blog-hopping, my new favorite pastime/vice
fun blogs to visit: kay peachy, kay mikael, kay naya. lalo na yung kay naya, kasi madaming links sa ibang tao. dun ko nahagilap ang blog ni maryanne moll, isang fictionist na nanalo sa palanca awards last year. mula naman sa blog ni maryanne moll, dumalo ako sa blog ni paolo manalo of jolography fame. at malamang siya rin ang naging impluwesiya sa taglish entry na 'to. ahuy.
sinulat siya ni f. sionil jose, aka manong frankie, na siyang nilagay niya sa kanyang blog. tungkol ito sa isang manifesto na naisulat niya dati. heto ang revised version na kinuha ko nang walang paalam mula sa kanyang blog.
HALUKAY SINGKO-Ahas, or The Temptation of Commercial Breaks
Which is why we’re takaw-tingin and agaw-pansin. We want everything, but only for as long as 30 seconds. Then the vision fades and we are hungry once more.
But let’s face it, sa panahon ngayon di lamang sa tinapay nabubuhay ang tao. Lumaki rin tayo sa banal na mga salita ng diyus-diyusang advertising agencies. Inside the actual chicken we are eating “crispylicious” and “juicylicious,” we clean our clothes with “tigasin bars” and almost everything is an unofficial “something” of the nation.” This is our State.
We live in a world where our realities are bordered by signs and commodities. The vision that calls us is defined by time slot and segmented by product endorsements. Here words ARE images and images, words: WHATEVER! (The gesture of two V signs, one from each hand, joined.)
HALUKAY SAIS-“Ano” ang Nasa Puso, Sundin Mo
Admit it, poetry relies on feeling, at maraming makata ang feeling. Akala nila maraming babasa sa kanila. Maraming namamatay sa akala, pero ang makata, palibhasa masamang damo, ang tagal ng mga buhay. Admit it that in a country of nonreaders, poems are probably the least read works, pero pagdating sa readings ang mga makata ang unang pinapakinggan, kaya’t habang attention is pleasing, kailangan may sinasabi.
At dahil nga feeling, siguro hindi lahat ng sasabihin ay sa pare-parehong paraan o pare-parehong sinasabi. Kung kaya’t di ko maisip kung bakit madalas sa ibang writing workshop parating ipinagpipilitan ang isa at isa LAMANG paraan sa pagsulat.
Somewhere in the Philippines there is a writing workshop that enforces homogenity, that says that the Only Poem is the Single-Metaphored Nature Poem. They are a Factory. I am thankful that the 1992 UP National Writers Summer Workshop that I attended (note that it was the last one held in the Kalayaan Residence Hall of UP Diliman before moving it up to Baguio City) had none of that. Instead there were panels of critics and their theories. There was strong resistance to theory from the fellows, which was strange especially from the poets considering here was a panel speaking in a strange language about something that seemed so important to them that had an urgency for articulation. Why couldn’t they see the similarities. Thanks to the workshop I had more questions and more things to read, and I realized that the answers weren’t always in the books. Eventually years later I met with several young writers who entertained these questions, had some answers and even more questions, and even more books. Though it helped much and I wrote, my heart wasn’t into it. I was accepted as a fellow for the workshop in 1992, but it was only in late-1999 when true excitement and urgency for writing came.
In 2000 Bino A. Realuyo solicited some poems for “Am Here”, the all-Filipino issue of The Literary Review. “Echolalia” was one of the poems I gave. It was my “bale,” “kwan” and “ano” poem-lapses of the heart. But I followed the “what” of it, wrote some more, then applied and got accepted as the only Filipino in the 2001 New York State Summer Writers Workshop, where from Carolyn Forché I found semblances of direction, a guide for further exploration into the language through a helpful “inter/active” framework for workshopping poetry, a most welcome alternative to the dominant Formalist mode of critique used in the writing workshops and programs in the Philippines.
I began writing intuitively, trusting the sound of things, and how the sound looked on paper. And eventually dininig ko ang himig ng aking puso: novelty ang tinitibok nito. Sumakay ako sa Tagalog rap ng Dongalo Wreckords, binalikan ang mapaglarong tunog ni Yoyoy Villame at sa kasalukuyan dinaranas ko ang masidhing mga daing ng Sunot sisters ng Aegis, at ng magkahalong sigaw-giling-awit ng Sexbomb Girls, kung kaya’t umabot ako sa Eat...Bulaga.
HALUKAY SIETE-Daisy Siete
Sinadya ko ang Eat…Bulaga dahil sa dalawang tao: Manong Frankie Sionil Jose at Pareng Oscar Orbos. Di sinasadya ang aming pagkikita isang araw, and both men agreed that the audience was very distracted from the written. Attention was elsewhere from the literary, it was in the popular noontime show and that was where I had to find it. Or where it found me: IN+ THE+BACKGROUND.
The point became obvious in the transformative space of the audience. Where from curious observer I became a fan. And from avid fan I became an extra in one episode of Daisy Siete, the afternoon drama series of the Sexbomb Girls . It was en-lightening (See Halukay Uno).
okay, di ba? lalo na yung Admit it, poetry relies on feeling, at maraming makata ang feeling. oo nga. hindi ko maipagkakailang feeling ako. napag-usapan namin ni avi ang bagay na ito dati pa: you have to have a sense of arrogance to write. maging tula o kuwento o kahit LJ entry lang yan. nagsusulat tayo para mabasa. dahil naniniwala tayong may magbabasa.
oo, mayabang tayong lahat.