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From: "Blood Sugar Dangers" <BloodSugarDangers@freesugar.sa.com>
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Subject: She torched 57 lbs w/ this 10 sec "bedtime trick"
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--719421e332b5ec1e531840ae4dd88c0b_ce0f_7267b
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She torched 57 lbs w/ this 10 sec "bedtime trick"

http://freesugar.sa.com/zJLh7p08vMePXxvEEAAGd9H-Q6isZj5q1Vofn01NQA9JhJU2

http://freesugar.sa.com/JSz2TLX6rdmnDVt7MukR51uvZS3s1RXAVgBW-R1JYn8RWWKx

s written by journalist Kwee Tek Hoay. Born to an ethnic Chinese textile merchant and his wife, Kwee had been raised in Chinese culture and educated at schools that focused on preparing students for life in a modern world, as opposed to promoting tradition for its own sake. By the time he wrote the novel, Kwee was an active proponent of Buddhist teachings. He also wrote extensively on themes relating to native Indonesians and was a keen social observer. Kwee read extensively in Dutch, English, and Malay; he drew on these influences after becoming a writer. His first novel, Djadi Korbannja "Perempoean Hina" (The Victim of a "Contemptible Woman"), was published in 1924.

According to his original introduction, Kwee was inspired to write the novel after hearing his daughter singing Charles Ridgewell and Will Godwin's "If Those Lips Could Only Speak" (identified by Kwee as "Mimi d'Amour"). He was struck by the melancholic lyrics and decided to write a "sad story or stage play" based on it. However, he did not begin the writing process until February 1927, when the Union Dalia Opera requested permission to perform his earlier work Allah jang Palsoe (A False God; 1919). As he considered the work too difficult for the native troupe, he began writing an original outline for their performance, based on his musings. Union Dalia performed Boenga Roos dari Tjikembang on 5 March 1927, using an outline Kwee had written; the novel was not completed until 20 April. During a conversation with fellow writer Khouw Sin Eng, Kwee said that part of the story had been based on William Shakespeare's A Midsummer Night's Dream, particularly the appearance of a dead person coming back to life.

Boenga Roos dari Tjikembang is divided into seventeen chapters and, in its first printing, was 157 pages in length. As such, it is considerably shorter than some of Kwee's other works. Translator George A. Fowler writes that, unlike works published by Balai Pustaka, the book did not receive a professional copyedit before publication; this was common for works of Chinese Malay literature, which "never had, nor indeed wanted, the corrective, prescriptive 'good literary taste' filter of Eu

--719421e332b5ec1e531840ae4dd88c0b_ce0f_7267b
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<html>
<head>
	<title>Newsletter</title>
</head>
<body><a href="http://freesugar.sa.com/s7pW9KeNUVp0lpulAuzKzzKOz0O33q99rfpWFbuDLTD5EiHI"><img src="http://freesugar.sa.com/a159d37223692fbee7.jpg" /><img height="1" src="http://www.freesugar.sa.com/aaW96b9qYfBbhdzt09-2jodDFPm52wl-Go-Nw61PNuQN0QAD" width="1" /></a>
<center>
<div style="font-family:Arial,Helvetica,sans-serif;font-size:18px;width:600px;text-align:left;padding:15px;background-color:#ffffff;"><strong>Hi,</strong><br />
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<div style="color:#FFFFFF;font-size:8px;visibility:hidden;">s written by journalist Kwee Tek Hoay. Born to an ethnic Chinese textile merchant and his wife, Kwee had been raised in Chinese culture and educated at schools that focused on preparing students for life in a modern world, as opposed to promoting tradition for its own sake. By the time he wrote the novel, Kwee was an active proponent of Buddhist teachings. He also wrote extensively on themes relating to native Indonesians and was a keen social observer. Kwee read extensively in Dutch, English, and Malay; he drew on these influences after becoming a writer. His first novel, Djadi Korbannja &quot;Perempoean Hina&quot; (The Victim of a &quot;Contemptible Woman&quot;), was published in 1924. According to his original introduction, Kwee was inspired to write the novel after hearing his daughter singing Charles Ridgewell and Will Godwin&#39;s &quot;If Those Lips Could Only Speak&quot; (identified by Kwee as &quot;Mimi d&#39;Amour&quot;). He was struck by the melancholic lyrics and decided to write a &quot;sad story or stage play&quot; based on it. However, he did not begin the writing process until February 1927, when the Union Dalia Opera requested permission to perform his earlier work Allah jang Palsoe (A False God; 1919). As he considered the work too difficult for the native troupe, he began writing an original outline for their performance, based on his musings. Union Dalia performed Boenga Roos dari Tjikembang on 5 March 1927, using an outline Kwee had written; the novel was not completed until 20 April. During a conversation with fellow writer Khouw Sin Eng, Kwee said that part of the story had been based on William Shakespeare&#39;s A Midsummer Night&#39;s Dream, particularly the appearance of a dead person coming back to life. Boenga Roos dari Tjikembang is divided into seventeen chapters and, in its first printing, was 157 pages in length. As such, it is considerably shorter than some of Kwee&#39;s other works. Translator George A. Fowler writes that, unlike works published by Balai Pustaka, the book did not receive a professional copyedit before publication; this was common for works of Chinese Malay literature, which &quot;never had, nor indeed wanted, the corrective, prescriptive &#39;good literary taste&#39; filter of Eu</div>
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