Beyond the colours of Holi
Pandit sheds light on Phagwah’s deeper meaning, exploring tradition, roots, and changes
Sunday, March 16, 2025
Pandit Krishna Persaud, at the Dharmic Shri Krishna Mandir, shares insights into the festival of colours (Samuel Maughn photo)
A festival of colours and community: Phagwah in Canal Number One
From traditional bonfires to the joy of Chowtal singing
By Devina Singh (Pepperpot Guest Contributor)
THROUGHOUT the year, Guyana's multiethnic people celebrate m any different occasions that transcend e thnicity and create a blended culture, and Phagwah (or Holi) is one such occasion.
Known to some as the festival of colours and the triumph of good over evil and to others as the festival of spring, this holiday is deeply embedded in the cultural fabric of Canal Number One, a little village on the West Bank of
– how one village keeps the spirit of Phagwah alive
Demerara.
There are many stories surrounding the origin of Phagwah. Chief among them is the story
of Prahalada. Prahalada’s father, King Hiranyakashipu, believed himself to be a god and ordered his kingdom’s
people to worship him and no one else. Prahalada vehemently disagreed. He continued to worship Lord Vishnu and encouraged others to do so as well. Enraged by his son’s disobedience, the king arranged to have him killed. However, his attempts failed! Wild elephants and snakes set to kill Prahalada all became tame in his presence. When dropped from impossible heights, Prahalada survived. The king then asked his sister, Holika, to sit in a burning pyre with Prahalada. Holika had a boon that protected her from being harmed by fire. With her holding Prahala -
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“A scene from Phagwah among a large crowd”
Beyond the colours of Holi
Pandit sheds light on Phagwah’s deeper meaning, exploring tradition, roots, and changes
By Shaniya Harding
FOR centuries, the vibrant festival of Phagwah, also known as Holi, has been a symbol of joy, renewal, and cultural preservation. But in Guyana, this ancient Hindu celebration has flourished beyond the walls of temples, uniting people of all backgrounds in a spirit of togetherness. As thousands of Guyanese r ecently took to the streets of their communities to celebrate the festival of colours, Pepperpot Magazine explored the religious and historical significance of this beloved festival.
Pandit Krishna Persaud, a dedicated member of the Guyana Hindu Dharmic Sabha, shared deep insights into the festival’s origins and its evolution in Guyana. He also highlighted the efforts being m ade to keep its rich traditions alive and just how significant the festival of colours is to a nation as multicultural as this one.
Sitting down with Pepperpot Magazine at the Dharmic Shri Krishna Mandir in Campbellville, Pandit Persaud shared a brief background of the festival and its historical and traditional roots. According to him, the tradition is not only symbolic but also has a firm place in Hindu history. “Phagwah or Holi, whichever we want to call it, originated in the far west. In ancient days, during the golden age of Hinduism, farmers, after finishing their harvest, would gather at a central point to make oblations and offerings into the fire. After making their offerings, they would share their harvest with friends and
family and celebrate,” he stated.
Not much has changed since those ancient days. While the festival no longer hosts just farmers, it now sees the participation of everyone in the Hindu faith—and even non-Hindus. To many, Phagwah has become more than a Hindu festival; it has become a national phenomenon.
"Phagwah, as we know it today, is not confined to the narrow walls of the temple. Our foreparents brought their culture and beliefs from India, and we have upheld those traditions to this day. Now, Phagwah reaches public spaces, extending to everyone’s doorstep. On Phagwah Day, people of all cas tes, religions, and ethnicities celebrate together. Today, the message of Phagwah is one of togetherness and cohesion," he stated.
Across the country, people from all walks of life, regardless of religious beliefs or ethnic backgrounds, recently gathered in the streets, at temples, and in community spaces to participate in the joyous event—or, as Guyanese have coined the celebration, "play Phagwah." This philosophy is what makes Phagwah so special in Guyana. The festival serves as a reminder that beyond societal labels, people are inherently the same. The mixing of colours on people’s faces is more than just fun—it is a metaphor for the blending of cultures, backgrounds, and histories into one unified celebration.
As Pandit Persaud shared, in many ways, the way the festival is celebrated today is reminiscent of its core significance—unity and togetherness. "Phagwah
brings people together. Phagwah brings cohesion. Phagwah brings love. On such a beautiful day, we spread love, we spread joy, and we eliminate all enmity
and hatred. We embrace each other regardless of race, religion, or denomination. You can say what you want, you can do what you want, but on Phagwah
day, when all of us are smeared with that beautiful colour, you cannot differentiate an Indian from an African, a king from a beggar—everybody looks the same," he stated.
W hile Phagwah is widely recognised for its vibrant colours and joyous atmosphere, its origins are also rooted
Pandit Krishna Persaud, at the Dharmic Shri Krishna Mandir, shares insights into the festival of colours (Samuel Maughn photo)
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Wine, Words, and a Creative Experience
The National Drama Company Celebrates Its 10th Anniversary with the Return of Musings of a Poet
By Shaniya Harding
MUSINGS OF A POET returns next weekend, promising to transform the stage into a realm of evocative storytelling. Guyana’s most gifted poets, creatives, and dramatists will breathe life into words through poetry and performance. Highly anticipated, the event also coincides with the National Drama Company’s (NDC) 10th anniversary. Bringing together the rhythm of verse and the power of theatrical expression, Musings of a Poet III promises an evening of profound reflection, inspiration, and artistic brilliance. Set against an intimate backdrop of wine, music, and
spoken word, the event offers an immersive experience celebrating the depth and vibrancy of Guyanese literary and dramatic arts.
The Pepperpot Magazine sat down with Guyanese actor and director of Musings of a Poet III, Mark Luke-Edwards. A major figure in the NDC’s poetry landscape, Mark accepted the challenge to head the project in 2024. Describing the process to Pepperpot Magazine, Mark noted that organising an event of that scale was a gruelling labour of love. “It’s a gruelling process because there are different factions,” he said. “We put a lot of thought into it. Without
giving too much away, we’ve creatively presented the stage. We did the same last year, so it’s lots and lots of work. It’s a labour of love because we all love poetry, and we do it for the patrons,” he stated.
The event will feature 15 of the nation’s best poets, with a mix of newcomers and veterans set to take the stage. As Mark shared, "Some notable names will include Keon Haywood, Le Tisha Da Silva, Latifa Agard, a young and upcoming actress, Deandra Daniels, Tchaiko Rodney, the late Henry Rodney’s daughter, Lorraine Baptiste, Monica Bacchus, Brandon
Singh, and pieces written by Akbar Singh for the production. So, it’s safe to say that members of the NDC are the poets. We also have members who graduated from the National School of Theatre Arts and Drama. It’s a nice mix of seasoned and up-and-coming talent," he stated. This mix was intentional, as each poet addresses different themes and brings their own unique flair to the stage.
Contrary to expectations for an event of this nature, poets aren’t confined by specific themes but instead perform original pieces.
As Mark explained, “We have this problem each year. People say,
‘Oh, all the pieces are so dark.’ What we do, and what I think works, is the president has acquiesced to this structure, allowing people to bring pieces that are personal and that they like. Instead of giving people themes like ‘Hey, write something patriotic,’ we let them bring what they have, and we find categories for it,” he explained.
This approach often results in a variety of deep, thought-provoking themes. “If you look at any poetry slam competition, you’ll see da rk, sappy themes— racism, domestic violence, suicide, and so on. In our show, we have love, lust, patriotism, self-worth, do -
mestic violence. These are some of the themes, but they are impactful. It leaves the audience with something to consider or contemplate. And it drives behavioural change in some way. That’s the objective—you should use your art to make a change, not just to speak to people empty-handed,” he said.
An other way Musings of a Poet breaks the mould is by going beyond the traditional "stand-at-the-micand-deliver" format. Poets and dramatists utilise a range of creative forms, including dance and mus ic, to tell their stories. “For the spoken word enTURN TO PAGE VI
Actor and Director of Musings of a Poet III, Mark Luke-Edwards
Actress and President of the National Drama Company, Tashandra Inniss (Japheth Savory photos)
Uplifting Women, Changing Lives
How a Grassroots NGO is providing support and empowerment for domestic violence survivors and mental health awareness in Guyana
By Shaniya Harding
WITH more initiatives, events, and NG Os highlighting the struggles of women internationally this month, Pepperpot Magazine sat down with one such organisation. Since June 2024, the Uplift U Foundation has been working tirelessly to break the cycle of domestic violence and reduce the stigma surrounding mental health. Founded by Nebiola Gittens and a team of dedicated members, the organisation has become a lifeline for survivors, offering emotional support, financial aid, and empowerment programmes. With firsthand experiences fuelling their passion, these women are not just raising awareness—they are actively creating safe spaces for those in need.
Founder Nebiola Gittens shared that the inspiration for the foundation came from personal experiences. Born into a large family, she witnessed gender-based violence and its lasting impact, including mental health struggles and, in some cases, suicide. In her conversation with Pepperpot Magazine, she explained, "The driving force behind it was, for me personally, the lack of awareness about mental health issues and the limited support available. I wanted to create a foundation that focuses on building awareness, providing support, empowering women, and conducting outreach in areas that need it most."
The Uplift U Foundation also places a
strong emphasis on mental health awareness, a topic that is deeply personal for Nebiola. She recalled
ed in Nebiola’s home i n Alexander Village, where a small group of women would meet to discuss challenges
Since its inception, the foundation has doubled in size, now boasting over 20 members dedicated to supporting
push us to a breaking point if they are not addressed," she said.
Taking Action
Over the past sev -
we can offer, whether it’s financial support, emotional support, counselling, or even housing. In some cases,
one painful experience: "I've known so many people who struggled with mental health issues. There was one young wom an I tried to reach out to, but she ultimately took her own life. It was heartbreaking." These firsthand experiences, coupled with the national fight against domestic and gender-based violence, led to the creation of Uplift U.
A Grassroots Beginning
The foundation start-
and explore ways to help survivors. Whether assisting a woman in a dangerous relationship or someone struggling with emotional well-being, Uplift U has always fostered essential conversations in a safe space. "For me, building awareness is important. And I know that the members of this organisation share that same passion and drive—not to completely solve these issues, but to champion the cause," she stated.
women facing various challenges. As Nebiola puts it, "We believe that while we’re e mpowering others, we must also empower ourselves—because we can’ t pour from an empty cup." Many members are survivors of domestic violence, mothers, and full-time professionals who understand the stress and se emingly impossible hurdles life throws at women. "We all have moments of stress, and simple life issues can
eral months, Uplift U has hosted multiple events aimed at raising awareness and connecting victims with the right support systems. The foundation is not just about walks, campaigns, and events—it focuses on real, tangible assistance. "If a woman is in a domestic violence situation, I reach out to my resources. I call people, figure out what we can do—can we involve the police? What does she need? We look at what
members have opened their own homes to women in crisis," Nebiola stated.
The foundation is also open to collaborations, especially with men, as they recognise that domestic violence extends beyond intimate relationships. "As a woman, I can’t fully relate to a man’s experiences. I understand the surface-level struggles, but I don’t know what it’s like to be a man. However, this
President of the Uplift U Foundation, Nebiola Gittens (left), alongside Vice President, Sarah Singh (right) (Samuel Maughn photo)
Wine, Words, and...
thusiasts who think it’s just stand-and-deliver at a mic, what we do at NDC is a hybrid of dramatic poetry. We incorporate dance, music, and movement. So while it’s spoken word, the presentation of the poems is somewhat dramatic, which is a pleasant surprise for the patrons. Instead of everyone just standing at the mic, it’s a whole spectacle.”
As one of the most anticipated events in Guyanese theatre, Musings of a Poet not only
highlights new poets and diverse themes but also stands as one of the most vibrant players in the country’s artistic landscape. For many Guyanese poetry lovers, it is one of the few places to experience the lesser-known art of spoken word poetry. As Mark puts it, Musings of a Poet is holding the torch for Guyanese poetry. “We try to invite all poetry lovers. At least for those two nights, they get to see poetry at a high level. There’s no upscale event. At one time, we had more po-
etry events, but that’s no longer there. So, I guess we’re holding the torch. Once a year, we give people something to look forward to when it comes to poetry,” Mark shared. Musings of a Poet is not only a celebration of poetry in Guyana but also commemorates the anniversary of the National Drama Company, which has been at the forefront of Guyana’s theatre scene for the past decade. Speaking on behalf of the NDC, president and performer, Tashandra Inniss, shared that the
company’s growth has surpassed expectations. “I think for us, it started out as a group of graduates from the National School of Theatre Arts and Drama. We said, ‘We’re going to put together this drama group, this drama company, and we’re going to start doing performances based on what we learned in the history of theatre arts and drama.’ It was just a core group of people pushing our love for the arts. But now, it has developed into a company that the government and private in-
stitutions reach out to, to get pieces dramatised and put on at different venues,” she explained.
Among the reasons the NDC has been so successful is the passion and dedication of its members. Tashandra shared, “The NDC has grown over the years from a small group to a company with over thirty members, with more people wanting to join. And the teaching we have behind it—there’s always solid research, history included in how we perform and what we perform,” she shared. The
NDC’s success hasn’t been without challenges, however. Tashandra spoke about the hurdles they’ve faced in going from a group of young creatives to the country’s premier theatre company. However, with productions like Sauda, Children of Baby, and Anansi, the NDC has carved its path in Guyana’s theatre landscape.
So, on March 22nd and 23rd, join some of the nation’s best for an evening of fine wine and even better poetry.
The cast of Musings of a Poet III during rehearsals at the National Cultural Centre (Japheth Savory photo)
Uplifting Women...
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issue isn’t just about husbands and wives—it affects mothers, sisters, friends. If a man wants to join our cause and help champion it, we welcome that."
Accelerate Her
Another driving force behind the foundation is Vice President Sarah Singh, who is equally passionate about addressing gender-based violence and mental health. One of their upcoming initiatives is “Accelerate Her,” a picnic and conference—the first of its kind for the organisation. The event is slated to take place on March 22 at the Thirst Park Ruimveldt Ground. "There’s not enough light shed on these topics, so we're doing our best to change that,"
Sarah stated. The rainbow-themed event will go beyond just speeches—it will connect attendees with mental health professionals, social workers, and counsellors. Additionally, the event will feature a unique self-defence session led by martial arts instructor Roland Eudoxie. Sarah emphasised that the goal is to ensure that issues like domestic violence and mental health are not just treated as campaign slogans but as ongoing conversations and actions in so ciety. "A lot of the women in this organisation are survivors. And I say 'survivors' because some of them went through truly horrific situations. Since the start of the year, we’ve seen so many domes -
tic violence cases. The m essage is ‘leave to live,’ but then—where do they go? Who helps them? That’s why we want people to come out, learn, and understand," Sarah said.
A Future of Empow-
erment
Through its work, Uplift U Foundation is proving that real change begins at the community level. By offering a safe space, fostering critical conversations, and providing real support, Nebiola and her team are making a difference—one woman at a time. As the foundation continues to grow, i ts mission remains the same: to uplift, empower, and create a future where no woman has to suffer in silence.
A festival of colours...
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da down, there was no way he could escape. But as the pyre was lit and Prahalada chanted Lord Vishnu’s name, Holika burned while Prahalada remained unharmed in a battle of good against evil. This is why Phagwah is also known as the triumph of good over evil.
The story of Prahalada and Holika lives on in an annual bonfire the night before Phagwah. Canal Number One has some of the grandest Phagwah bonfires, known as ‘Holikas’. Forty days before Phagwah, the ‘Holika’ is planted. “While known as the planting of Holika, i t is actually a castor oil plant that is planted, which represents good—represents Prahalada,” Jeyaram Singh, a local farmer and devotee of the Vishvanauth Mandir, said. “A young boy must plant the castor oil plant and then fast for forty days, nurturing the plant. Over the forty days, we build a flammable wooden structure next to the plant. This represents
‘Holika’ or evil.”
The joy that Chowtal brings
During the forty days after the planting of Holika, up until Phagwah day, people in the village sing Chowtal. Chowtal is a form of folk song inherited from East Indian ancestors. Chowtal literally means ‘four taals’. Taal is an Indian musical metre, measured by clapping. The four taals are the chowtal proper, then ulura, then kabir (verses from the Ramayan sung in a special air), and then jogira.
“The jogira is the spice of the Chowtal,” Jayaram said. “It’s like a rap—an Indian rap.” In Chowtal, two rows of singers face each other, with a drummer in the middle. Along with the clapping of hands, the singing is accompanied by the clapping of the jhal (or hand cymbals) and drumming from the dholak (drum).
Sugrim, a 91-yearold Canal resident, reminisces on his time as a young man during Phagwah. “Chowtal can only be sung once a year—during those forty days. Abee been
Georgetown Chowtal Competition seven ye ars. Seven consecutive years, our Canal Chowt al group won. The first time we went, we didn’t win because of dress code. But our drummer won best drummer. We had a big Chowtal group—about twelve singers—and we went everywhere. When people had jhandi, we sang Hanuman Chowtal. When people had Ramayan singing, we sang Ram and Krishna.”
Preparations for Phagwah
Speaking on the preparations, Jeyaram explained, “The night before Phagwah, we do Dharti Ma (Mother Earth) puja. We pray for Ma to bless the entire gaun (village). It is not an individual prayer; it is a community prayer. Canal is a farming community, and as farmers, we all pay respects to Mother Earth.” He continued, “This is why many people attend the burning of Holika. After the puja, the castor o il plant is removed from the structure, and the ‘Holika’ is lit. The next morning, residents
would take ash from the Holika and smear it over their bodies before playing Phagwah, to show that evil has been burned and to celebrate a new beginning where good triumphs.”
After bathing and donning their white clothes, villagers make their way to the Mandir, where they have a puja. Afterwards, the Chowtal groups go from house to house (whoever had invited them) and sing Chowtal. The house hosting the singing shares sweetmeats or any kind of snacks with the entourage before they move on to the next house. “Sometimes we had so many invitations that we couldn’t finish all the houses in one day—we would have to go over the next day after to sing,” Sugrim said. “My eye water runs when I think about it—that no one sings Chowtal as much anymore.”
Preserving the Chowtal Chowtal singing is not only a staple of Phagwah; it is also important to the culture of Canal, an
art form that is dying out. Elders in Canal Number One wish for Chowtal to survive and be carried down by young people. During COVID-19, house-tohouse Chowtal was no longer viable. While house-to-house Chowtal on Phagwah is dying out, many people still host Chowtal sessions during the forty days.
Modern celebrations
In recent years, a new celebration has emerged—Canal Number One’s very own Phagwah Mela. The Phagwah Mela is a community festival held at the very end of Canal Number One. The entire village is invited via a loudspeaker announcement. “The Mela started through the Canal PPP group,” said Georgieana George, a planner of the Phagwah Mela. “The idea was to bring people together, regardless of race, creed, or class. We went through with it because we saw the unity amongst our people.”
Preparations for the Mela are made poss ible through donations, t he hard work of the
Canal council, and collaboration with all of Canal Number One’s Mandirs. Seven curry, sweetmeats, and powder for playing Phagwah are all provided free of char ge. The Mandirs usually participate with Chowtal and other singing, dancing, and skits. “Youth participation is always key to the Mela…it helps our youths gain experience and learn the culture, too,” she explained. “Over the years, the Mela has been growing. We started small, but eventually, each year, it gets bigger. This particular event brings the community together and even attracts others into our community to experience the unity that we build. I do hope in the future that we continue to make this event a success.”
When asked about Phagwah celebrations and the community in Canal Number One, Pandit Somnath of the Prayag Raj Mandir’s response was: “Vasudhaiva Kudumbakam”, a beautiful Sanskrit phrase that means “the whole world is one family.”
Beyond the colours of...
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in deep spiritual and cultural significance. The festival is linked to the ancient Hindu tale of Prahlad and Hiranyakashipu, a story that exemplifies faith, resilience, and the triumph of good over evil. According to Hindu scripture, a king named Hiranyakashipu wanted everyone to worship him, but his son Pr ahlad remained devoted to the Hindu Lord Vishnu. The king’s sister, Holika, who had a magical fireproof cloak, tried to burn Prahlad in a fire. However, the cloak flew off her and onto Prahlad, saving him while she perished in the flames. This is where the tradition of burning Holika originates.
Like many tales of scripture, the story also holds an important lesson—faith and courage, q ualities that remain essential in everyday life. As Pandit Persaud shared, even those outside the Hindu faith can learn from the story and carry those lessons into other aspects of life. "One can extract from the story of Prahlad and Hiranyakashipu the importance of faith, devotion, and love for God. Despite suffering and attempts on his life, Prahlad never lost faith in the Supreme. In today’s world, one needs faith, courage, and resilience. Phagwah brings us together and strengthens our faith in these values," he stated.
Through the years, efforts have been made to ensure that the traditions of Phagwah remain intact and are passed down to younger generations. Pandit Persaud shared that traditions brought from India centuries ago are st ill practised as authentically as possible today, with some preparations beginning days before Phagwah. "The traditions of Phagwah
have remained intact since our foreparents came from India. The day before Phagwah, we celebrate the burning of Holika. The next m orning, the head of the village or mandir collects some of the ashes and places a tilak on each person’s forehead, symbolising a new beginning and the elimination of uncertainties and challenges. This tradition remains unchanged, and, in fact, it has become even more beautiful because everyone is involved," he stated.
Beyond the celebration, organisations are taking active steps to ensure that younger generations remain connected to their heritage and understand the deeper meaning of Phagwah. Various initiatives have been established to teach traditional Hindu practices, including language, music, and religious rituals. Shedding light on just a few of these initiatives, Pandit Persaud shared, "At the Guyana Hindu Dharmic Sabha, we offer many courses and classes to keep young individuals connected to their culture. We have online Hindi and Sanskrit classes, and at this mandir, every Thursday from 5:30 to 6:30 p.m., we teach children the simple hawan and how to read from the scriptures."
During his talk with Pepperpot Magazine, Pandit Persaud fondly recalled his childhood experiences with Phagwah, highlighting the pure happiness and camaraderie that the festival brings. "One of my fondest memories of Phagwah as a child is waking up to the sound of chowtal singing. The night before Phagwah, I would be so excited that I could hardly sleep. In the morning, I would see all the villagers coming to our home t o play Phagwah, applying abir and soaking
their skin with coloured water. Every house we visited had delicious delicacies, and we all indulged in them together. That sense of joy, togetherness, and tradition is what makes Phagwah so special,"
he shared. Today, that same excitement still fills the air as Phagwah celebrations continue to bring people together. The festival’s message of unity and love remains
relevant, serving as a beacon of hope in an ever-changing world. Guyana’s diverse cultural landscape is enriched by celebrations like Phagwah, which allow individuals from different backgrounds to connect, appreciate, and celebrate together. Beyond the c olours, beyond the celebrations, Phagwah is a reminder that togetherness is the true heart of any nation.
THE LE REPENTIR CEMETERY AND ITS REHABILITATION
THE Le Repentir Cemetery falls within the responsibility of the Georgetown City Cou ncil. Just about half a century ago, it was famous as the Caribbean's largest cemetery and being most well-kept. The cemetery occupies an entire plantation, unlike any other, and it was a gift from a French immigrant, Pierre Louis DeSaffon. The story of DeSaffon is a tragic one. He was a wealthy, well-
born Frenchman who killed his brother in a duel and was so overcome with grief and remorse that he decided to banish himself from the civilised life of Europe to the British colony of Demerara, which, along with the French penal colony of Cayenne, was considered to be one of the most primitive territories of the Americas. DeSaffon was a natural businessman and, in a short time, became a wealthy man and was fully accepted into the small white community, even being admitted into the Freemasons' Lodge. Among his acquisitions were three plantations, the names of which were reminiscent of his tragedy—Le Ressouvenir (Remembrance), La Penitence (Penitence), and Le Repentir (Repentance). Saffon Street in Georgetown commemorates him. He gift-
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THE LE REPENTIR CEMETERY...
ed Le Repentir to the people of Guyana to be used as a cemetery.
The parts of the Le Repentir plantation adjoining Ge orgetown were immediately developed. The land bounded by S ussex Street on the south, St Stephen's Street on the west, and Princes Street on the north was cleared of vegetation, drained, and laid out into beds to accommodate the graves.
Two red, burnt clay roads were built, connecting Sussex Street and Louisa Row/ Princes Street with Broad Street, leading to the east-towest cemetery road, which extended into the back dam or undeveloped area. Along both sides of the roads, flowering trees were planted, and royal palms lined the roads leading into the back dam area. The perimeter trench around the cemetery provided both security and drainage. Later, coconut palms were planted along the perimeter trench, and these provided the Town Council with an income from the sale of coconuts.
The section of the road leading from Louisa Row to the junction of the east-towest road was particularly striking: The Sexton's office was housed in a neat cottage, and along both sides of the
road, a variety of flowers, including marigolds, bachelor buttons, lilies, hibiscuses, and queen of flowers, were planted. At the meeting point of the two roads, there was a Masonic monument displaying the square and compasses.
The burial areas were allotted to the Catholics, Muslims, and Hindus, with the largest area being the General Ground. A small area was unofficially given to Chinese nationals, who occasionally conducted Buddhist/ Confuc ianist burials. The vast majority of the Chinese community were Christians and had no connection with this area, which in time was reabsorbed into the General Ground. A number of rangers were employed to keep the cemetery under surveillance and were responsible for its general security, closing the gates exactly at 6 p.m.
Until the end of the 1950s, the cemetery was well-kept and efficiently managed. Until the 1950s, the franchise for electing Town Councillors was restricted to property owners, and those who offered themselves to serve as Councillors were successful businessmen, prominent lawyers, and other professionals. Similarly, the employees of the Council came from the educated middle class, and it
was regarded as prestigious to be working at Town Hall. With such a team, the City was managed with efficiency and financial integrity, creating the cemetery for which Guyana was proud.
Then, in the 1960s, t he Council was democratised. A different level of persons was elected as Councillors, who were far less educated and financially independent, and they set about changing the employees of the Council, who turned out to be less capable than their predecessors. The management of the City collapsed, corruption could not be controlled, and all the services of the City, including Le Repentir Cemetery, ceased functioning or functioned at a very low level. To save the day, the Central Government found itself forced to undertake essential services, such as road repairs and garbage disposal. Vice President Dr Bharrat Jagdeo, at one of his recent press conferences, disclosed to journalists that his Government was committed to the rehabilitation of the cemetery and had already started with the construction of a four-lane road across it.
We do not know what Government's plans are, but the Guyana Consumers Association would like to make the following suggestions:
• Drainage – The perimeter trench should be cleaned and deepened, and its outlet to the larger canal leading to the river koker should be cleared; the cross drains between the burial beds should be straightened and deepened.
• Roads – The main roads crossing the cemetery from east to west and north to south should be widened and asphalted, and the pathways between the burial beds should be reinforced with stones; all gates and bridges leading into the cemetery should be repaired and strengthened. At the junction of the two main roads, as was done in the past, the Masonic monument should be re-erected to honour DeSaffon's memory.
• Vegetation – All trees and unwanted vegetation should be removed from the burial beds, and broken tombs should be repaired; grass should be regularly
weeded and burned in small piles when dried.
• Aesthetics – Flowering trees, such as flamboyants (in multiple colours), golden showers, and cannonball trees, should be planted along the main roads, and marigolds should be cultivated in the vicinity of the Sexton's office and between the tombs if relatives wish to do so.
• Medic and Sexton Office on Call – To assist mourners if they need help. The records held at the Sexton's office should be copied and preserved, and the systems used by the Sexton's office should be modernised and properly documented. The National Archives should establish a close connection with the Sexton's Office.
• Se curity – Until the collapse of city management in the 1960s, the cemetery was a very safe and peaceful place. Over time, thieves and robbers invaded the grounds, attacking mourners and passers-by. Now, visitors must bring their own security. A detachment of Police or City Constabulary should be deployed to patrol the cemetery and should be properly equipped to arrest or warn suspicious characters.
• Tomb Architecture – The few Muslim maqbaras (ornamental tombs), the Mediterranean-style tombs with several vaults found in the Old Roman Catholic ground, the 18th-century-style graves in the General Ground, as well as the Hindu symbols of AUM and Swastikas, should be preserved. The ornate iron grill fences, which dated from the 19th century but were stolen, can never be replaced, but the basic information on the stolen marble plaques should be replicated in concrete. Families using marble plaques should embed them in ornamental concrete scrolls to prevent theft.
Building Sustainable friendships
An excerpt from my book of the same title.
BUILDING SUSTAINABLE FRIENDSHIPS Introduction IT can be challenging to
make and maintain new friendships. Yet, friends are essential for our mental
and emotional health. They provide care and support and can strengthen us when
we’re feeling down. Friendships challenge us, teaching us to consider the needs of others and to respect boundaries.
When we learn the secrets of building lasting friendships, we will lead better, more fulfilling lives.
1. Families
Everyone has a family, or at least had a family at some point. Families are often there for individuals when support is needed. However, not ev-
emotional individuals feel the need to share their family issues with the public, seeking either celebration or empathy. However, not everyone will celebrate or empathise with you. The key is to work with your family, learn from them, and become a positive example to others.
1.2 Failure Provides Great Lessons
eryone may be comfortable talking about their families. The successes and challenges within a family shape the way an individual approaches friendships.
1.1 No Family is Perfect
When some people look at certain families from the outside and observe how they operate, they assume that these families are perfect. However, no family is perfect.
Some families are great pretenders in public. Others know how to keep their family problems private. Too many
Within each family, there are failures. However, failures provide valuable lessons for those willing to adapt. Some family members have been treated poorly due to family failures, yet they have learned to respect others and help them grow.
Through first-hand failures, individuals realise the importance of finding friends who will appreciate them for who they are.
1.3 Success Provides Great Lessons
Experiencing success often encourages family members to share their achievements with others.
TURN TO PAGE XVI
Nothing can be
To presume rather than learn the language leads to confusion
MY godfather, with whom I spent my early years, told me this during my first experiment with watercolour paints. He sensed my frustration as I attempted to interpret a colourful costume rather than identifying that the cloak was shrouded in shadows, which would require a mastery of hues and tones—a mastery that I had not yet wrestled with. So, at ten years old, I experienced frustration while trying to copy a painting of Napoleon returning from his first exile from an advertisement on the cover of Parade magazine. As a youth, I was fascinated by the elaborate 18th-century military costume of a tyrant, yet I was too unskilled to define its true nature. Back then, I believed that my watercolour paints were all an artist required.
My biological father saw art and design in the context of woodwork, especially furniture design. This perspective influenced me much later when designing items for my bachelor pad and then for my young studio. Conversations with my older brother eventually led to the creation of a company. However, we later parted ways for several reasons—more so due to his religious leaning. I still ponder his passing as a dark mystery with sinister implications, though I consider it a thing of the past.
I share all this because, in the realisation of any venture, much more is required than the enthusiasm of self-confidence, guesswork, and ego.
I have concluded that not all men share the same aesthetics. Thus, the ancients were wiser when they cultivated strict guilds. This system still existed while
interpreted unless the language is a common one
I was growing up, as the plumbers gathered at my godfather’s workshop, and the carpenters and furniture builders exchanged views at my father’s workshop. These were emulations of a past time that still worked effectively. Where it all fell apart was with modern systems of governance, especially when an awareness of understanding the echelons of growth was required—and yet, it was absent.
T he alternative now rests with the difficult task of building a portal through which a conversation can occur in the common interest of talented souls. This must be done with clarity and good faith, forming a modern guild with loyalty to the awakened minds of our fathers—a time when their genius can once more serve, as before, a fertile cause.
Protecting our planet: Earth Hour and World Water Day 2025
Hello readers, WELCOME to this week's edition, where we spotlight two significant global observances: Earth Hour and World Water Day, both taking place on March 22, 2025. These events serve as powerful reminders of
the urgent need for environmental conservation and sustainable freshwater management.
This year, the Environmental Protection Agency (EPA) is collaborating with the World Wildlife Fund (WWF) to raise awareness and inspire action. Our focus is on promoting sustainable practices that protect our fre shwater resources while recognising the interconnectedness of energy conservation and water security.
The S ignificance of Earth Hour and World Water Day Earth Hour is a symbolic movement where individuals, businesses, and landmarks worldwide switch off non-essential lights for one hour to show their commitment to addressing climate change and energy conservation. At the same time, World Water Day highlights the importance of clean and accessible freshwater and the need for responsible management of this crucial resource.
Since both observances fall on the same day in 2025, we are emphasising the vital connection between energy consumption and water sustainability. Pollution, deforestation, climate change, and industrial activities continue to threaten freshwater sources, making collective action more crucial than ever.
The State of Freshwater Resources in Guyana Guya na is fortunate to have an abundance of freshwater resources, including vast river networks, lakes, and underground aquifers. However, these vital sources are under increasing pressure from pollution, unsustainable agricultural practices, and climate-related impacts . Industrial waste, improper waste disposal, and deforestation exacerbate water contamination, posing risks to public health and ecosystems.
How You Can Contribute T his Earth Hour and World Water Day, we encourage everyone to take action:
1 Reduce W ater Waste – Conserve water at
home and work by fixing leaks, using water-efficient appliances, and practising mindful consumption.
2. Protect Waterways – Avoid polluting rivers, creeks, and drains. Support reforestation efforts that help maintain clean water sources.
3. Use Energy Wisely – Switch off unnecessary lights and appliances, invest in energy-efficient technologies, and explore renewable energy options.
4. Support Sustainable Policies – Advocate for water management policies that prioritise conservation and pollution control.
5. Participate in Cleanups – Join local cleanup activities to help keep our wa terways free from waste.
Join Us at the Water Village!
As part of this year’s observance, WWF will be hosting a Water Village at the National Park Tarmac on March 22, 2025, from 3 PM to 9 PM. The event will feature:
• An Awareness and Education Fair
• E dutainment & Games
• A Mini Concert Show
• The Lighting of the 60+ Emblem
The EPA is proud to support this initiative, and we invite you to be part of the movement.
For more details, follow us on our social media pages and stay updated on how you can contribute to protecting our planet. Let’s turn off the lights, conserve our water, and take action for a sustainable future. See you at Earth Hour 2025!
You can share your ideas and questions by sending letters to: “Our Earth, Our Environment”, C/O Communications Department, Environmental Protection Agency, Ganges Street, Sophia, GEORGETOWN, or email us at: c ommunications@epaguyana.org. Follow us on Facebook and Instagram and subscribe to our YouTube channel.
Being Perfectly Imperfect
TODAY, over eight billion people are living in our world. In the last 75 years, the world’s population has nearly tripled in size, and its growth does not seem to be stopping anytime soon. This sudden increase in population has undoubtedly created constraints on the quality of life for individuals all over the world. There is increasing competition for resources, opportunities, and even living space. In fact, because we no longer seem to have enough space on the earth to build our cities, we have taken to constructing our homes and workplaces upwards, towards the sky. We have even begun searching for other planets where we might live! Due to the increasing population, society itself has changed and adopted new characteristics.
W e have transformed into a global village where even individuals on opposite sides of the world can interact and become close friends. This novel sense of connection means that our words and actions now carry more weight. They have the potential to impact larger numbers of people in a much deeper manner. Of course, this fact sparks discussions about the nature of
platforms such as social media and the responsibilities borne by thos e who use them. However, there is another problem that we a re beginning to observe as a generation due to this strange interconnectedness.
We have begun to experience social anxiety at much higher levels.
Social anxiety stems from the fear of being judged by others in the same unfortunate manner that we have learned to judge ourselves. We slowly and unknowingly become afraid of our own spontaneity and uniqueness. As a result, we attempt to reduce ourselves to a curated and somewhat one-dimensional version in order to fi t our own unrealistic standards. If we c ontinuously do this during the time when we ought to be defining our identity, it cements a sense of uncertainty within us. After all, the pictures and videos we see of “perfect” people are only snapshots of their lives. Can you imagine what we would lose if we were to reduce our entire personalities to the depth of a single snapshot?
Growth is extraordinarily spontaneous. Each human being grows at different rates and at different times in their lives.
Building Sustainable friendships
FROM PAGE XII
Many people aspire to succeed in their families so they can celebrate life.
In families facing continuous struggles, individuals may feel overw helmed by failure.
2. Friends
Besides having families, individuals also need friends in their lives.
Each family has its limitations, and friends can help fill these gaps.
Some individuals enjoy their friendships so much that they do not recognise how much they are missing their families.
The bond established with certain friends may even be stronger than the bond with family members.
Learning to connect with many people is essential because friendships can become critical for future success.
2.1 Family Friends
Some individuals become so close to a family that they are considered “family friends”.
Thes e family friends may have the same privileges as actual family members.
For example:
• Some family friends can borrow family vehicles.
• Children in rural communities attending school in urban areas may be allowed to stay with family friends during the week and return home at weekends.
• Family friends may stay over at the family home when needed.
• When families travel overseas, they often return with gifts for their family friends.
People tend to keep their closest family friends, as they trust them and value their support.
2.2 Old-Time Friends
While not everyone may have family friends, many have old-time friends.
Some friendships last for decades, with individuals saying, "We have come a long way."
Many old-time friendships began when individuals were:
• Living in the same community
• Attending the same school.
• Working in the same organisation.
Even after retirement, old-time friends may arrange visits, as they value each other and want to maintain their bond.
In some cultures:
• Brides and grooms visit their old-time friends’ homes before their wedding ceremonies.
• Before purchasing a vehicle or home, people consult their old-time friends for advice.
• When considering a potential life partner, individuals seek their old-time friends’ opinions.
2.3 Fun Friends
Some people love entertainment, so they develop friendships based on shared interests.
Fun friends may:
• Provide security at events.
• Engage in lively discussions.
• Of fer transportation for those without vehicles.
• Pool money together for expenses, such as fuel costs when travelling. Whenever there are social events, these fun friends are often seen together
They trust each other and share many personal experiences.
Conclusion
Friendships play a significant role in our lives, just as families do.
So me friendships develop within families, while others form in communities, workplaces, or social circles.
The key to sustaining strong friendships is:
• Re cognising the value of relationships.
• Being trustworthy
• Providing support in times of need.
Building sustainable friendships ensures that individuals experience a richer, more fulfilling life.
For more information about Geary Reid and his books, please use the following contact details:
�� Amazon: http : // www.amazon.com/author/ gearyreid
�� Website: www.reidnlearn.com
�� Faceb ook: ReidnLearn
�� Email: info@reidnlearn.com
�� Mobile: +592-6452240
Being Perfectly...
FROM PAGE XV
Growth looks different for each of us, and we all make our own mistakes as we undergo it. With the advent of this technological era, we are constantly comparing our journeys with those of people all over the world. Pieces of our lives are often shared with millions of strangers in exchange for their opinions on our unique journeys. This means that when we interact with people in the real world, we operate under the impression that they, too, are judging us. Without even realising it, we have become unhappy with who we are and how far we have come, simply because we see others experiencing life differently. Sometimes, real people may stumble over their words when they speak. Real pe ople might have messy hair or crinkled clothes. Real people do not always meet their goals every time they try. Real people might not feel extraordinarily happy all the time. None of these facts make a person deserving of judgement or shame.
We are all like rain-
drops falling into the ocean. We are powerful enough to create ripples when we meet our destination. Ultimately, however, we a re indistinguishable from the eight billion other raindrops that are travelling their own paths at the same time. The features or qualities about ourselves that cause us insecurity and anxiety are rarely noticeable to others, much less judged by them. Moreover, you are more than the feature that you judge yourself so harshly for You are a human being who is loved, who inspires others, and who is constantly evolving.
P erhaps the key to unlocking an anxiety-free life is learning to see people as more than just a pair of eyes. Learn to see them as individuals who, like you, are experiencing life and its magnificent ability to change a heart and connect two people with something as seemingly simple as a smile. Learn to accept that all of us are perfectly imperfect—and that is why we are so beautiful in the first place.
THE ROAD TO PUBLICATION
Avoiding distractions during the rewrite process
TWO months into the rewriting process for my manuscript, Leech, and the journey so far has been nothing short of illuminating. I now understand the novel-writing process on a de eper level—the importance of seeing the big picture while ensuring all the smaller parts connect seamlessly, the art of crafting character arcs and stakes that keep readers engaged, the discipline of identifying and eliminating bad writing habits, and the challenge of structuring a layered story in a way that is both compelling and digestible.
Looking back at past struggles, I recognise that the right support system and mindset have been crucial in helping me reach this point. For the first time, getting to the finish line has never felt so certain. However, I am aware that with this momentum comes the potential risk of overconfidence, which could be misleading.
Sometime in January, I came across the announcement for the Guyana Prize for Literature, with a submission deadline set for mid-March.
The suddenness of the deadline took me by surprise because, in the past, it had been later in the year. My first instinct was to assess whether I could complete my draft in time. If I rushed, I probably could have made it. But I’ve learned from experience that rushing leads to regret. So, I made the tough but necessary decision to maintain my pace and not allow an unplanned deadline to disrupt my progress. Rewriting a manuscript is an intricate process that demands discipline and focus: 1. Set your own deadlines – don’t worry about anyone else’s Some years ago, about halfway through my first draft, I encountered a publisher ( long before I knew enough about the publishing process) who se emed too invested in getting my work to print. They set a rigorous schedule and kept pushing to ensure I met the benchmarks. However, I was young and timid, and I was still learning the proper process of novel writing.
I ended up highly overwhelmed, which led to writer’s block, so I ended the busi -
THE ROAD TO...
FROM PAGE XVIII
ness relationship with the publisher. It’s easy to get thrown off by external pressures, but setting personal, realistic deadlines keeps you grounded.
Instead of adjusting my workflow for the Guyana Prize deadline, I chose to stick to my original timeline. I could always apply next year, after all. This allowed me to maintain the quality of my work without feeling rushed.
Based on my own plan, I’ve also been able to decide on a definitive, more realistic launch date and am actively working towards that.
2. Focus on quality, not just speed
A rushed draft often leads to weak storytelling, inconsistent character arcs, and unresolved plot threads. Your second draft stage is not when you should be racing. It is a slow, strategic process where you must identify inconsistencies to bring the novel together
By this time, you should have a clear intended result, but much work may still need to be done to get there. I took some weeks off to do more research and even invested in “think time”, where I did nothing but brainstorm new ideas on how to piece the story together better
I did not rush, and this helped me avoid anxiety. I knew I was
onto something good, and I just needed to take the time to get there. Then, one day, everything came together, and I had the ur ge to write. Since then, I have been moving steadily forward.
Not rushing the process allows the creative mind to flourish. That is when the best quality of your work shines through.
3. Avoid distractions and stay true to your plan
Because I took so long to write this book, one good thing is that with time came maturity. I was able to stand my ground and say no to things more firmly
The biggest challenge in rewriting is staying committed to your process despite enticing opportunities or external pressures.
To reinforce my focus, I kept a revision journal, where I noted:
• Progress
• Roadblocks
• Ide as for improvement
This practice helped me stay connected to my manuscript and prevented me from veering off course.
If you are able to make concrete plans about where you want to take your book, and you set deadlines and stick to them, regardless of the pressures a nd temptations that arise, your book will thank you in the end.
The final product will be a well-thought-
out, meaningful piece of literature that can withstand the test of time because you invested the time into it.
The rewriting process is a long and sometimes gruelling journey, but staying focused is the key to producing a written work that truly resonates with readers.
The beauty of writing is that the best product is not just finished—but finished well.
Stay the course, and the reward will be worth the effort.
Look out for Leech in September 2025!
I WILL LIGHT A CANDLE III
ONE
month later,
Tina managed to settle down in the small apartment she had rented and started a job as a salesgirl in a grocery store. She felt so alone, missing Mother Laila, with an ache in her heart still for the old lady. She heard nothing from Suraj, as though she no longer existed for him. Then, one day, Sunil saw her in the market and told her, “Suraj is in Paris, enjoying his life.”
“And why yuh had to tell me dat?”
He had laughed a little and walked on, uncaring if what he said had hurt her. And it did, for it would take some time for her to overcome Suraj’s betrayal.
She lay sleepless in bed many nights, unsure of what the future held for her. Those were the nights when she remembered Mother Laila’s words, “Yuh ah wan good gyal, and something good gon happen fuh yuh.”
T ina tried not to dwell on the old lady’s sentimental words because, so far, life had not been kind to her
"Ah wish ah knew how something good could happen fuh meh."
At the start of the new month, she received a letter from a lawyer’s office. She was requested to be present at the office in two days’ time for the reading of Mother Laila’s wi ll. That was an un -
expected surprise, and Tina wondered, “What does Mother Laila’s will gotta do wid me?”
On the appointed day, she asked for time off from her job and walked into a tense atmosphere at the lawyer’s office.
Mother Laila’s children stared at her with contempt and asked the lawyer , “Why is she here?”
“According to your mother’s new will,” the lawyer answered, “it’s important for Miss Persaud to be here.”
They exchanged displeased looks, and the eldest daughter asked in a suspicious tone, “If our mother couldn’t move around much, how did she get here to change her will? Who brought her?”
The lawyer smiled patiently and replied, “My father and your mother were old-school friends. He was the one who had drawn up her first will, and she called him for a favour. On the day, she came alone, chauffeured by my father’s driver. She had a distressing story concerning her children to tell.” The lawyer pa used, then continued, “As such, she requested that the will be changed.”
Sunil and his sisters looked at each other, puzzled and upset, and he said, “Dat don’t sound right.”
The lawyer opened a file and took out the
I WILL LIGHT...
FROM PAGE XX
new will.
“It reads as follows: Sunil Mahabir is no longer the owner of my estate. My property and bank account are the only assets I have. Thus, to my four children, I leave six hundred thousand dollars to be divided equally, and to my so n’s ex-wife, Tina Persaud, I leave four hundred thousand as gratitude for her care and companionship.”
“Dat is unacceptable!” the eldest sister seethed with anger
“She cut we off tuh give a stranger?” the younger one questioned.
Suni l raised his hand for them to be quiet and asked, “And de house?”
“The house,” the lawyer stated, “is now willed to Miss Persaud.”
That stunned everyone, but most of all, Tina. She couldn’t believe what she had just heard. Her heart was racing, somehow scared of Mother Laila’s children’s reactions. They looked at her with undisguised hatred and expressed their anger, “Dat can’t be! She’s not family. She’s a stranger!”
“Calm down,” the lawyer urged them. “She was your brother’s wife, and your mother saw her not as a stranger but as family—someone who gave her the love, care, and compassion no one else did when she needed it.”
Tina went back to work, trying her utmost to stay calm until she was home.
“ Oh my God!” she exclaimed aloud, still unable to believe
what the lawyer had declared. “How did dat happen?”
She stayed awake late, reflecting on everything Mother Laila ha d said to her. She realised the old lady had felt that Suraj had wronged her, and this was her way of compensating Tina, as well as expressing gratitude for her unwavering care.
“What a way,” Tina exulted, “the house and money.”
Tina had always hoped that one day, life would be good to her, but she did not expect it to be this good. She looked up at the heavens and said,
“Thank you so much, Mother Laila. You have really made a poor girl happy.”
Sunil and his sisters threatened to contest the will, but because of the cost and time it would take, they decided not to proceed.
“Is an ole house anyway,” Sunil said dismissively. “Leh she see wuh she can do wid it.”
Old or not, Tina now had her own home, and that pleased her heart beyond words. She also had money to start her own small business.
“Ah gun now be my own boss,” she declared, thrilled and excited.
She invested part of the money in a grocery business right there in the market and deposited the rest into a savings account. She was now a businesswoman—independent and confident.
Fo ur years later, Tina had expanded her business, becoming an established and rec -
I WILL LIGHT...
FROM PAGE XXI
ognised entrepreneur. She bought a car and, over the years, made repairs to the house. One year ago, she remodelled the downstairs flat and rented it to a small family
It was quite amazing for Mother Laila’s c hildren and Tina’s own family—who had treated her so badly— to see her knowledge and capability to progress in the way she was doing.
“Never underestimate the power of a w oman, especially a poor woman,” she mused.
As March approached, Suraj returned to his home country. Tina was unaware that he was back until one late afternoon when she went home after closing her business for the day He was sitting on the stairs, and after parking her car, she said cordially,
“Why are yuh here?”
“Ah was waiting on you, hoping we could talk.”
“Ah don’t think we got anything tuh talk about,” she said in a casual tone.
“Yeah, we do.”
He got up and came down the steps slowly, a bit unsteady. He had gotten thin, his face was pale, and his hair no longer looked as great as it once had.
Tina couldn’t help asking, “Wah happen to yuh?”
He shook his head slowly and smiled wryly. “A long story. We sometimes pay fuh we mistakes.”
Looking at him, she
felt a tinge of pity for the condition he was in.
“Ah see yuh have made it good in life,” he said with a little laugh.
She nodded, unbothered.
“And now own de property that had been mine,” he said, with an edge of bitterness in his voice.
“Dat was yuh mother’s decision.”
He nodded. “Ah leff her, so I can’t blame her. And yuh deserve it.”
There was a long moment of silence as he sat on a garden bench. Then he said, “Ah just want to say sorry fuh the bad way I treated you.” He paused, then continued, a slight tremor in his voice. “I’m sick. De person I had loved leff me, and I have to now try and rebuild meh life.”
“Sorry to hear dat,” she said. “Ah hope things work out good fuh yuh.”
“Is there any way yuh could forgive me suh we can have a fresh start?”
She got up and looked at him with no empathy.
“Dat is all in de past, and ah have moved on. I’m not anymore dat poor young girl yuh used and betrayed. I am now somebody.”
She walked up the stairs and closed the door, leaving him sitting there. She whispered quietly to herself,
“I am now somebody.”
STUDY SUCCESS
Dear Student, Welcome, dear reading friend. Study skills cover many different tasks but only note-taking and summarising will be emphasised here. Taking notes while reading or listening to remember things, has a fur ther use. With note-taking, it is necessary to establish the structure of the text and its key ideas and to leave out unessential information. It helps in summary writing which should be an accurate account of the text, leaving out your reactions to it. Be wise.
Love you. THE PASSAGE
March 16, 2025
1. Using different types of questions
Note: Many types of comprehension questions can be used according to the makeup of the reading passage. In this exercise each question is headed by its question type.
Directions: Read the following abridged passage c arefully and then answer the questions that follow. Absent from the passage is a drawing of the man feeding the unicorn in the garden. [You can kindly sketch this for yourself.]
The Unicorn in the Garden
Once upon a sunny morning a man who sat at his breakfast looked up from his scrambled eggs to see a white unicorn with a golden horn quietly cropping the roses in the garden. The man went up to the bedroom where his wife was still asleep and woke her. “There’s a unicorn in the garden,” he said. “Eating roses.” She opened one un friendly eye and looked at him. “The unicorn is a mythical beast,” she said, and turned her back on him. The man walked slowly downstairs and out into the garden. The unicorn was still there; he was now browsing among the tulips. “Here, unicorn,” said the man, and he pulled up a lily and gave it to him. The unicorn ate it gravely. With a high heart, because there was a unicorn in the garden, the man went upstairs and roused his wife again. “The unicorn,” he said, “ate a lily.” His wife sat up in bed and looked at him, coldly. “You are a booby,” she said, “and I am going to have you put in the booby-hatch.” The man who had never liked the words ‘booby’ and ‘booby-hatch’, and who liked them even less on a shining morning when there was a unicorn in the garden, thought for a moment. “We’ll see about that,” he said. He walked over to the door. “He has a golden horn in the middle of his forehead,” he told her. Then he went back to the garden to watch the unicorn; but the unicorn had gone away. The man sat down among the roses and went to sleep…. You can be asked to respond to the following question types.
1. Anticipation Look at the title and at your drawing that accompanies the story.
THOUGHT FOR TODAY
You will find it a very good practice always to verify your references, sir! DR. MARTIN JOSEPH ROUTH (1755-1854) Burgan, Quarterly Review
What can you infer from the two?
What do you think the story is about?
2. Organisation
So far, is the text organised in a ● logical way?
● Argumentative way? ● chronological way? What link words or expressions reflect this organisation?
3. So far, there is obviously a great difference between the behaviour of the husband and that of his wife in the story. Read it again, paying particular attention to the various ways this difference is revealed, then answer the following questions:
a) How does each person react to the unicorn?
b) i) What is the husband’s attitude toward his wife?
ii) What is the wife’s attitude toward her husband?
c) i) What is the husband’s attitude toward their surroundings?
ii) What is the wife’s attitude toward their surroundings?
4. Find another title for the story.
THE PASSAGE
Looking at the writer’s use of dialogue
“It’s too small for Mrs. Peters,” said Septimius.
For the first time for days, he was speaking as he used to do! Of course, it was – absurdly small, she said. But Mrs. Peters had chosen it. He took it out of her hands. He said it was an organ grinder’s monkey hat. How it rejoiced her, that! Not for weeks had they laughed like this together, poking fun privately like married people. What she meant was if Mrs. Filmer had come in, or Mrs. Peters or anybody, they would not have understood what she and Septimius were laughing at.
“There,” she said, pinning a rose to one side of the hat. Never had she felt so happy! Never in her life!
But that was still more ridiculous, Septimius said.
Now the poor woman looked like a pig at a fair. (Nobody had ever laughed as Septimius did.)
What had she got in her workbox? She had ribbons and beads, tassels, artificial flowers. She tumbled them out on the table. He began putting odd colours together – for though he had no fingers, could not even do up a parcel, he had a wonderful eye, and often he was right, sometimes absurd, of course, but sometimes wonderfully right.
About the Passage Today’s passage was chosen to help you enjoy good, simple and unadulterated writing. Check it carefully. The author chose no huge words like boulders, not too much deeply implied meanings, and no diplomatic style to relate the event. And an event it was. Yet an interesting story was formed. You would surely want to read more of that writer’s work.
What to Do
Together with your committed study partners, complete the following questions.
Observe dialogue in use.
1. See how the writer ’s choice of words allows dialogue to help tell her story. You can record what each person says.
2. Do you see the male character, Septimius, as being loveable?
How can you say his behaviour affects the milliner, his wife?
3. What little can you say about the wife-character, Rezia?
a) Think up a list of words to suitably describe her.
b) Write them down and examine the connotation of each. Which ones really fit?
4. Each participant can write an enjoyable story of his own maybe based on like characters and setting. Let all partners read and comment on the contributions. Use helpful dialogue.
How is your dentist treating you?
THE question in this caption—"How is your dentist treating you?"—can be interpreted in two ways. On the one hand, it could refer to dental treatment, and on the other, it could mean the professional relationship between a dentist and their patient. Here, I will discuss the latter.
Any discussion of the dentist-patient relationship must begin with a singular yet critical observation. There is an unfortunate tendency in dental literature to assume that there is only one kind of dentist-patient relationship. Such conceptualisation has limited the scope of research conducted and, as a result, compromised the relevance of the findings that have been reported.
Successful treatment in the healing arts is not attributed solely to the administration of an appropriate remedy. Once there is person-to-person interaction, a certain degree of understanding must prevail. In the case of the dentist-patient relationship, the concept of success after treatment should be balanced when both parties have systematically analysed the results.
There are three types of dentist-patient relationships, each varying according to the level of responsibility required from both the dentist and the patient. The importance of recognising these different relationships explains why there is often doubt regarding whether a dentist can indeed guarantee the success of dental work.
In one model, the dentist assumes complete responsibility for caring for the patient. In its most extreme form, this occurs when the patient is incapable of responding—for example, if they are unconscious or in a coma.
The second type of relationship is the guidance-cooperation model. Here, the dentist provides advice, direction, or instructions, and the patient is expected to follow them. This is probably the most traditional and familiar type of dentist-patient relationship.
The third type is mutual
participation, where both the dentist and patient share equal responsibility. The patient is expected to take charge of their own well-being and promote their own health. Only in this model can a patient engage in preventative health measures or adhere to prescribed regimens for managing chronic conditions.
Studies have described the "good patient" as obedient, conforming, and willing to assume the role of the patient. According to researcher E.F. Borgotta, the degree to which a patient poses little risk or threat to the professional, as well as their readiness to conform, defines them in favourable terms. Additionally, individuals characterised as "good patients" are often described as agreeable, likeable, warm, and attractive, as noted by T.A. Wills in the Psychological Bulletin (2003).
Psychiatric and social work literature has demonstrated that a professional’s first impression of a patient— based on these characteristics—significantly affects the outcome of treatment. Patients who are cooperative and well-behaved tend to receive better care from their dentists. In fact, studies show that a professional’s initial perception of a patient during their first visit is significantly related to the success of their treatment.
Findings by Horning and Massagli (2005) suggest that as professionals become more specialised, there is an increased tendency to focus on the negative characteristics of patients. There is also a greater likelihood of labelling them as difficult individuals who exaggerate minor ailments or who are particularly headstrong. It is conceivable that patients who challenge a professional’s integrity are more likely to receive labels that place them outside the professional’s area of expertise—or even define them as untreatable.
A recent survey conducted in the USA found that, for dentists, the ideal patient is a well-educated woman between the ages of 25 and 55, positioned at the upper end of
the social scale. This aspect of the study further supports the idea that physical appearance plays a role in treatment.
Additionally, nearly half of the dentists surveyed reported losing patients due to poor interpersonal relationships.
On the other hand, patients believe that the most critical factors of a good dentist include their per-
sonality, their ability to reduce fear and anxiety, and, of course, their technical skills.
