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There used to be a rubbish heap under the great tree in Dhoby Ghaut with a sarabat stall parked next to it. It was a low, sprawling rubbish heap made up of the usual things__efuse from dustbins, paper, old tins and slippers and leaves from the tree above. Then one day, people forgot about it. They found a new dumping place and the old rubbish heap settled low on the ground. Time passed and its contents became warm and rich and fertile and people living in the area would take away potfuls of it to plant flowers in.Somehow, a rose cutting, slim as a cheeping chicken__ leg and almost brown, appeared on the rubbish heap one day.

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Gregory Nalpon

The Wayang at Eight Milestone: Stories & Essays

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His wife had also studied art in her hometown, and she could paint, but depending on such work for her livelihood was just not possible. As far as appearances went, she was definitely a real beauty. When she was young, she looked a little like Gong Li, but now that she was middle-aged, she had put on weight and gradually taken on more of a bell-shaped look, resembling Li Siqin. But no matter what, a wife always looks better than her balding, broadbellied husband.

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To assure him, Peter Lim decided that the newsroom adopt this approach: it was better to produce the best story than the first story. He had good reason. Finding scoops in a Singapore with many OB markers carried a real risk: the story was sometimes incomplete or, as in the case of the bus fare increase, premature. For completeness, you sometimes incomplete or, as in the case of the bus fare increase, premature. For completeness, you sometimes had to rely on official spokesmen. But once they knew you were on the story, they either prevailed on the editors to hold it until the time was right to release it, or gave it to every newspaper. The edict went against the grain. No journalist could resist the temptation to be first with the news.

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Cheong Yip Seng

OB Markers: My Straits Times Story

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Looking at Loh__ photographs, it is obvious that there is nothing simpler and richer than a face when stripped of all effects and affects, poses and postures, stances and pretences. The Singaporeans featured here are almostexpressionless, as if the photographer wanted to leave us clueless about them. What do their faces tell us? Why are they so familiar? Why do we feel we know this auntie that we don__ know? And this guy with the nondescript look? And this girl with no distinguishing mark? Have we met before?