I'm puzzlin' (over) it

"I'd like to order 30 nos of Sausage McMuffin™ & I'm going to collect them at 9.20 am."

"Would you like to have milk with them, Sir?"

"No." (I doubt my project team members drink milk. If only beer is offered, instead.)

"But when you buy without milk, the price would be $2.40/burger. With milk, the total price would be...$2.00."

"...wow" (Using the similar histrionic pause to quickly glance the surrounding posters on the wall & on the cashier's table to check whether there's such promotion pasted. There's none.)

"Okay, would order them with milk then."

Heh. Don't ask me about the receipt & its interesting breakdown prices. What interests me is why with the additional purchase, the total price is lessened? I'd understand if the total is to be higher or at the very least, equal.

Also, why the lack of advertisement about it?

So I'm puzzled & can't help but to view the milk suspiciously. No, I definitely won't dare to suggest that it's going to be another case like Ribena. (Full story here)

See, it's not going to be an issue if there's a clear explanation on why the special promotion is given.

we are sterilised, don't catch us

the woman has made too many trips to the pound this month as she continues to appeal for TC to stop catching our darn cats.

white grey is extremely depressed. i'd be too if i were caught not once but twice in a month. so now, its utility room view for being a sucker for pest control.

these are some of the cats up for adoption there.

... and the pound's charmed resident.

despite herself, the woman often met genuinely nice people at the pound who were glad to give cats back to you. and who genuinely cared for the ones that stayed behind.

if only the people who complain no end can get this kind of an education.

A Report: Rape, Rudeness and Renee Cox

The first research symposium at the Edna Manley College was held last week, with the highlight being the appearance and participation of controversial New York artist Renee Cox. Cox gave an artists talk to keen students and staff amongst book shelves and tables in the library. She was very animated in her delivery garnering frequent laughter from the audience. The level of intimacy achieved with the audience was such that students lacked no reserve in questioning and speaking to the artists. Foundation year students were moved to comment multiple times and a final year student made reference about the artists ego as being integral to his enjoyment of her work. Cox spoke about problems with how her pregnant body was viewed by the art world and society as being the driving influence behind the 'Yo Mama' series. She even provided a 'sneak peek' at new work which is inspired by 'Desperate Housewives' and the St. Andrew upperclass housewife set. The driving influence being the need to create images where black women are given the space to 'luxuriate in depression' . She also spoke of her controversial match with ex-Mayor Giuliani back in 1996, referring to the former mayor as a greasy-haired Italian with a bad comb-over who knew nothing about Photography. In another mouthful, ignorant ebonics-speaking black women were also reproached for missing the message in her work and the intention of it being made for 'them'. This made me think about the commitment that artists have to make in using racial material in their work. Are artists required to reflect the politics in their work in their speech and lives? Should they be held as responsible as 'regular citizens' for their viewpoints and how important is intention to how a work functions for its public? Omari Ra answers this in stating in his presentation that he believed artists had citizens rights and responsibilities only and not specifically a free pass to do as he or she pleases.

On the Thursday, when the symposium began with Cox as the keynote speaker, I arrived just in time to hear her tell students to do first and ask later before descending the podium. An audience member noted that it was a more reserved Cox that presented that morning, perhaps due to the setting as an official research symposium.
Panel 1 comprised of Taynia Nethersole, Clinton Hutton, Marcia Hextall and Kim Robinson-Walcott and was the most comprehensive in its scope. Taynia Nethersole spoke about the law in relation to censorship as being very subjective. The basic guideline being that the rights and freedoms of the individual should not infringe on the rights and freedom of others or the public interest. She also spoke about the law being used to label an artwork seen as having no artistic value as being obscene. Concerns raised are that often persons call to make judgements about the artistic value of something are often not qualified to do so. An individual judges what is in public interest and not a majority therefore rulings are often personal matters and not necessarily rooted in the

Clinton Hutton's take on the role of censorship in the arts in the Caribbean involved the cultural and religious censure of African slaves in plantation society. His vociferous quotations of ethnological texts was surely strategically placed to incite the black members of the audience to nod heads and cause the caucasian audience members to feel discomfort in their seats. His conclusion from his research was that whatever was considered white was beautiful and whatever was black was ugly. This ugliness and 'love of vice' was not curable by our own devices but had to be assisted through the colonizing powers thus the attempted erasure of African heritage.

Kim Robinson-Walcott gave a very entertaining talk which involved her doing a slow rap from the now popular Kiprich track mimicking Zebra and Tiger. She clearly stated that she enjoyed the beat of the music, calling it 'cute and catchy'. Her issue was not the catchiness but with a specific section of the song which described graphically and admittedly quite lyrically, the events of a possible rape. Her frustration then stemmed from attempts to have the song removed from the air waves to have the censured song re-appear with a beep at the last words of each line. This she did not find satisfying as any one could figure out the missing words. I say possible rape as a debate ensued about this. Was it rape or what Carolyn Cooper called a 'bait and switch'. Cooper was however quick to say that she was not defending slackness but looking at the possiblities of the song. Winston Campbell, who later presented on the Visual arts panel, chided Robinson-Walcott for taking the song out of the context of the mimicry of dancehall rivalry. This was countered with the general sentiment that context or not, a public description of a rape for entertainment purposes is never appropriate. This led her to her main area of Anthony Winkler's 'healthy sexual references'. Robinson-Walcott introduced a kind of binary system for measuring 'slackness' which perhaps could guide in the censorship process. 'Slackness' and obscenity could be 'fun' or harmful, meaningless or meaningful. Intention is apparently all. This again made me think of the issue of artistic license and freedom of speech. Does the title 'art' make slackness alright in society. Do artists use slackness and controversy as a poltical tool and what does that do to perceptions of art and artists?

On a last note Karl Fagan, a 2nd year student who presented a lengthy paper, must be commended for almost outshining several other presenters at the symposium. He obviously had an opinion and was not shy or rudimentary in his expression of it. Censorship functions within some of the very instituions who don a progressive self-image such as the Edna Manley College. Censorship of students for final year shows, censorship of certain ideas in certain courses and departments. To reference Winston Campbell, society seemingly cannot exist wtthout censorship as social groups do have rules and guidelines for appropriate behaviour. Is Censorship linked to power? Perhaps as Omari Ra suggests censorship is not linked to morality as such but political agenda. Do we judge the our popular culture, the dancehall, with the same code as, our high culture?

haikulic ^_^"

Faces from the past:
A waitress and an old friend.
Weekends do matter.

Hip Replacement

The Sunday Times (Life!)
March 24, 2007

Hip replacement
By Tay Suan Chiang

IT MAY have had a $50,000 makeover to give its interior the sleek lines of contemporary living, but this 60-year-old flat at Tiong Bahru has retained its heart - in more ways than one.

Some original touches have been kept, such as the cabinet doors in the kitchen, which were sanded down and repainted.

There's also an original built-in mosaic window seat that runs along the length of the living room. The owners and friends enjoy watching the bustle of trendy Tiong Bahru from it.

The owners, a young working couple who declined to be named, faced quite a challenge when they bought the flat.

It wasn't fit to be lived in, they recall of the 925 sq ft flat bought 11/2 years ago

Indeed, the four flights of stairs leading up to it still look every one of their six decades in age.

But step inside, and shabby becomes chic.

While the facade is old, the owners, who moved in last month, said: 'We decided that retro wasn't us and we wouldn't be able to live with it in the long run.'

Major work had to be done, the first of which was the flooring. The flat's old tiles were removed and in their place is cement flooring. As well as giving an edgy, urban vibe, the owners say it is more affordable and easy to maintain.

Small but cosy

The flat also had two bedrooms at the front that have been converted into a bigger living area. A third bedroom nearer the entrance of the flat is now the couple's bedroom.

While the pair love the flat's convenient location, they say there is a downside to living there.

'Space is a real challenge; it is just right for two of us and our small dog,' he says.

So when it comes to buying items for the home, they have to think twice. 'Everything must be small and compact.'

SPACED OUT: To enlarge the living and dining areas, two bedrooms at the front of the house were knocked down. -- LIM WUI LIANG

DOUBLE DUTY: The home owners opted for a horizontal commercial fridge which could also act as a counter top. -- LIM WUI LIANG

AS GOOD AS NEW: An old-style calendar hangs from a restored door of a kitchen cabinet. -- LIM WUI LIANG

TREASURE: A mosaic-tiled seat by the living room window was retained in its original condition, offering visitors a bird's eye view of Tiong Bahru. -- LIM WUI LIANG

JUNK FIND: The grilles with heart-shaped patterns were taken from the home owner's former neighbour in Braddell who had thrown it out during his renovation works. -- LIM WUI LIANG

CLEAN LOOK: White is the predominant colour scheme in the house. -- LIM WUI LIANG

...and another

weekends come and go
not that they matter to me
i, robot? yeah, right

just another 5-7-5 thingy

What a grilling day…
Bye, bye Anger! Hi, Fatigue!
Rain, you'll be welcome...

me (wish to) smash

Rage smoulders within
feel like punching someone NOW!
but Reason restrains

Jomo, Jambo, Shaka, Thembi

also known as... the dubai cats! they are well, so well.

300 - No gory, no glory

From the official site. Touch-up with layer, graphic pen, crop, image balance, red.

What irks me about the movie "300" is how the supposedly "God King" Xerxes had no strategy nor employed strategists. Cao Cao he was not. On second thought, perhaps he did. Afterall, prior to the campaign, he had bribed the Ephors & the politician, Theron, hadn't he?

Or maybe all that 'bribing' idea belonged to Xerxes. (And that's all he's capable to think of. Snigger.)

You see he had a LOT of soldiers. But where were the generals? Where were the strategists?

To be fair his opponents--although much smaller in numbers--had the advantage of the terrain. With the narrow passage of Thermopylae, Xerxes' numerous troops could be easier to handle. The much larger Persian army won't be able to outflank the Spartans.

Makes sense.

So what would you do if you were Xerxes?

I would have studied the terrain more. Was it the only place where I could land my fleet? I don't think so.

What if that's the only place?

Secure the narrow passage first. Don't let the Spartans use that to their advantage.

And if that's not possible? What if the Spartans had always been stationed to guard the pass?

Then don't wage war against the Spartans. Perhaps your emissary was not kicked into the well. Perhaps he just tripped & fell. Occupational hazard. Heh.

Okay, seriously?

C'mon. You had a large army. They needed food & the longer the damn Spartans resisted, the more resources depleted on your side.

I'll suggest to use fire then.

Remember your army had explosives? And war elephants? And rhinoceros? Use the animals to carry considerable amount of explosives on their body. Send them to charge at the Spartans. As they come closer to the enemy, send fire arrows flying targeted at the animals & BOOM!!! The explosion won't be enough to kill the Spartans, but it should be enough to daze them. And that's when you send your army to finish the job.

What if your army didn't have enough explosives? What if the Persian's SPCA was strongly against cruelty against animals?

Damn. We'll be back to our advantage of numbers. We have a LOT of army. Split them into sections who sleep during different period of day/night. Thus you would have an army who ready to fight in the morning, another in the afternoon, and yet another at night. A 24-hour warfare with an army that are always in the peak of their stamina: with enough rest & sleep.

The Spartans on the other hand won't have the luxury to do so.

They might have superior fighting skills. But they would eventually succumb to fatigue. Fighting a 24-hour battle without a meal break, without sleep. They'd lose.

all in a week's work

we recycled,

altered some pants,

visited old friends,

and got fixed!


I don't expect much really. Perhaps, a good book. A day that moves slower so that I can relish page after page of that book slowly. And more good books.

Complacent? Lack of ambition? Heck if I admit openly my ultimate goal: world domination, Pinky.

Anyway, reading someone's article just now & I was mildly puzzled at the blogger's statement about how "it’s so hard to keep up with everyone’s expectations of (her)".

My first impulse is to post "why bother?"

A split second right before publishing that comment, I realize girls do not necessarily want a solution. (Not that "why bother?" remark is a solution. Okay, I concede that.)

A few seconds afterwards I found myself wondering about others' view of 'expectation'. Browsed the Net & I came across this quotation by Fritz Perls.

I am not in this world to live up to other people's expectations, nor do I feel that the world must live up to mine.

The abridged version of the following Gestalt prayer, eh?

I do my thing and you do your thing.
I am not in this world to live up to your expectations,
And you are not in this world to live up to mine.
You are you, and I am I,
And if by chance we find each other, it's beautiful.
If not, it can't be helped.

Can almost visualize him stoically shrugging at the end of the prayer.

Annotation to 'bird of pray'

See, the previous photo was taken yesterday afternoon & because of the source of light was at the background of the object, the actual colour of the feather (bright yellow) couldn't be captured well.

Thus I played with brightness & contrast till the left photo--original, but resized--turned mostly in black and white.

The haiku itself was the second version. Here's the first one:

a bird on the roof
me alone in the office
my job sucks big time

Which only one line is true. No, not about the job. Nor about the bird (can't you see it's not a roof? It's some kind of tree). And while I like the contrasting 'roof' & 'office', I dislike how it turns out about me. And about my job. Whichdoesn'tsuckbigtime! Heh.

ps. The title has nothing to do with an album, a song, a novel or a comic book. The latter three of course when 'pray' is substituted with its homonym, 'prey'.

bird of pray

alone on the roof
(who? me? no la...it's a bird)
praying for freedom

Copyright ©2007 Anonymous_X

wallowing wind, checkmating (?) cloud & scorching sun

Similar editing procedure as this one.


I was browsing Wikipedia for the complete text of 'Wear Sunscreen' article (I forgot I had the link once here). Looking for something about respecting one's elder. No, it has nothing to do with Sonic's post nor Ole'Wolvie's. Neither do I try to insinuate something. Heh.

I somewhat felt that irrational guilty feeling of failing my parents because I failed to return home during CNY. That's nothing new, is it? Again I wrote it before here & I begin to suspect this is going to be a tedious repetition of what should not be mentioned again. And not to mention redundant. Or lengthy.

(Cool, I still have the ability to criticise myself. *grin*)

Suffice to say I urgently need to feel good about something. Anything at all! Thus when I came across 'Desiderata' link, I decided to visit it.

The prose makes sense as all good advices do. Do I feel better? Nah, not really. But its parody, 'Deteriorata', on the other hand, managed to make me laugh.

Take the following excerpt of Desiderata & Deteriorata respectively as examples.

Partially quoted:
Therefore be at peace with God, whatever you conceive Him to be, and whatever your labors and aspirations, in the noisy confusion of life keep peace with your soul.

Partially quoted:
Therefore, make peace with your god, whatever you perceive him to be: hairy thunderer or cosmic muffin. With all its hopes, dreams, promises, and urban renewal, the world continues to deteriorate. GIVE UP!


The question of freedom of expression in the arts is currently receiving a lot of attention in many parts of the world. While many artists are pushing the limits of the acceptable, with deliberately provocative works, the public exhibition and support of their work has resulted in many controversies, fueled by new, or renewed, political and religious sensibilities and the enhanced exposure provided by the media. This debate has special significance in the postcolonial world, where the arts have conventionally been seen as crucial to the development of a more equitable society, or nation-building, and a confident sense of cultural self. This is evident in state-sponsored, independent and explicitly dissident artistic expressions alike. In the Caribbean, this moral-political imperative exists in uneasy tension with a well-established tradition of freedom of expression within the artistic community and subversive tendencies within the popular culture.
There have been several incidents recently in Jamaica that have given particular urgency to the subjects of freedom of expression and censorship and the arts. For instance, the controversy about a new Emancipation monument – Laura Facey’s Redemption Song (2003) in New Kingston – mainly concerned the nudity of the two central figures and its appropriateness to the subject. This resulted in vigorous debate in the local media about what is and what is not acceptable in public art, who should decide on how subjects of collective interest are publicly represented in the arts, and whether this differs from the fine arts in other, more private contexts. The provocative music, dance style and fashion of Jamaican Dancehall culture, on the other hand, have not only become dominant in the local popular culture but have spread throughout the Caribbean and its Diaspora in North America and Europe. This Dancehall culture is seen by its critics as socially counterproductive and therefore rightfully subject to censorship. Jamaican-style “Passa Passa” street parties have been banned by authorities in Barbados, Grenada and Guyana and there have been calls, locally, to curtail the use of indecent or abusive language, which is in any case illegal in Jamaica, and provocative, potentially physically hazardous dance moves such as the “Dutty Wine” at Dancehall events. Several popular Jamaican Dancehall artistes have also become internationally controversial because of their violently homophobic lyrics and this has led to the cancellation of some of their concerts in North America and Europe. Advocates of Dancehall culture have argued, in contrast, that it deliberately challenges middle class moral norms and is held by its critics to more restrictive moral standards than Caribbean “high culture”, such as the fine arts and theatre, where provocative content is more likely to be tolerated in the name of artistic freedom.
These Jamaican examples well illustrate that the subject of freedom of expression and its relation to the social role of the arts is central to the debates that shape the arts in the Caribbean and must be taken seriously by Caribbean artists, cultural institutions, the media and audiences alike. While the subject is receiving intermittent attention in the regional media and in some of the critical writing about contemporary Caribbean culture, there has been insufficient structured debate thus far that confronts the full range of viewpoints and the issues that arise in the different areas of cultural production. Nor has sufficient attention been paid to its significant implications for arts education in the region. The Edna Manley College, as the main tertiary educational institution dedicated to the visual and performing arts in the Anglophone Caribbean, has thus decided to make it the subject of its emerging research, public discussion and publication programme.
The “Censorship and the Arts in the Caribbean” project has two key components. The first is the staging of two symposiums on the subject. The first such symposium will be a full-day event held on March 22, 2007. This event will consist of a keynote address by Renee Cox, a prominent Jamaican-American photographer and performance artist who has personally encountered major controversy and efforts at censorship in response to her often very provocative work. The keynote presentation will be followed by three panel discussions, one in the morning and two in the afternoon, that will explore various positions on the issues at hand and allow for audience interventions. This will be followed by an open discussion at the end of the day. Each panel will have four panelists and a moderator, selected from Edna Manley College faculty and students and other artists, cultural administrators, media practitioners, religious spokespersons and cultural critics based in Jamaica. In selecting these panelists, care will be taken to represent a broad range of perspectives and issues relevant to the Caribbean and its Diaspora.
The second symposium will be a half-day event and will be held in October 2007, on a date yet to be determined. The main purpose of the second event is to revisit and reflect on the issues raised in the first symposium and to create an opportunity for the presentation of responses and alternate views. It will consist of a keynote presentation and at least one panel. Persons from the local or regional media, the academy, the art world, and the Church will be considered as keynote speakers or panelists. The discussion panel(s) will, as before, consist of four panelists and a moderator and will be selected from the same categories as the first panels.
In terms of audiences, the symposiums are mainly directed at the Edna Manley College faculty and students but, given the subject, should attract more widespread attention and participation. The symposiums will be free and open to the public and will be well-publicized in the local media.
The second component of the project is the publication of the papers presented at the symposiums which will serve as a resource for further debate on the subject. This will be done in a specially-themed edition of the Edna Manley College’s new arts journal, which will become an annual or biennial publication. This publication will mainly be circulated in Jamaica, for the benefit of the cultural, educational and academic communities here but the journal should also be available to overseas interests. It will be sold at an affordable, cost-based price to facilitate broad access. Distribution arrangements are to be worked out and may involve a local publisher or printed matter distributor.
- post contributed by Veerle Poupeye

calico charm

Books some people can't live without

From Guardian Unlimited, "books you can't live without: the top 100". Quoted from the article & provided with Wikipedia links (Hmm...I do have plenty of free times):
1 Pride and Prejudice Jane Austen
2 The Lord of the Rings JRR Tolkien
3 Jane Eyre Charlotte Bronte
4 Harry Potter series JK Rowling
5 To Kill a Mockingbird Harper Lee
6 The Bible
7 Wuthering Heights Emily Bronte
=8 Nineteen Eighty-Four George Orwell
=8 His Dark Materials Philip Pullman
10 Great Expectations Charles Dickens
11 Little Women Louisa M Alcott
12 Tess of the d'Urbervilles Thomas Hardy
13 Catch-22 Joseph Heller
14 Complete Works of Shakespeare William Shakespeare
15 Rebecca Daphne Du Maurier
16 The Hobbit JRR Tolkien
17 Birdsong Sebastian Faulks
18 Catcher in the Rye JD Salinger
19 The Time Traveler's Wife Audrey Niffenegger
20 Middlemarch George Eliot
21 Gone With The Wind Margaret Mitchell
22 The Great Gatsby F Scott Fitzgerald
23 Bleak House Charles Dickens
24 War and Peace Leo Tolstoy
25 The Hitch Hiker's Guide to the Galaxy Douglas Adams
26 Brideshead Revisited Evelyn Waugh
27 Crime and Punishment Fyodor Dostoyevsky
28 Grapes of Wrath John Steinbeck
29 Alice in Wonderland Lewis Carroll
30 The Wind in the Willows Kenneth Grahame
31 Anna Karenina Leo Tolstoy
32 David Copperfield Charles Dickens
33 Chronicles of Narnia CS Lewis
34 Emma Jane Austen
35 Persuasion Jane Austen
36 The Lion, The Witch and The Wardrobe CS Lewis
37 The Kite Runner Khaled Hosseini
38 Captain Corelli's Mandolin Louis de Bernières
39 Memoirs of a Geisha Arthur Golden
40 Winnie the Pooh AA Milne
41 Animal Farm George Orwell
42 The Da Vinci Code Dan Brown
43 One Hundred Years of Solitude Gabriel Garcia Marquez
44 A Prayer for Owen Meaney John Irving
45 The Woman in White Wilkie Collins
46 Anne of Green Gables LM Montgomery
47 Far From The Madding Crowd Thomas Hardy
48 The Handmaid's Tale Margaret Atwood
49 Lord of the Flies William Golding
50 Atonement Ian McEwan
51 Life of Pi Yann Martel
52 Dune Frank Herbert
53 Cold Comfort Farm Stella Gibbons
54 Sense and Sensibility Jane Austen
55 A Suitable Boy Vikram Seth
56 The Shadow of the Wind Carlos Ruiz Zafon
57 A Tale Of Two Cities Charles Dickens
58 Brave New World Aldous Huxley
59 The Curious Incident of the Dog in the Night-time Mark Haddon
60 Love In The Time Of Cholera Gabriel Garcia Marquez
61 Of Mice and Men John Steinbeck
62 Lolita Vladimir Nabokov
63 The Secret History Donna Tartt
64 The Lovely Bones Alice Sebold
65 Count of Monte Cristo Alexandre Dumas
66 On The Road Jack Kerouac
67 Jude the Obscure Thomas Hardy
68 Bridget Jones's Diary Helen Fielding
69 Midnight's Children Salman Rushdie
70 Moby Dick Herman Melville
71 Oliver Twist Charles Dickens
72 Dracula Bram Stoker
73 The Secret Garden Frances Hodgson Burnett
74 Notes From A Small Island Bill Bryson
75 Ulysses James Joyce
76 The Bell Jar Sylvia Plath
77 Swallows and Amazons Arthur Ransome
78 Germinal Emile Zola
79 Vanity Fair William Makepeace Thackeray
80 Possession AS Byatt
81 A Christmas Carol Charles Dickens
82 Cloud Atlas David Mitchell
83 The Color Purple Alice Walker
84 The Remains of the Day Kazuo Ishiguro
85 Madame Bovary Gustave Flaubert
86 A Fine Balance Rohinton Mistry
87 Charlotte's Web EB White
88 The Five People You Meet In Heaven Mitch Alborn
89 Adventures of Sherlock Holmes Sir Arthur Conan Doyle
90 The Faraway Tree Collection Enid Blyton
91 Heart of Darkness Joseph Conrad
92 The Little Prince Antoine de Saint-Exupery
93 The Wasp Factory Iain Banks
94 Watership Down Richard Adams
95 A Confederacy of Dunces John Kennedy Toole
96 A Town Like Alice Nevil Shute
97 The Three Musketeers Alexandre Dumas
98 Hamlet William Shakespeare
99 Charlie and the Chocolate Factory Roald Dahl
100 Les Misérables Victor Hugo


Imagine one day you’re transformed to be a cockroach. What would you do? Panic? Pray that it is just “a dream within a dream”? (That’s the consequence of reading Edgar Allan Poe’s poem before sleeping, you may suspect). Or just accept your fate…and adapt?

Franz Kafka in “Metamorphosis” presented a story in which the main character, Gregor Samsa was metamorphosed as a cockroach. The curious part is he seemed to easily and quickly adapt to his new form. No questions at all about why this happened and how. (Oh, he hated his job as a traveling salesman alright but that surely did not warrant him unconsciously transforming himself as a cockroach).

In a juvenile sense, one might propose that Gregor is a mutant with shapeshifting ability. Hurhur. In a typical denial approach of so-called adults, one can likely suggest that it’s just a dream. Haha! To introduce more contemplating complexity, one can add that perhaps Gregor IS in reality a cockroach who dreamt that he/it was a traveling salesman. Huh?! If Chuang Tzu in the dream of the butterfly could confuse whether he’s a man or a butterfly, why couldn’t Gregor experience the same?

Why then ‘cockroach’? Because if he dreamt that he were to be changed as a butterfly, that would mean a blatant infringement of copyright? That's a thought.

Metamorphosis is a strange story & with even a stranger ending that focused on Gregor’s sister & parents. And that brings to another question: why so? What the significance of that ending?

I have no idea.

Credit: The above cover is from Peter Kuper's website. Don't skip the movie!

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