to tongue is bound to be distorted, so do correct me for any inaccuracy.
Please write me some time, that I may know that you are coping well. Till then, I remain
Your faithful friend,
Joywood
29.1.11
22.1.11
The Fourgotten Command
One two three four five six seven
Seven days in a week we were given
Six to work and one to rest
So come the first day, we're all at our best
Now who is the culprit? Who is the jerk?
Who is the weed? Who is the pest?
It's the man who first decides to work
On the day he's supposed to rest
But why is everyone irked?
What's so bad about doing work?
Why has everyone vowed
to banish him from the crowd?
Is it simply for his opposition
that has made him such a nuisance?
Or because he had harbored an intention
That would threaten the state of balance?
Somebody has spoilt the market
Let's all jump into the basket
This is the inclination of our heart
The instinct we had from the start
Thinking of how to depart?
here's the button to restart -
Seven six five four three two one
Better to have one than have none
Feel free to choose any one to follow
The farmer, or the scarecrow
Seven days in a week we were given
Six to work and one to rest
So come the first day, we're all at our best
Now who is the culprit? Who is the jerk?
Who is the weed? Who is the pest?
It's the man who first decides to work
On the day he's supposed to rest
But why is everyone irked?
What's so bad about doing work?
Why has everyone vowed
to banish him from the crowd?
Is it simply for his opposition
that has made him such a nuisance?
Or because he had harbored an intention
That would threaten the state of balance?
Somebody has spoilt the market
Let's all jump into the basket
This is the inclination of our heart
The instinct we had from the start
Thinking of how to depart?
here's the button to restart -
Seven six five four three two one
Better to have one than have none
Feel free to choose any one to follow
The farmer, or the scarecrow
19.1.11
More of the herd, Love be heard
Darkness has anchored,
the children have scattered,
hopes have been shattered,
the play is absurd.
The wolves have gathered,
their lips are sugared,
their walk is swaggered,
their hearts self-centred.
Plans have been tailored,
reactions to be triggered,
animals to be slaughtered,
houses to be plundered.
Flowers were planted,
but their petals have withered.
Slaves have labored,
but their pouches have been tampered.
Shepherds are slandered,
their words rejected.
The sheep have gone wayward,
because they can't be bothered.
The rocks have weathered,
the fighters are battered,
Tired, they have been rendered,
but still they must move forward.
Your children have wandered,
for a while, they floundered.
Their feet had to be blistered,
before they can be sobered.
Thereafter, they hold on to your word,
with your shield they are armored.
Please hear the cries they have whispered,
"We are far outnumbered!"
Father, oh father,
turn your face to the ones you have ordered,
lead them to more of your herd,
so that your voice can be heard.
the children have scattered,
hopes have been shattered,
the play is absurd.
The wolves have gathered,
their lips are sugared,
their walk is swaggered,
their hearts self-centred.
Plans have been tailored,
reactions to be triggered,
animals to be slaughtered,
houses to be plundered.
Flowers were planted,
but their petals have withered.
Slaves have labored,
but their pouches have been tampered.
Shepherds are slandered,
their words rejected.
The sheep have gone wayward,
because they can't be bothered.
The rocks have weathered,
the fighters are battered,
Tired, they have been rendered,
but still they must move forward.
Your children have wandered,
for a while, they floundered.
Their feet had to be blistered,
before they can be sobered.
Thereafter, they hold on to your word,
with your shield they are armored.
Please hear the cries they have whispered,
"We are far outnumbered!"
Father, oh father,
turn your face to the ones you have ordered,
lead them to more of your herd,
so that your voice can be heard.
18.1.11
The Giver and the Gifts
Come passerby, don't be shy
stay for a while, don't just pass me by
Here is a bazaar far from being bizarre
Join me here in taking your pick
Come with your doors and hearts ajar
There is more than enough, no need to panic
Would you like a pretty bangle, yours to jingle
or letters that sing you affection forever
A doll that makes your big eyes twinkle
or a man to call your own saviour?
This place I had frequent, and I may come again
because I am forgetful and cannot abstain
So I gain and lose, and lose and gain
only to find all hoarding to be in vain
I once had plenty which I held dear
But my small hands could only hold this much
The stronger my grip, the more I fear
So the best gifts became those I cannot touch
Everything I see, everything I hear
objects, subjects, and factory rejects
must be placed on the floor in my last year
Hands behind my head, like crime scene suspects
So I see how I am a fool in my chase
competing with others in an endless race
Why cling on to gifts when you have the giver
why cling on to the mades when you have the maker
What he gives he can also take
and what he takes, he can always duplicate
To return his children the piece of cake
that they thought they once had on their plate
stay for a while, don't just pass me by
Here is a bazaar far from being bizarre
Join me here in taking your pick
Come with your doors and hearts ajar
There is more than enough, no need to panic
Would you like a pretty bangle, yours to jingle
or letters that sing you affection forever
A doll that makes your big eyes twinkle
or a man to call your own saviour?
This place I had frequent, and I may come again
because I am forgetful and cannot abstain
So I gain and lose, and lose and gain
only to find all hoarding to be in vain
I once had plenty which I held dear
But my small hands could only hold this much
The stronger my grip, the more I fear
So the best gifts became those I cannot touch
Everything I see, everything I hear
objects, subjects, and factory rejects
must be placed on the floor in my last year
Hands behind my head, like crime scene suspects
So I see how I am a fool in my chase
competing with others in an endless race
Why cling on to gifts when you have the giver
why cling on to the mades when you have the maker
What he gives he can also take
and what he takes, he can always duplicate
To return his children the piece of cake
that they thought they once had on their plate
16.1.11
The one you can be sure
As far as the winds can go
as wide as the universe can stretch
as strong as the earth can shake
Be sure that his powers can match
As innocent as children can be
as malleable as minds were made
as poisoned as hearts can turn
Be sure that he knows the cascade
As plentiful as the fields of harvest
as infinite as the supplies of credits
as generous as our father's hands
Be sure that his provisions have no limits
As beautiful as the flowers dress
as majestic as mountains stand
as unique as every creature looks
He have drawn them all freehand
his creativity has no end
As winding as the roads may get
and trying as we find our problems
Hold on to the one we can be certain
because his plans we cannot fathom
He disciplines his children
yes, he allows hardships to happen
But be sure of his love and protection
From them, he will not remain hidden
As timeless as his promises,
as secure as the firmest rock,
as faithful as a servant's heart
Be sure that he will help you in your walk
as wide as the universe can stretch
as strong as the earth can shake
Be sure that his powers can match
As innocent as children can be
as malleable as minds were made
as poisoned as hearts can turn
Be sure that he knows the cascade
As plentiful as the fields of harvest
as infinite as the supplies of credits
as generous as our father's hands
Be sure that his provisions have no limits
As beautiful as the flowers dress
as majestic as mountains stand
as unique as every creature looks
He have drawn them all freehand
his creativity has no end
As winding as the roads may get
and trying as we find our problems
Hold on to the one we can be certain
because his plans we cannot fathom
He disciplines his children
yes, he allows hardships to happen
But be sure of his love and protection
From them, he will not remain hidden
As timeless as his promises,
as secure as the firmest rock,
as faithful as a servant's heart
Be sure that he will help you in your walk
The joywood scripts #2
Dear friend,
How has the past week been for you? Are you quite settled? Have you been busy orienting yourself, making friends, and reading the manual? Well, there is much room for learning and growth. I suppose you are probably feeling eager to jumpstart this career, just like any newcomer on any job. But it takes time to learn the ropes, so don't be too anxious, you will eventually come to know what you need to know.
Well, after a week or so, you may have noticed that this place is very cliquey. A good handful of people on your set are part of a clique called C. I am not sure if they have already made their moves on you. Or perhaps you have also heard of Y, another clique of equivalent popularly. These are the more prominent ones because they have grown so massive. In fact they are now able to come out with their own sets, so that they can have their little plays during the "off" days. Thus far, I have seen some of them make their own stage, out of planks of wood, bricks, cement or whatever they can get in this studio. They park it at the corridor and decorate it with fanciful neon lights, velvet red carpet, and a fantastic sound system to draw crowds and entice passer-bys.
But with all that said, I am by no means, trying to insinuate in you any ill feelings towards them. They are my friends too, and I find some of them truly congruent in their words and actions. To make a fair statement, I believe that most of these cliques are merely trying to please our producer and director, by "helping" him do his job. They have appointed certain outstanding people to become leaders of the clique. They write their own little scripts, put up their own performances. But sometimes it backfires because they only win hearts for themselves, instead of the one that they should really be "winning" for. And when somebody leaves their clique, they think that they have lost them forever, not realising that we are all still work in the same studio, on this same mega-production.
We are always in the play, regardless of whether we're on a set. We eat, sleep and work in the studio. And as long as we are in the studio, the guidelines that are given to us always apply. That is what matters most. Everything else is just peripheral. It bewilders me that things of peripheral importance have taken the centrestage. But if you would like to find out how or when this started, you can always refer to the manual, draw a parallel to some of the narratives, and make an intelligent guess.
Hence, there is no need to fret over the cliques. You can choose to join one, if you feel that it's helpful to your transition here, or you can choose not to. Never, under any circumstances, feel pressured to join. They may use all sort of curses on you. Do not feel threatened by them, because they have no control over you. It is our producer who calls all the shots, so their words cannot harm you.
It is good company we need, not good cliques. Now that I have met you, I hope that I may be a helpful companion to you.
I will be available to you, if you need me. Till then I remain,
Your faithful friend,
Joywood
How has the past week been for you? Are you quite settled? Have you been busy orienting yourself, making friends, and reading the manual? Well, there is much room for learning and growth. I suppose you are probably feeling eager to jumpstart this career, just like any newcomer on any job. But it takes time to learn the ropes, so don't be too anxious, you will eventually come to know what you need to know.
Well, after a week or so, you may have noticed that this place is very cliquey. A good handful of people on your set are part of a clique called C. I am not sure if they have already made their moves on you. Or perhaps you have also heard of Y, another clique of equivalent popularly. These are the more prominent ones because they have grown so massive. In fact they are now able to come out with their own sets, so that they can have their little plays during the "off" days. Thus far, I have seen some of them make their own stage, out of planks of wood, bricks, cement or whatever they can get in this studio. They park it at the corridor and decorate it with fanciful neon lights, velvet red carpet, and a fantastic sound system to draw crowds and entice passer-bys.
But with all that said, I am by no means, trying to insinuate in you any ill feelings towards them. They are my friends too, and I find some of them truly congruent in their words and actions. To make a fair statement, I believe that most of these cliques are merely trying to please our producer and director, by "helping" him do his job. They have appointed certain outstanding people to become leaders of the clique. They write their own little scripts, put up their own performances. But sometimes it backfires because they only win hearts for themselves, instead of the one that they should really be "winning" for. And when somebody leaves their clique, they think that they have lost them forever, not realising that we are all still work in the same studio, on this same mega-production.
We are always in the play, regardless of whether we're on a set. We eat, sleep and work in the studio. And as long as we are in the studio, the guidelines that are given to us always apply. That is what matters most. Everything else is just peripheral. It bewilders me that things of peripheral importance have taken the centrestage. But if you would like to find out how or when this started, you can always refer to the manual, draw a parallel to some of the narratives, and make an intelligent guess.
Hence, there is no need to fret over the cliques. You can choose to join one, if you feel that it's helpful to your transition here, or you can choose not to. Never, under any circumstances, feel pressured to join. They may use all sort of curses on you. Do not feel threatened by them, because they have no control over you. It is our producer who calls all the shots, so their words cannot harm you.
It is good company we need, not good cliques. Now that I have met you, I hope that I may be a helpful companion to you.
I will be available to you, if you need me. Till then I remain,
Your faithful friend,
Joywood
14.1.11
Interlude #2
Somehow along the way, I have lost most of my ambition, most of the interest, most of the drive, most of the desire to acheive. All that's left, is a simple need to reach out, to teach, to help, to love and a wish to quickly get through this.God grant me the serenity
to accept the things I cannot change;
courage to change the things I can;
and wisdom to know the difference.-- Reinhold Niebuhr
I shall leave you with one of my favourites:
Hope you will find your rest tonight too.
13.1.11
Happiness
Do you believe that happiness can be synthesized?
For example, a cube of dark chocolate gives me a bitesize of bliss; a cup of milk freshly heated in the microwave delivers a stomach of warmth; a bowl of salad with Japanese sesame and soy dressing brings me large servings of heartiness; an afternoon spent in a quaint cafe reading fills my mind with a week's worth of peace; a firm embrace from a loved one holds me in a moment of comfort; a lovely song reaches out to my soul with a gentle caress; a quiet evening, watching the sun sink into the horizon, grants me a heavy dose of joy.
But such happiness is fleeting, just like youth, beauty and fame. Finding happiness in objects is like holding water in my hands, and happiness in people is like gripping on to sand. It seeps through, it slips through, it slides through. But just when I was planning to pull the plug, I received a happiness that doesn't slip through my fingers, a happiness that hasn't failed me, a happiness that wouldn't leave my heart.
This happiness cannot be synthesized. It is not a drug that I can inject into my life whenever I need a boost. Like a love that quietly, unknowingly sneaks into my heart, it comes when I don't quite expect. It comes, lifts and lingers.
Do you believe in such a happiness?
For example, a cube of dark chocolate gives me a bitesize of bliss; a cup of milk freshly heated in the microwave delivers a stomach of warmth; a bowl of salad with Japanese sesame and soy dressing brings me large servings of heartiness; an afternoon spent in a quaint cafe reading fills my mind with a week's worth of peace; a firm embrace from a loved one holds me in a moment of comfort; a lovely song reaches out to my soul with a gentle caress; a quiet evening, watching the sun sink into the horizon, grants me a heavy dose of joy.
But such happiness is fleeting, just like youth, beauty and fame. Finding happiness in objects is like holding water in my hands, and happiness in people is like gripping on to sand. It seeps through, it slips through, it slides through. But just when I was planning to pull the plug, I received a happiness that doesn't slip through my fingers, a happiness that hasn't failed me, a happiness that wouldn't leave my heart.
This happiness cannot be synthesized. It is not a drug that I can inject into my life whenever I need a boost. Like a love that quietly, unknowingly sneaks into my heart, it comes when I don't quite expect. It comes, lifts and lingers.
Do you believe in such a happiness?
10.1.11
The abyss of the night
The abyss of the night
There's plenty to fight
A heart stricken with fright
When courage takes flight
The abyss of the night
The emptiness it incites
Binds me to a tight
Corner with no light
The abyss of the night
My woes I painfully write
On a filmsy paper kite
To bring them to your sight
The abyss of the night
My sword has lost its might
The fallen fort invites
All to take a bite
The abyss of the night
As I begin to recite
A poem not quite
Worth a second write
The abyss of the night
I have fallen from great height
My soul lies contrite
It finds no delight
The abyss of the night
Please come and ignite
The dying flame, the failing light
I need you to make things right
The abyss of the night
Don't let me out of your sight
I pray you hear me despite
My inability to requite
My lord, my king, my light
Please grant me your respite
Have pity on my plight
And hold me close tonight
There's plenty to fight
A heart stricken with fright
When courage takes flight
The abyss of the night
The emptiness it incites
Binds me to a tight
Corner with no light
The abyss of the night
My woes I painfully write
On a filmsy paper kite
To bring them to your sight
The abyss of the night
My sword has lost its might
The fallen fort invites
All to take a bite
The abyss of the night
As I begin to recite
A poem not quite
Worth a second write
The abyss of the night
I have fallen from great height
My soul lies contrite
It finds no delight
The abyss of the night
Please come and ignite
The dying flame, the failing light
I need you to make things right
The abyss of the night
Don't let me out of your sight
I pray you hear me despite
My inability to requite
My lord, my king, my light
Please grant me your respite
Have pity on my plight
And hold me close tonight
8.1.11
The joywood scripts #1
Dear friend,
First of all, let me congratulate you for joining us. Now that you find yourself part of the play, I welcome to the studio. I hope you have already been given a room. Do find your own space here. Try to make yourself comfortable. I believe you are going to be here for a while.
When I met you along the corridor, I suspected you might be new around here. But don't worry, we were all new at one point of time. While I am here, let me orientate you to the best of my ability. I have not been around for long (neither do I want to be for long) but I will tell you what I know, so that when you are more settled, you may go and share with others what you know too.
My new counterpart, you must understand that we are all subplots of our clever playwright. I know you may be very displeased to have not landed yourself a major role in this play. But I must make this clear to you, I too am a minor character, just like you. You remember that lady standing behind the podium with her chanel suit and prada bag? Or that old man sitting by the roadside with his tissue packs? Or that handsome young man running around with his blackberry and arms full of tattoos? They are just like you too, no more, no less. We were all recruited to be minor characters. In this play, there is only one major character. You know who he is. You should have already met him by now, otherwise you would not have ended up here. He happens to also be the director. We are all part of this infinite soap opera. If you want to find out the beginnings of this soap opera, refer to the manual that you should have gotten at the entrance. It would keep you occupied for a long time.
You might already guessed by now, the tricky part about being here. Do not think just because I'm here before you means that I have been given any special treatment. I am not. We have all not been given our lines. When we came in, we were all not given scripts. The playwright has only given us guidelines. The only things here that know exactly what they need to do or where they need to go are the props. That's because they don't need to do anything! They just need to be still. The propsman will place them where they need to be on the stage. Then they will be taken off when their role is done. Do you want to be a prop? Surely not! So as I was saying about the guidelines - I believe that he has spoken to you in private. I don't know what he has told you, or how much you have understood from it. But it should not deviate too far from mine. Whatever it is, just remember the words that you have been told because you must follow carefully. Please follow them carefully.
But of cos, everybody makes mistakes. The studio has plenty of rooms for mistakes. I have made many bloopers myself. Come and watch me on my set one day, and you will find yourself a spectator of a comedy. Anyhow, my point is, if you make a blooper, just stop, learn and do it again. The scenes can always be enacted again. Though the crew may change if you take too long! After all, they need a rest too. So take one, take two, take three or as many times as you please. Just make sure you improve each time, or else the director may get impatient. Get what I'm saying? (:
By the way, if you happen to sustain any injuries while you are at your role, don't worry too much. All of us are covered under his insurance. Just report to him when it happens, and he will work out something for you.
I have to go for now. I will write you sometime again. Till then, I remain
Your faithful friend,
Joywood
First of all, let me congratulate you for joining us. Now that you find yourself part of the play, I welcome to the studio. I hope you have already been given a room. Do find your own space here. Try to make yourself comfortable. I believe you are going to be here for a while.
When I met you along the corridor, I suspected you might be new around here. But don't worry, we were all new at one point of time. While I am here, let me orientate you to the best of my ability. I have not been around for long (neither do I want to be for long) but I will tell you what I know, so that when you are more settled, you may go and share with others what you know too.
My new counterpart, you must understand that we are all subplots of our clever playwright. I know you may be very displeased to have not landed yourself a major role in this play. But I must make this clear to you, I too am a minor character, just like you. You remember that lady standing behind the podium with her chanel suit and prada bag? Or that old man sitting by the roadside with his tissue packs? Or that handsome young man running around with his blackberry and arms full of tattoos? They are just like you too, no more, no less. We were all recruited to be minor characters. In this play, there is only one major character. You know who he is. You should have already met him by now, otherwise you would not have ended up here. He happens to also be the director. We are all part of this infinite soap opera. If you want to find out the beginnings of this soap opera, refer to the manual that you should have gotten at the entrance. It would keep you occupied for a long time.
You might already guessed by now, the tricky part about being here. Do not think just because I'm here before you means that I have been given any special treatment. I am not. We have all not been given our lines. When we came in, we were all not given scripts. The playwright has only given us guidelines. The only things here that know exactly what they need to do or where they need to go are the props. That's because they don't need to do anything! They just need to be still. The propsman will place them where they need to be on the stage. Then they will be taken off when their role is done. Do you want to be a prop? Surely not! So as I was saying about the guidelines - I believe that he has spoken to you in private. I don't know what he has told you, or how much you have understood from it. But it should not deviate too far from mine. Whatever it is, just remember the words that you have been told because you must follow carefully. Please follow them carefully.
But of cos, everybody makes mistakes. The studio has plenty of rooms for mistakes. I have made many bloopers myself. Come and watch me on my set one day, and you will find yourself a spectator of a comedy. Anyhow, my point is, if you make a blooper, just stop, learn and do it again. The scenes can always be enacted again. Though the crew may change if you take too long! After all, they need a rest too. So take one, take two, take three or as many times as you please. Just make sure you improve each time, or else the director may get impatient. Get what I'm saying? (:
By the way, if you happen to sustain any injuries while you are at your role, don't worry too much. All of us are covered under his insurance. Just report to him when it happens, and he will work out something for you.
I have to go for now. I will write you sometime again. Till then, I remain
Your faithful friend,
Joywood
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