In the early 1950s, LEE KOK LIANG, a Malaysian of Straits-Chinese heritage who was to become one of Malaysia's most accomplished writers of fiction in English, spent two years at Lincoln's Inn in London completing a law degree that he had begun at the University of Melbourne in Australia. Lee recorded his European observations in a journal-cum-diary entitled Sketches, Vignettes & Brush Strokes (also given a second working title of Ramblings and Remembrances), written in London and Paris between January 1952 and February 1954, and they form, in part, the basis for his first novel, the unpublished London Does Not Belong To Me which is due in 2003. Death is a Ceremony and Other Stories was his second collection of short stories, published in 1992.
Overall, “Death is a Ceremony” is a story of a boy – Baba, who had grown up to a man, is recollecting the memories of his late grandmother’s death, at the moment of his mother’s funeral ceremony. In this story, culture is a strategy of survival, which depicts how culture signifies, or what is signified by culture, a rather complex issue. As the eldest son, he is responsible to be the head of the funeral procession, whereas makes he noticed the absence of something – the sense of lost respect towards his own culture. As a consequence, the conflicting styles are in a reflection of the cultural and historical discourses, battling to be heard within the story that lies beneath Malaysian’s Chinese community. Through his memory recalls, he is in search of his own identity and yet realizes what he already dismissed – the value of a family that he left out many years ago for the modern lifestyle in the city. There were lots of cultural issues discussed in the story which support that the writer celebrates the Malaysian culture in more specific term, a Chinese culture.
In this story, he used the flashback literary technique profusely to depict the past and the present concurrently, wherefore make it more interesting to see how certain things being presented in this story and thus, makes the story stands out. Here, within the framework, the story is written from the third person, omniscient point of view which mean that the narrator sees all, reports all, knows and explains the inner workings of the minds of any or all characters. For instance, sometimes the narrator tells the readers about the main character – Baba, through the eyes of other minor characters in the story. The used of some diction from two different races in the text – i.e sarong (Malay) and chi kee (Chinese), were the portrayal of Malaysian multicultural lifestyle amongst the people take place. Hence, the writer wants to deliver a message for the new generation; to put more appreciation towards the culture in order to maintain the ancestral tradition. That’s the right way to keep on celebrates the Malaysian culture throughout ongoing civilization in the future, although after the 50 years of nationhood.
What do u think bout this picture? Well, it's not juz a stupid sketch at all. And I believe that there must be a reason. From my point of view, I agree with those phrases within the sketch. But somehow, even thought that all of the point can be seen in our society - when it's come to talk bout politic, we still can't argue the other fact of our life. The fact that we need the ruler 4 thz country, like the government. The previous election shows an unpredictable result, whereas create changes that brings up full of hope and trust towards better development. Politic here... Politic there... Politics are everywhere... Hurmmm... 
