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“My mother had four siblings. They met once a year for an all-encompassing family potluck lunch at one of the siblings’ houses. Although the lunch itself and the location changed every year, one thing never changed—this was the arrangement for four types of dessert.


My oldest aunt was a woman with a spirit larger than life and a joyous primary colour personality. A sworn ally of us children in all matters against adults, she always brought jelly to the family potluck for dessert. She brought two, sometimes three, brightly coloured jellies cooled in faceted glass bowls. Flipping them was an occasion anticipated by all the cousins who would stand around the table while she carefully unmolded the jellies mirroring the bowl patterns in trembling delight to rounds of applause.

LH Journal, 1984
LH Journal, 1984

My mother’s trophy dessert was chocolate biscuit pudding cradling layers of Marie biscuit soaked in full cream milk and melted chocolate; it was a family treasure. One year, she experimented with an orange zest top layer and the entire family protested. “It was so perfect!” “Oh, but the classic CBP is the best.” “I wait for it all year…” “But, why?” My mother was in a strange mix of pride and annoyance that day, but we never endured the orange zest again. The chocolate biscuit pudding remained perfect for as long as we got it.

LH Journal, 1984
LH Journal, 1984

My uncle—a gentle botanist and a living encyclopedia of leaves, flowers, fruits, and everything trees—made a delicious peach dessert with fruits grown in his small hill estate. Peach slices in coconut sugar syrup blanched with a dash of cloves was a rare treat that made us children forget our general aversion to fruits. While we ate them, Uncle would tell us about how he took great care to grow peaches in the tropics that were so alien to the species and the difference in taste between the regular peach and the dwarf variety, getting us to guess which one he had used that year.

LH Journal, 1984
LH Journal, 1984

My youngest auntie hated cooking of any kind. But, her mother-in-law—a formidable matriarch, fantastic cook and baker who considered it blasphemy to attend a family lunch with no special dish—made a devastatingly good lemon meringue coconut pie for the family potluck. Each year, there would be requests around the table to repeat the recipe, although everyone already knew we would never dare to attempt it. It was the dessert that subdued the noisy household into a helpless afternoon coma in front of the TV, nodding on chairs and collapsing across every divan and sofa until some coffee arrived.

LH Journal, 1984
LH Journal, 1984

That was the 1980s. As the cousins dispersed one by one for higher education, jobs, new businesses, marriages and life’s other pulls, the family potluck also slowly came to an end without anyone quite noticing it. But, it remains a core memory holding place for precious conversations, expired jokes, and the close circle we grew up in. The four desserts—the bright jellies glistening merrily, subtly spiced cold peaches bringing upcountry cool to sweltering Colombo, the perfect chocolate biscuit pudding, and the crowning lemon meringue coconut pie—are the cardinals of this evergreen place I hold in my memory. Still, even the most mediocre lemon meringue pie or soulless peach in syrup can trigger longing in me. Still, seeing the giddily shaking surface of coloured jello puts a skip in my heart, momentarily returning me to the edge of the table, waiting for the jellies to be unmolded. Still, when I return home and my mother makes the ‘classic CBP’, we sit together and enjoy a bowlful together, remembering the family in those days—preserved in a technicolour filter, monumentalized at their very best, and still here to visit through taste, smell, and texture.”


  • 1 min read

Updated: Sep 9, 2023




Leaving the city, I’m a gray cloud made of workday dust and the worry of being late. I crawl into the bus, because I missed the train, in the careless trample of a hundred feet trying to get away.


‘But, why?’


“Don’t ask why. Just keep moving,” the road tells me. I submit.


The city fades. Lines of windows flashing television screens get slowly replaced by dancing shadows of trees. Glimpses of paddies emerge earthly green, cast into temporary pools of yellow by the lamps dotting the streets. With that, I find that I’m healed—from the Monday-to-Friday, from the apathy of the herd. I’m reconciled with the world.


On the road, I’m reborn. I’m a bird taking off from the street wire to spread my wings over the holy mountain. The air is a song.


I’m home, long before home.



 

This story ‘Rebirth road’ was inspired by a work of mixed media art by the Sri Lankan artist Dhammika Perera. Dhammika’s hometown is by the tranquil inland hills and rivers of Sri Lanka with a view of the sacred Sripāda mount; he had to take a daily commute to Colombo for his day job as a teacher at the University of Visual Arts. Talking about those years spent in commute, Dhammika says he remembers the healing in the journey. The experience of growing past the city’s exhaustion with the changing landscapes stayed with Dhammika, inspiring him in the art studio of his village home. This original art is now available at the PW Store.



Updated: Apr 3, 2024


The murder of Richard de Zoysa was a turning point in the gruesome story of how the Sri Lankan government handled nationwide civil disobedience which grew into dangerous armed rebellion in the 1980s and early 1990s. Marking a dark period in the history of the sunny island, the official figures of the dead and the disappeared from this era cross 75,000 while it’s widely speculated to cross well into six figures. In this terrifying picture, Richard is one of the most visible figures. 


Belonging to a family of influential artists, educated at one of the most prestigious private schools in Colombo and a gifted poet, playwright and journalist, Richard had all the right networks and access. Like most people from his background, Richard could have remained above and beyond the chaos that ravaged the lives of rural and lower middle class youth in the island. Like many with connections abroad, he could’ve left as soon as possible. But, he didn’t. Well aware of his privilege, Richard de Zoysa used his education, talent and connections to speak about the injustices that gripped the lives of young Sri Lankans, the ugliness of strategically propagated racial tensions and the growing anger towards oppressive governance. His poetry, plays and writing resonated the significant mind shifts of the time, questioning the machinery at work to maintain the class and race gaps. He did this in a way that broke linguistic and ethnic barriers to extents that even more directly political figures could not. Of course, this charismatic, creative, and eloquent man with leftist leanings meant danger to many powers. 

Richard’s body was found on a beach, not too far from where he went to school as a child. It was discovered by a fisherman who recognised the face of this well-known actor. The records mention that it was beaten, broken, mutilated and shot at point blank. His mother and other eyewitnesses identified the abductors as high ranking police officers reporting directly to the President, making it one of the most strongly evidenced and widely publicised cases of rumoured government death squads. But, all identified suspects were never sentenced; instead, the leads were ignored by the police and the two main officers identified by eyewitnesses were allowed to walk free while two only got interdicted as punishment after the trial. None were even imprisoned. The two high ranking officers involved in Richard’s murder ended up dying in a bomb attack, along with the President, in an incident that many deemed karmic. Sri Lanka’s current President Ranil Wickremasinghe was one of the youngest ministers of the government at the time of Richard de Zoysa’s murder, and is said to have brushed off the death as ‘suicide or something else.’ 


Not failing to leave a mark even in his death, Richard triggered many significant milestones in the common citizen’s fight against a corrupt regime. Local and international media flooded with tributes, excerpts of his work and most importantly, questions that demanded answers. Time magazine published a piece on his death—that particular issue is still banned in Sri Lanka. The BBC did a tribute play for him many years later. Richard’s incredibly courageous mother—Dr. Manorani Sarvanamuttu— started the Mothers Front amidst death threats. It remains an active voice for families of the forcibly disappeared in the North and the South.


Richard's work—articles, plays, acting and writing remain, changing minds and telling the story of how people get played by governments to stay divided and fighting, for the benefit of a few. His poetry is particularly powerful; some pierce, shake, mock, and prophesy powers and their players as much as the played; others give views into his loves, encounters and lend us glimpses into intricacies of being a queer human in a conservative society. 


This book is a small volume of poems by Richard de Zoysa. It’s a treasured part of our library, reminding how even the most difficult questions can be asked with beauty, grace and wit. It’s an essential collection that carries the very essence of Richard; his daring to ask the hard questions, the strength to remain someone that isn’t the expectation, and most importantly, the beauty of being a human who loves the world and embraces all its experiences—the terrible and the blessed. 


 

Every month, we bring a new book access. Newsletter subscribers get to access a chosen publication from our archive of vintage books. We share the cover, a few selected spreads and the content page of interesting books. Subscribers can request for sectional scans for personal reading and research purposes.

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