Wo dekh kar mai pagal ho gaya tab us samay hi soch liya tha sweta meri jaan tujhe main chod kar teri seal todunga teri mast jawani ko choos choos kar maza loonga aur meri jaan mera land ko teri choot me daalunga, yeh sab dekh aur soch kar mere toh rongte khade ho gaye aur mera chota sher bi jaag gaya tha par mai use bol nai sakta tha kuch bi, toh maine bahana banaya ki mujhe joor se toilet aai hai aur land haath me leke hi bathroom me andar gaya wo darr gyi or apne boobs aur chut ko chupane lagi or mai apna lund sambhalne laga, usne bola tum yahi sab karte ho ruk sab ko batati hun teri khabar lenge mai darr gya or bola galti ho gayi mai jaan bhuj kar aisa nai kiya or bolne laga ki khud darwaza band nai karti ho aur mujhe bol rahi ho darwaja khula rahega toh mujhe kaise pata chalega ki koi andar hai aur mai waha se chala gaya.Ab jab bhi wo mujhe dekhti bhag jati thi, par meri to pyas bhuj hi nai rahi thi aur ye pyaas toh uske choot me mera lund daal kar hi katam ho sakta tha. Mujhe. For her part, Ada remained sunny side up to the Kuala Lumpur international community, but her true feelings could be seen in her painting. This would forever be known as her ‘gray’ period. She was still painting the lush foliage of the Malayan jungle, but her painting was now being done in monochrome—in white and shades of gray and black. Just like a photograph, just like those other photographs, the one on J. Harvey Kincaid’s nightstand and the ones she was receiving of Hugh’s family. And, like the photographs, her paintings were study of subtle but clearly understood concern and fear for the future as much as the present. In all of this, Stanfield was her intellectual touch stone and Sun Li was her sexual release. It wasn’t only world events that had brought Ada to this period of her art. The early part of 1941 had also brought personal sadness to her from the far distance. In April she received a letter from her Aunt Martha informing her that her father, the Reverend Henry Albin,.
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