Summary: Rowena Festin’s Ang Kuwento nina Maria Puting Kilay, Narsing Buang at ng mga Taga-San Jose

Summary: Rowena Festin’s Ang Kuwento nina Maria Puting Kilay, Narsing Buang at ng mga Taga-San Jose

Summary
Rowena Festin’s Ang Kuwento nina Maria Puting Kilay, Narsing Buang at ng mga Taga-San Jose
Moderator, Bienvenido Lumbera

Sa pagsisimula ng diskusyon ng manuskrito ni Rowena Festin, ipinaalala ni Bienvenido Lumbera na mula sa Kanluran ang karamihan sa mga kritisismo na ginamit ng mga panelist at fellows upang basahin ang mga akdang isinalang sa Workshop. Ito umano ang dahilan kung bakit naiiba ang proyekto ni Festin sapagkat naka-ugat ito sa mga tradisyon ng panitikang oral at kuwentong bayan sa Pilipinas.

Inilarawan ni Festin ang kanyang proyekto—isang produkto ng kanyang tesis sa MA—bilang isang pagtatangka na panatilihin ang mga kuwento tungkol sa kanyang bayan (San Jose, Mindoro) sa panahon ng telebisyon at internet. Dagdag ni Festin, nakatahi sa kanyang mga kuwento ang mahabang kasaysayan ng kanilang bayan upang magsilbing daluyan ng kolektibong alaala ng mga taga-San Jose.

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Summary: Arvin Mangohig’s Martial Law: Poems for the Dead

Summary: Arvin Mangohig’s Martial Law: Poems for the Dead

Summary
Arvin Mangohig’s Martial Law: Poems for the Dead
Moderator, J Neil Garcia

Arvin Mangohig’s manuscript is a lyric sequence that dwell on the time and space of the Martial Law period. The proposed book is structured around various themes: suppression of freedoms, death, philosophy, silence, nostalgia, and love. While the project is nearly done, Mangohig was seeking comments and suggestions regarding the collection’s pacing and sequencing and on possible ways of juxtaposing the poems. More importantly, he was concerned if he should include pieces that go beyond the “Marcosian timeline” and that allude to the culture of violence and impunity under the present regime; as well as personal poems where the “I” can counterbalance the “negative energies” of the dominant themes in the collection.

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Poetics: Rowena Festin

Poetics: Rowena Festin

ANG KUWENTO NINA MARIA PUTING KILAY, NARSING BUANG AT NG MGA TAGA-SAN JOSE

 

Ang aking mga kuwento ay palaging nagmumula at bumabalik sa San Jose, Occidental Mindoro, ang bayang aking pinanggalingan. Malapit kami sa dagat. Abot-tanaw rin mula sa amin ang Kabundukan ng Halcon na siyang naghahati sa Occidental at Oriental Mindoro.  Ang bayang ito ang nag-iwi sa kuwento nina Maria at Narsing.

Nais kong ituloy ang pagsasalaysay sa mga kuwento at danas nina Maria Puting Kilay at Narsing Buang at ang iba pang mga tauhang umiral sa aming bayan, na nasimulan ko bilang bahagi ng aking MA thesis. Nais kong muling isalaysay ang kanilang kuwentong umiral noong panahong mabisa pa ang kanilang kapangyarihan sa imahinasyon ng mga bata at matatanda, na unti-unting nawala dahil unti-unti silang natabunan ng mga kuwento ng mga walang hanggang pag-ibig at pakikipagsapalaran ng mga bida sa mga teleserye at telenobela. Sa ngayon, hindi na sila kilala ng mga bata sa San Roque.

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Poetics: Arvin Mangohig

Poetics: Arvin Mangohig

A POETICS FOR THE LYRIC SEQUENCE:

NOSTALGIA, CLAUSTROPHOBIA,

AND THE NECESSARY ENGAGEMENT OF EVIL

 

My book project is a lyric sequence about Martial Law.

 

I was born in 1976, believe it or not, by the time I was 7 years old in 1983, when Ninoy Aquino was assassinated, that cold-blooded murder served only to confirm my childhood fear: that there was something very wrong about Filipino Society—and I don’t use caps lightly—that the big, bad world out there was really big and really bad.

 

The lyric sequence is built, stacked, layered. One can liken it to a novel or a marathon in terms of “chapters” and “pacing.” Those are very apt comparisons. But for the purposes of this poetics, I would like to use the concept of collocation. Someone has defined the lyric sequence as:

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Summary: Paolo Enrico Melendez’s fi(ə)rs

Summary: Paolo Enrico Melendez’s fi(ə)rs

Summary
Paolo Enrico Melendez’s fi(ə)rs
Moderator, Issy Reyes

Paolo Enrico Melendez grounded his project within the field of the punk subculture in the country. As such, Melendez explained, his project somewhat adheres to certain principles that consequently determine the production, distribution, and consumption of his work. However, he also clarified that—contrary to popular notions about punk’s “anarchistic” and “nonconformist” tendencies—his work still aspires for some level of technical sophistication and mastery.

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Summary: Peachy Paderna’s work in progress

Summary: Peachy Paderna’s work in progress

Summary
Peachy Paderna’s work in progress
Moderator, Gemino Abad

Having worked entirely in the confessional mode, Peachy Paderna aims to write poems that are more outward looking. In her current work, the poems are preoccupied with specific junctures in Philippine history. Specifically, the pieces seek to recast and reexamine this history by fleshing out lesser known events and personae, providing alternative and/or counter positions to the usual grand narratives of the county’s past.

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Summary: Wilfredo Pascual’s excerpt from a work in progress

Summary: Wilfredo Pascual’s excerpt from a work in progress

Summary
Wilfredo Pascual’s excerpt from a work in progress
Moderator, Cristina Pantoja-Hidalgo

Wilfredo Pascual’s current project is a collection of essays that seeks to explore the interstices of cinema and history. It interweaves two main narratives: the story of Elena Jurado, a Cebuana silent-film actress who went to the US in the early 1920s; and Pascual’s own account of his search for Elena Jurado. In the process of writing the project, Pascual eventually realized that the work is a rumination about time. He wanted to know why he was so obsessed with the past and what was his own place in the world.

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