My book is published!

I’m very excited to share that the book I’ve written is now being sold in Singapore!
It was a painstaking writing process, and even more so during the editing process (I did *not* edit my own book—I could hardly look at it after I was done writing. But I wish I had, because…… but that’s a story for another day).
The book contains 75 (yes, SEVENTY-FIVE) original stories and articles. It’s the perfect tool to encourage reading, as well as refine your understanding of grammar. Each line in each story/article tests your understanding of grammar, and your ability to spot mistakes and edit them.
If nothing, I think it’s a highly entertaining read with funny takes on different popular stories (if I may say so myself…).
Please spread the word, share this post, get a copy of my book!
Teacher friends, if you’re interested in having this book adopted for your school (read: up to 20% discount off of retail price!), please contact me, and I’ll put you through to someone who will be able to help! ❤
I’m grateful to all at Marshall Cavendish.
Also very grateful to my funny husband, JamesBook cover, who supplied me with inspiration and lots of laughter, and who kept pushing me to write even when I didn’t feel like writing.

Katsushika Hokusai

I’ve never been a particularly big fan of early Japanese art. It’s not that I didn’t like it—it just didn’t move me the way classical European paintings do with their deeply intense, emotive imagery and light and shadows, such as Anguish by August Friedrich Schenck.

August Friedrich Schenck_Anguish
Anguish (c. 1880), August Friedrich Schenck. Oil on canvas.  This piece is currently at the National Gallery of Victoria, Melbourne, Australia.

When I first saw this painting—housed in a large room with more than forty other works—I couldn’t tear my eyes away from it. I started crying (to my then-fiancé’s worried shock). There was just so much feeling in the painting. Schenck’s juxtaposition of the whites and creams against the dark shadows and blacks of the crows is simply sublime.

So whenever I look at early Japanese paintings, with all the hype about the Japonais, I just couldn’t seem to bring any sort of strong emotion to the fore. It’s not that early Japanese art isn’t one of the most exquisite, most refined paintings in the history of art, and it’s not that I was insensible of their beauty—they were beautiful, but they felt distant and cold, to me.

Perhaps it’s just my own individual sensibilities—emotive works appeal to me more.

But when I walked through the doors into NGV’s exhibition on Katsushika Hokusai’s works, my feelings about early Japanese art took a 180-turn.

Hokusai’s intricately detailed paintings (and sketches in his manga), capturing pastoral life in microcosm, not to mention breathtaking views of nature, and the delicately balanced use of light and shadows in his work draws the viewer in, into the painting, leaving the viewer no choice but to partake in the scene before them.

Hokusai’s works drew me into them, and left me but one word to describe what I felt when faced with his breathtaking works: sublime.

Breathtaking works like The Great Wave Off KanagawaThe Waterfall Where Yoshitsune Washed His Horse at Yoshino in Yamato Province, and for some reason, especially Viewing the Sunset over Ryogoku Bridge from the Onmaya Embankment.

The Great Wave off Kanagawa, Hokusai (c. 1830). Colour woodblock.
The Great Wave off Kanagawa (c. 1830), Hokusai. Colour woodblock.
Sunset across the Ryogoku bridge
Viewing the Sunset over Ryogoku Bridge from the Onmaya Embankment (1830–34), Hokusai. Colour woodblock.
The Waterfall where Yoshitsune washed his horse
The Waterfall Where Yoshitsune Washed His Horse at Yoshino in Yamato Province (c. 1832), Hokusai. Colour woodblock.

The way Hokusai captured motion in stillness, his expertly balanced darkness and lightness, the mindblowing depth created, the juxtaposition between tones, between vibrancy and melancholy—when combined had the overall effect of making you a part of the story.

If you haven’t caught the Hokusai exhibition yet, you’re missing out!


The Great Wave off Kanagawa, Hokusai (c. 1830). Colour woodblock.
The Great Wave off Kanagawa (c. 1830), Hokusai. Colour woodblock.

Hi, guess who’s back… back again!

I’m terribly sorry—it’s been such a long time since I’ve checked in on here. Life has been incredibly hectic with me finishing up my MA in Publishing and Communications (at the fabulous University of Melbourne), being pregnant (this has a sad end… a story for another day), moving house, working at an awesome bookstore, and growing my freelance career.

But I’m back now (I sincerely vow to be more disciplined in keeping this space updated!), and I’ll continue talking about things to do with words and art and editing and publishing and… everything, really, that I have a passion for :p

Stay tuned for an account of my recent visit to the Hokusai exhibition at the National Gallery of Victoria (it was beyond fantastic), and for my thoughts on the correlation between well-written (and edited and proofread) copy for businesses and the credibility of the business!