MY BLOSSOM LOVE FLOWER

I wrote this coz my special lover told me that our relationship looks like flannelli flowers..full of happiness and love above but darkest side beneath…

Well as need to know this is flannelli flower or flannel flower

Actinotus helianthi

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Sydney Flannel Flower

Actinotus helianthi at Henry Head Track, Botany Bay National Park

Scientific classification

Kingdom: Plantae (unranked): Angiosperms (unranked): Eudicots (unranked): Asterids Order: Apiales Family: Mackinlayaceae Genus: Actinotus Species: A. helianthi

Binomial name

Actinotus helianthi Labill.

Wikimedia Commons has media related to: Actinotus helianthi

Actinotus helianthi, popularly known as the Sydney flannel flower, is a common sight in Sydney, Australia bushland in the spring. Despite its appearance, it is not a member of the daisy family but rather a species of flowering plant of the Mackinlayaceae family, the same family as the carrot. Its generic name, meaning "furnished with rays", is derived from the Greek stem aktin-/ακτιν- "ray" or "spoke of a wheel" or "sunbeam",^[1][2] while its specific epithet is derived from its resemblance to the genus Helianthus.^[3] An iconic Sydney plant, its floral display has horticultural appeal which has seen limited use in the home garden and cut flower industry.

[edit] Description

The flannel flower is generally a herbaceous shrub growing up to 50 cm (18 in) high, although rare specimens can be found to be 1.5 m (5 feet) high.^[2] The stem, branches and leaves of the plant are a pale grey in colour, covered in downy hair (rather like a flannel in texture). The attractively lobed leaves are up to 10 cm (4 in) long and 7 cm (3 in) wide, with daisy-shaped flowerheads around 5 or occasionally 8 cm (2-3 in) in diameter. The bracts are cream to white in colour. Flowering occurs in spring and may be profuse after bushfires.^[3]

Flannel flowers grow in sandstone heathland in coastal New South Wales and Queensland, and are commonly seen around the Sydney basin in spring.

[edit] Cultivation

Plants may be propagated by seed or cutting and grow in a well-drained sunny position, and are suitable for use in a rockery or cottage garden. The Mount Annan Botanic Garden has been involved in selecting and breeding superior cultivars for the home garden and the cut flower industry.^[4] One selection developed thus far has been named Actinotus "Federation Star", and was chosen to be the New South Wales floral emblem for the Centenary of Federation (1901-2001).

[edit] Popular culture

Waratah window - Drummoyne, Sydney

The flannel flower is an iconic Sydney plant and has been used in imagery and art since colonial times.

In St Bede's Church, Drummoyne in Sydney's western suburbs, The early 20th century work The Waratah window by Alfred Handel depicts Australian native flowers, including the red Waratah, emblem of the state of New South Wales; as well as Flannel Flowers, Christmas Bells and Wattle.

[edit] References

1. ^ Liddell & Scott (1980). Greek-English Lexicon, Abridged Edition. Oxford University Press, Oxford, UK. ISBN 0-19-910207-4.
2. ^ ^{a b} Blombery, Alec (1965). "The genus Actinotus". Australian Plants (ASGAP) 3 (22): 63–65. ISSN 0005-0008.
3. ^ ^{a b} Eliot, Rodger W. & Jones, David L. (1982). "A-Ca". in Eliot, Rodger W. & Jones, David L.. Encyclopaedia of Australian Plants suitable fro cultivation. 2. Lothian Publishing. pp. 1-507. ISBN 0-85091-143-5.
4. ^ von Richter, L. and Offord, C. (1998). Flannel flowers. In The New Rural Industries. (Ed. K.W. Hyde). p505-511. (RIRDC: Canberra)

The Flannel Flower is also the emblem of the Tasmanian Mental Health Council and is worn as a stud (or brooch) on the Left Coat Lapel

HUMAN CHEMISTRY COMMUNICATION

CHEMISTRY COMMUNICATION

BY.LIA YULISTINO SUGIONO

THE BEGINNING

Neutral dimeric copper–sparfloxacin conjugate having butterfly motif with antiproliferative effects against hormone independent BT20 breast cancer cell line

according to scientists experimenal , investigation , research and such things ;Dipti Shingnapurkar^a, Ray Butcher^b, Zahra Afrasiabi^{c, 1}, Ekkhard Sinn^c, Fakhara Ahmed^d, Fazlul Sarkar^d and Subhash Padhye^a,

References and further reading may be available for this article. To view references and further reading you must purchase this article.

^aDepartment of Chemistry, University of Pune, Ganeshkhind Road, Pune 411007, India

^bDepartment of Chemistry, Howard University, Washington, DC 20009, USA

^cDepartment of Chemistry, University of Missouri-Rolla, Rolla 65401, USA

^dDepartment of Pathology, Karmanos Cancer Institute at Wayne State University School of Medicine, Detroit, Michigan MI 48201, USA

Received 20 September 2006;

A neutral dimeric copper conjugate of sparfloxacin and its phenanthroline adduct show considerable enhancement in their antiproliferative activities against hormone independent BT20 breast cancer cells.

Graphical abstract A neutral dimeric copper conjugate of sparfloxacin, having butterfly scaffold shows 10-fold enhancement in its antiproliferative activity against hormone independent BT20 breast cancer cells.

This is what can enhance your emotional feeling when you meet someone whom “click” to you or your personal and emotional feeling.

A Deeper Communication Research: Connection, Chemistry & Charisma
by Lia Yulistino Sugiono

Much of communication training focuses on formulas for specific words to say that may seem mechanical and feel inauthentic to the speaker or the listener. What is often missing from communication techniques is the magic of connectedness. Connection and its richer cousins, chemistry and charisma allow communication to elevate to higher levels of communion, where the right words are not as important as the intention to connect.

Connection is a two-way exchange of attention and emotional energy. In human interactions, connection happens when you give your attention to another person and you receive their attention at the same time. When you add love or acceptance to the interaction, you experience chemistry and the connection deepens to a soul to soul exchange.

One of the greatest life skills you will ever learn is to make genuine connection with others. The ability to connect with anyone, anywhere opens the doors to living life in a bigger way. All opportunities come from connection with other people. Think about it. In your personal life, connection leads to making friends, loving and being loved, enjoying the richness of intimacy. Professionally, the ability to connect leads to success in networking, client interaction, co-worker cooperation, cold calling, persuasion and sales. When you master the art of connection, life can bring all opportunities because you are open to them. I will go so far as to say that fear of connecting with others is the number one reason people are not successful as they could be.

Let’s take a little fantasy trip through your life. Imagine you have the ability to connect easily with anyone, anywhere. You have complete confidence in yourself to reach out to others, engage their eyes, ears and hearts and receive their attention, no matter who they are. Think of the people you could meet, the fun you could have, the business contacts you could develop, the things you could learn, the money you could make! What if your very presence were so open that you magnetically attracted attention, you sparkled with charisma? Think of how your life would be different!

The key that opens up the experience of communion is the act of receiving others. Many speakers and communicators think that good communication is merely saying the right words. They think they have to pump out energy in order to create excitement and hold the attention of others. They end up throwing their energy and words at listeners, so their own energy flows outwardly but none can come back in to them. Energy is only flowing one way. In actuality, charisma happens when you are receiving the attention of others. Charisma is not just generating dynamic energy, it is also receiving the flow of emotion and attention from others.

You can elevate your communication skills by learning the simple act of receiving. Receiving is effortlessly allowing yourself to take in another’s energy, without judgment or expectation. When you receive another person, he is drawn to you. You hold his attention as if by magnetic attraction and he is compelled to pay attention to you. And, because you are connecting so fully with him, you automatically know what to say in response to him. Speaking flows more easily in response to another. You don’t have to work so hard to think of what to say because you are being there for and with the listener.

The lovely thing about connection, chemistry and charisma is that anyone can learn to create these compelling qualities with others. The secret is to relax deeply into your own skin and experience “Being With” others using a soft eye contact which allows for no-resistance receptivity. With a little practice, you can expand your comfort level to “Be With” others so that you connect with anyone you choose. Imagine the quality of life you can have when you master the art of connection, allow yourself to create chemistry and become the one who has charisma!

Want to learn more? Came and experience our new course Communication Skills: Connection, Chemistry & Charisma. Read the course description on www.self-expression.com

Overview

Human chemistry is the study of reactions between people who are viewed as chemical species (or human particles) and with the energy, entropy, and work that quantify these processes. Historically, human chemistry derives from the 1809 chemical affinity theories of German polymath Johann Goethe who viewed intimate relationships as chemical reactions similar to those occurring between alchemical species in affinity tables. In modern human chemistry, people are viewed as chemical species, or specifically “human molecules” (a term coined by Hippolyte Taine in 1869), A or B, and processes such as marriage or divorce are viewed as chemical reactions between individuals, such as shown below, respectively:

A + B → AB (bond formation)

AB → A + B (bond dissolution)

Central to this process is the supposition of the existence of a human chemical bond, “A≡B”, that can be quantified by terms such as bond energy, bond length, enthalpy of formation, Gibbs free energy, etc. Human chemistry, to clarify, is a more advanced view on the take that good relationships are qualified by an “interpersonal chemistry” of compatible pheromones, hormones, immune systems, neurochemistry, and personalities, etc.

Cultural views
In the cultural lexicon, the generalized theory that a certain type of “chemistry” exists between successful couples is prominent, as in romantic chemistry, social chemistry, sexual chemistry, relationship chemistry, interpersional chemistry, screen couple chemistry, etc. Yet, the fact that human chemistry is not a standardized school subject, however, leaves the subject open to generalized theory speculation.

An example, is the June 2007 article “A Questions of Social Chemistry” by Canadian writer Chanel Wood, who when thinking about the question of human chemistry, was “completely mystified and very curious”. [9] In her analysis of the question, Wood asks: “what exactly is chemistry between two people?” She states that, “few people actually seem to be able to define it” and that, for the most part, “the majority of us have never given it a deeper thought, or if we have, we came to the highly logical definition of “that intangible something”… But does that really explain anything?”

Wood states, in excellent form, that:

“When I was first brought with this question of human chemistry, I was both completely mystified and very curious. Like most people, I’d never really stopped to think about it. But if chemistry in the social world is anything like chemistry is in the physical world, there has to be a logical, tangible definition.”

In conclusion of her thoughts on the issue, she outlines a combination lock theory of dating arguing that a relationship can be thought of, using the reaction model of single people as "reactants", as a:

Reactant + Reactant → Product

chemistry point of view; such that "chemistry" is a result of all the elements between any two people—character, personality traits, timing, goals, dreams, priorities, lifestyle, etc., and how they ‘react’ with the other person’s elements.

After all of these explanations , researches , proves and evidences from scientists and experts , it captured question to my thought ; the question is “How can we deal our chemistry reaction if we got it or if that happened with us to the wrong person?”

It’s weird….isn’t it?.....have you ever got it ?

CHEMISTRY COMMUNICATION

Neutral dimeric copper–sparfloxacin conjugate having butterfly motif with antiproliferative effects against hormone independent BT20 breast cancer cell line

according to scientists ;Dipti Shingnapurkar^a, Ray Butcher^b, Zahra Afrasiabi^{c, 1}, Ekkhard Sinn^c, Fakhara Ahmed^d, Fazlul Sarkar^d and Subhash Padhye^{a, ,}

References and further reading may be available for this article. To view references and further reading you must purchase this article.

^aDepartment of Chemistry, University of Pune, Ganeshkhind Road, Pune 411007, India

^bDepartment of Chemistry, Howard University, Washington, DC 20009, USA

^cDepartment of Chemistry, University of Missouri-Rolla, Rolla 65401, USA

^dDepartment of Pathology, Karmanos Cancer Institute at Wayne State University School of Medicine, Detroit, Michigan MI 48201, USA

Received 20 September 2006;

Abstract

A neutral dimeric copper conjugate of sparfloxacin and its phenanthroline adduct show considerable enhancement in their antiproliferative activities against hormone independent BT20 breast cancer cells.

Graphical abstract

A neutral dimeric copper conjugate of sparfloxacin, having butterfly scaffold shows 10-fold enhancement in its antiproliferative activity against hormone independent BT20 breast cancer cells.

COMMUNICATION SKILL

Communication Skills

In one of the most recently published diatribes against unconventional literature (this time poetry), Joan Houlihan declares that

Like all other forms of writing, poetry is a communication. The evidence is in its release from the poet's brain onto a medium designed to be read. The fact that it was written down, made readable, makes it a communication even if its only reader turns out to be its creator at a later time. Furthermore, whatever one feels about the role of the reader, or author-as-reader, there's no dispute that there is a role—a poem without a reader is not a poem, but just an artifact of the imagination.

This is so profoundly wrong in so many ways that I have been unable to resist examining the passage for its more egregiously mistaken assumptions.

Neither poetry nor fiction is "a communication" in the way Houlihan clearly intends the term to be understood here. Poets and novelists do not "communicate" information or messages or ideas or propositions or wisdom or anything else by writing poetry or fiction. If these forms of writing are to be considered methods of communication, they are very poor ones indeed, since in most acccomplished poems or novels the best that can be said is that their messages or "points" are communicated in a very roundabout way, a strategy that would seem merely self-defeating if the goal of writing them is to satisfy readers looking for the points being made or the message communicated. Most of the great works of literature would surely by now have been judged failures by the communication test: if the value of those works from the past we still read were to be found in their clearly signalled meanings, their unambiguosly announced "themes," we probably would not still be reading them. Why bother? Just take the message and run.

That poetry is written down, "designed to be read," doesn't in itself demonstrate it's to be taken as communication, although most of us do admittedly have a harder time separating the medium in which the literary arts are created from the artistic effects of which that medium might be capable than we do with painting or sculpture or music. Since we do use language to communicate, we assume all language must be used for that purpose--or that all uses of language can't escape its origins in communication or discourse. We are much more willing to grant that music, say, (the scores of which are also "written down") is something other than communication, in most cases, in fact, would resist the idea that behind the music we like is primarily an effort to communicate ideas or messages. But why is it not possible simply to grant that when poets or novelists set to work they are using language for some purposes that can't be reduced to "communication?" A poem or novel is an artificial construction of words. You may not like what has been constructed in a specific instance, but it hardly seems useful to say that it didn't communicate with you.

All of this is just confirmed if we further consider Houlihan's own contention that a poem communicates "even if its only reader turns out to be its creator at a later time." This seems frankly bizarre. If a poet at some future date "reads" a poem she has written, is she really "communicating" with herself? Would this poet even be aware of what's being communicated? Wouldn't she be looking at the poem's formal qualities, the aptness of its word choice, etc.? Why couldn't other readers look primarily to such things as well? Did Emily Dickinson consider herself finally a failure because the vast majority of her poems didn't "communicate" with anyone? Might she have been satisfied simply that she had created hundreds of well-made poems?

Even more bizarre, at least to me, is the claim that "a poem without a reader is not a poem, but just an artifact of the imagination." I will agree that ultimately most writers want readers, but what's wrong with those readers considering a given work as "an artifact of the imagination"? Isn't this the very way to define all works of art? Perhaps the problem Houlihan sees here is not that poems are products of the human imagination, but that they might be regarded as "artifacts," something that has been made by "artificial" means. Presumably poetry ought to be "natural," indeed an effort at communication. This distinction is probably at the heart of most complaints against works of art and literature that go too far in their brazen use of artifice or that are pronounced "obscure." But anyone taking up the writing of poetry and fiction is committed to an endeavor that is inescapably artificial. Poetry is an inherently unnatural disruption of our ordinary sense of what language is for (just ask all those freshmen struggling through intro to lit), but if you really resent writers playing this kind of game with words (game-playing, however, being just as integral to human nature as the need to communicate), you probably shouldn't be reading (or writing) poetry in the first place.

I looked for evidence in Houlihan's essay that I was myself misreading her message, misconstruing her point, but was only reinforced in my analysis by her conclusion, in which she writes of "poets who betray what talent they may have for the approbation of peers, who engage in the worst self-delusion: that they have something to say that can only be said in a poem." Once again we are dealing with the assumption that literature is a forum for "saying something," even if it is something "that can only be said in a poem." I've never been clear exactly what things "can only be said in a poem." If you can reformulate the poem into what it "says," then obviously you have said it in another way. If you can't put what it says into words, then just as obviously it's not saying anything. The only other alternative is that a poem just is what it is, in most ways precisely avoiding saying anything in particular. If what we have in such a piece of writing is a failure to communicate, this failure is the poem's greatest success.

AVOIDING GRAMMARS TO MAKE AN INTERESTING POEMS

Approaching poetry from the perspective of how to write well can often be better accomplished by knowing what makes a poem truly horrible in the first place.

Like all young and sensitive women of my age group (old enough to appreciate Siouxsie and the Banshees, thank you), I grew up in an era where poetry was a bit old-fashioned for most of my peer group, but among a select elite, fairly de rigeur. And it wasn't knowing my Yeats from my Keats that really delivered the line between the good poets and the bad ones - in fact, I will confess it took me several years of adulthood to determine what made a poem 'good' or ' crap' in the first place.

Actually, being rather iconoclast in thinking, I determined the only way to really know if a poem was good, was to know why some poems were considered bad. This was how I came to learn the art of poetry, and it's worked fairly well for me ever since.

Grammar is your friend. Except when it aint.

There are rules, good rules mind you, that are intended to guide you along the path of how to write well. This writer means absolutely no disrespect to those aforementioned guidelines, and further encourages each and every one of you to herewith pick up a copy of 'Strunks' Elements of Style' and memorize it thoroughly - the man was a God.

But as far as the world of poetics goes? Toss it aside.

What makes a good poem 'not horrible' is it's ability to communicate a feeling, an emotion, a moment in time that defies all reasonable communication. When ee cummings penned,

new;and you

know consequently a

little stiff i was

careful of her and(having

I am certain quite that English majors of his time did not fancy this the best example of 'proper english usage'. But for the wonder that is the expression of the human soul, we have to dare to go a bit deeper, beyond the semantics of mere language.

We have to find a voice that is our own, in spite of the rules that tell us how to express it.

We have to learn what it is to hear who we are.

End Rhyme is not the Be-All, End-All of Poetics

Most poets starting out tend to think that poetry must rhyme, and subsequently craft their innermost dictums in a rather inappropriate, singsongy way, rendering them the equivalent of nursery rhymes. Let's use the example of a form of rhyme scheme such as

"Mary had a little lamb/her fleece was white as snow/and everywhere that Mary went/the lamb was sure to go"

Or, ABCB. The 'B's' representing the end rhymes of the 2nd and 4th verse. Yes, for the more serious poets among you there is also iambic trimeter and pentameter which do not serve to make the serious tone any better, but lets leave that for another lesson.

The trouble with using this sort of format for a poem about a more serious subject than lambs and the young girls that (ab)use them is that the meter itself tends to distract from the intent of the verse.

Understanding basic meter then is a must for any beginning poet. Knowing the difference between a trochee and pentameter is akin to learning the difference between salsa and meringue - the more you know about style and form, the better able you are to incorporate fancy footwork into your own creation.

Trite Cliches, or "Your Eyes Are As Blue As The Sea"

Another thing beginning poets tend to do is adopt overused metaphor in their prose thinking that comparison in some way is better than the telling itself. Another word for a metaphor or a simile that has lost its power is a 'cliche'. And cliche's are the kiss of death in poetry.

Metaphors and similes are ways of comparing your subject with something else in order to underscore your prose, and when well constructed can make a good poem great - when they are unique and original. When a metaphor becomes overused over time, the meaning gets lost completely. At one time in the history of verse, when the first poet compared his lovers' eyes to the lure and hue of the ever-deep waters, it was likely a breath rendering experience. When a phrase becomes adopted, used and abused over time, no matter how clever, it loses all meaning. It works against the very thing that you are trying to communicate, and therefore detracts, rather than adds, to the whole of the poem itself.

Solution: Have a focus other than a feeling. Consider one aspect - and only one - of the subject that you want to capture in a poem and then let that be your impetus in everything that you write around it. When poets use cliches, it tends to be due to a lack of direction rather than any lack of talent itself.

A fine online workshop that explores metaphor with an emphasis on constructing your own imaginative figures of speech can be found at Kalliope Workshop here.

A Few Final Do's:

• Do immerse yourself in poetry. Find poets that /really/ speak to you, and then immerse yourself in that poet. Study the feel of their verse. See if you can identify what types of meter they employ and ask yourself why it works. There are numerous poetry guides out there to employ as help if you need them.
• Do let the language of your voice be your own, even if it means starting out by writing prose in unstructured, free verse. When and if forced to choose between doing the Macarena to a rap song or simply dancing in your own rhythm, choose the latter and have fun with it.
• Do learn your own voice first and foremost, and let the influence of what you love be your guide.

The copyright of the article How to Not Write a Bad Poem in Poetry is owned by Lisbeth Cheever-Gessaman.

CERITA LUCU NAMUN ANEH..............

do you know..?
kamu tahu gak...

waktu aku berduaan aja ma kekasihku...

aku tanya ;...sayang....kamu mengibaratkan aku sebagai bunga apa?

terus tahu gak dia bilang apa?
dia bilang kalo dia tuh mengibaratkan aku
ma bunga yang ada di hutan...
gak perlu diurusin..., gak perlu disiram...,gak perlu di pupuk...
tapi tetap subur .........

terus aku tanya lagi ;......bunga apa sayang ?....

terus tahu gak dia bilang apa?
dia bilang...bunga apa aja kek pokoknya yang bagus
coz aku bukan orang hutan jadi gak tahu bunga hutan yang bagus - bagus apa

terus..???????????????????you know.....

beberapa waktu yang lalu , setelah aku ada konflik dengan kekasih tercinta , pada hari kamis sekitar pertengahan bulan maret gitu , dia telepon...tahu gak dia bilang apa?...

sayang , ....apa kabar ?
terus aku jawab...baik , sayang , kamu?..

terus dia bilang ...sayang bisa ga kamu diem selama 1 menit...aja...
terus aku jawab...ga bisa...

terus tahu gak yg terjadi apa ?
HP nya langsung dimatiin!!!

aneh kan? aneh ?
ada ya...orang kaya gitu...aku ga kesel sih...
cuma ngerasa aneh aja sih...

mosok kaya gitu ya...
anyway...kayanya aku tetep sayang deh ma orang itu...

FEEL SO HOT !!!!

have you ever felt so god damn hot
as if it you are burnt down into a burning fire flame?

have you ever felt that you really wanna
swallow your head down to a freezing water
if you have that kind of condition?????

feel hot isn't it?

When the first time I knew you...I realize that you would make me feel better in many ways.
I like the way you like me , like the way you moves around me , everything bout you on me
but I just can't figure it out that you're being such a lier.............and fooled me so deep down my
HEART !!!!


SO...if the pain that I'm feeling so strong , it's the reason I'm holding on........................

in this beautiful relationship

You know you're everything I need , ..
if the river I cry ain't that long...than I'm wrong...yeah ...I'm wrong..

It's not where I belong...

GREAT WORDS FOR A STRANGE MAN ON EARTH

if you have heart ...then announce it to me...........
if you care....then show it to me....
if you're getting bored of me....then tell me ....

my dearest dady...
kill me if you don't want me...

my dearest dady...

hope you will be fine and better all the time.

I confuse that you seems to be farer and ignorer , please ...love me still

like a huge rock over me...I don't know what to do and still invective my brain

I miz your kiss , miz everything bout you..

miz the way you move above me , miz u all ...all over me...

do hope you will not consider me as a one nite stand...

love me still my dady...love me still

if don't ....please do kill me then..

Ternyata Kekasih Gue Gak GAPTEK juga...

Kira - kira pertengahan bulan Maret 2009 , gak tahu tanggal tepatnya , pokoknya sebelum jadwal ngajar kuliah tanggal 18 Maret 2009 , gue di kasih HP ma kekasih gue dengan alasan pulsa GSM gue membengkak alias kemahalan dan juga boros banget , tapi semenjak itu juga kekasih gue itu ga pernah nelepon , sms aja juga ga pernah , maunya gue mulu yang telepon , sms , kirim email , kirim fb...yah pokoknya gue lah yang mesti agresif , sampe akhirnya awal bulan Juni gue dah fade up banget....cape!!!! mesti gue mulu yang agresif dan repot!!.Finally gue cuekin aja , ga gue kirimin apa - apa , ya tahu donk...gimana rasanya kalo orang udah cape!!!.(hhfff.........)
Anyway...akhirnya dia (kekasih gue itu) telepon juga...wuih gue seneng banget (sambil mengekspresikan rasa senang dengan menengadahkan kepala keatas)...ternyata dia ga gaptek(hehehheh)..dia bilang cuma mau tahu kabarnya aja......gitu doank....aneh ya...terus....yang bikin gue tambah kaget lagi...tahu ga...ternyata pada hari itu juga , pada saat yang sama dia kirim email ke gue...yang isinya..makasih ya...miz u...
Kaum adam memang aneh ya? gak bisa di mengerti...mereka pun jarang ada yang bisa mengerti kita...ANEH...

Beautiful Words from My Very Best Friend

saat aku tak paham maksud tuhan ,
aku memilih percaya...

saat aku tertekan karena kekecewaan...
aku memilih bersyukur..

saat rencana hidupku berantakan,
aku memilih berserah..

saat putus asa melingkupiku,
aku memilih tetap maju!
dan saat ingin sms,

aku memilihmu untuk bilang
kalo kamu sangat spesial
dimata tuhan...

-------------------------------------------------------------------

I've hands but can't always help you

I've ears but can't always listen to you

I've mouth but can't always talk to you

But, I've heart taht will always pray for you...

--------------------------------------------------------------------

Apakah kamu tahu hubungan antara dua biji mata kamu?
mereka berkedip bersama
bergerak bersama
menangis bersama
melihat bersama
meskipun mereka tidak pernah melihat
satu sama lainnya..

that's our friendship like...

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