Poems That Rhyme

FICTIONARY TALES: A collection of short stories. Welcome to fictionary tales all written by me which include topics such as KARMA, Love, Revenge, Trauma, Tragedy, Happy endings, Sad endings, Mystery, Adventure and so much more!!

My words can kill. Whatever I say comes true. When I was eight, my cruel adoptive father kicked me into an icy river. I glared at him and said furiously, "You'll drown if you go into water." The next day, he drowned in a stinking ditch where the water barely reached his knees. After realizing I could really kill people, I was so scared I stopped talking and became a mute. A year ago, I was taken back to the Shaw family. In order to stay with the family that I'd finally found after all these years, I absolutely refused to speak. But one day, after Jackie Shaw took a sip of the drink I brought him, he suddenly convulsed and fell to the floor, his face turning purple. A maid screamed in terror, "There's peanut powder in the drink!" Before I could even say anything, my twin sister, Violet, kicked the coffee table, grabbed my hair, and pressed me down hard onto the broken glass shards. "You know Jackie is severely allergic to peanuts! How could you poison him?!" After Mom gave Jackie an emergency injection, she turned around and slapped me hard. "I can't believe I gave birth to a malicious monster like you!" Dad's face was ashen. He splashed boiling tea all over me. "You heartless, vicious ingrate! I can't believe you tried to kill Jackie out of jealousy!" Boiling water mixed with blood dripped down my face, and I clenched my teeth tightly. They had no idea that if I truly wanted him dead, I wouldn't even need to poison him. I just had to speak. Like this. I slowly looked up at Jackie, and my lips moved...

The novel is mainly about the forgotten British poet/writer named C. J Richards who lived in Burma/Myanmar in colonial times and he believed himself as a Burmophile. He served as I.C.S (Indian Civil Servant) and when he retired from I.C.S service, he was a D.C (District Commissioner) and he left for England a year before Burma gained its independence in 1948. He came to Burma in 1920 to work in civil service after passing the hardest I.C.S examination. He wrote several books on Burma and contributed many monthly articles to Guardian Magazine published in Burma from 1953 to 1974 or 1975. Though he wrote several books which had much literary merit to both communities, Britain and Burma (Myanmar), people failed to recognize him. The story has two parts: one part is set in the contemporary Yangon (then called Rangoon) in 2016 context and a young literary enthusiast named “Lin” found out unexpectedly the forgotten writer’s poetry book and there is surely a good deal of time gap that led him into a quest to know more about the author’s life. The setting is quite different comparing to colonial Burma and independence Myanmar (Burma), early twentieth century and 2016 which is a transitional period in Myanmar. The writer’s life is fictionalized in the novel and most of the facts are taken from his personal stories and other reference books. It is a kind of historical novel with a twist and it has comparatively constructed the two different periods in Myanmar history to convince readers, locally and abroad more about history, authorship, humanity, colonialism, and transitional development in Myanmar today.

In the coastal quiet of Baler, a studio is born—not of architecture, but of intention.* Founded by Yam, a poet whose words cradle pain gently, and Franc, an artist who paints tenderness into walls, the studio becomes a refuge for those learning to stay—with grief, love, longing, and themselves. As visitors arrive, they leave behind more than footprints: a sigh recorded in bamboo, a poem tucked into the “Found Letters” shelf, a mural painted in crooked lines. Through zines, tea, silence, and sketchbooks, the studio teaches softness as revolution. Ren creates the *Window of Soft Returns*, an installation of anonymous voice recordings—each whisper forming a community of echoes. Drew builds the *Staircase With No Wrong Turns*, inviting people to walk through emotions without shame. Franc offers brushstrokes as brave work, and Yam curates writing circles that map healing in half sentences. Together, they host festivals that feel like hugs, and they begin traveling their archive, letting softness cross oceans. Even those who once left—like Miguel—return, discovering that some doors never truly close. Others, like Tala, capture the studio’s sound and turn it into a podcast of breath and becoming. Over seventy chapters, the studio transforms into something larger than itself: a mural of memory, a sanctuary for second chances, a place where return is sacred and voice is proof of survival. In the final bloom, the studio stands not as a monument—but as a reminder: > *“Staying isn’t easy. > But chosen together, > it becomes home.”*

Bedtime stories, fantasy, fiction, romance, action, urban,mystery, thriller and anything more you can think ... Just a warning ... none of them are normal.

These are just the addition of my books on wattpad. Emily A letter to Santa Last wish And The moon and I