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Category: fellows

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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Poetics: Paolo Enrico Melendez

Poetics: Paolo Enrico Melendez

fi(ə)rs

 

Allow me to start with a shot to the foot: I am a writer in mid-career only in terms of age. Few people know me. When some of those few people invite me to visit UST, as a judge in a writing contest or panelist in a workshop, another guest more often than not will confess that he had to Google me. And the top hits are almost always about the notorious American murderers, Erik and Lyle Menendez.

That’s not surprising, when I think of my mid-career trajectory. As a younger man, I was on track for the whole creative writing gig. Student awards for fiction and non-fiction. Editorial position with the liberal arts college paper. Admin job at the UST writing center. Then a succession of jobs with various music and lifestyle magazines. I even got into a couple of Free Press Awards shortlists.

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Poetics: Charisse Paderna

Poetics: Charisse Paderna

Honoring Identities: Why and How I Write Poetry

 

For many poets, the commitment to writing poetry begins with a sure and eager appreciation of expression. That appreciation may be in the reception of another’s work—as when one discovers the work of a talented poet, an experience that compels many to produce work of the same caliber (whether that attempt is successful is another question)—or in the more personal, visceral desire for artful expression: “I have something to say, and I would like to say it beautifully.”

Writing poetry began in this fashion for me. I started writing poems in 2001, after I discovered poetry through an introductory course in university. I was a sophomore then, and had almost no knowledge of the genre. Previously, the closest I came to approaching poetry was in an English class in high school, where a standard-issue textbook presented a Robert Frost poem, “Mending Wall”. Little was done with the poem besides reading it aloud in class. Our teacher fed us an interpretation: the poem was not literally about mending walls, she said. It was about building and repairing relationships, and that was that. We answered as much when the question was asked in subsequent exercises:

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Poetics: Wilfredo Pascual

Poetics: Wilfredo Pascual

WHAT I WRITE, HOW, AND WHY

 

I was once asked to name places that had the most impact on my writing. I thought about this for a while. It’s impossible for me to answer this question. I’ve been to many places in the Philippines and the United States, traveled to seventeen countries, lived and worked abroad for more than twenty years. I ran away from home when I was twelve. It’s not so much any place but the experience of being in transit, of getting lost or stuck, or passing through borders that has shaped me as writer.

 

The catalysts in my essays are never the same. Sometimes it’s a combination of things. Often it’s a hunch, something irrepressible. Or a compulsion. Sometimes it’s only after I’ve written several stories that I begin to realize what it is exactly I want to write – and only then can I say I’m just beginning to write the story. There’s always an underlying purpose and often this unfolds in places of fear and discomfort inside me. Or in absurd associations, a feeling that something is coming full circle, you start seeing it everywhere. I tend to accumulate bits and pieces of images, ideas, different structures and patterns – a ball of tangled threads. So when I sit down to write it’s as if I’m carefully pulling a random string not knowing which strings are worth weaving, which ones are the beginning, the middle, the end. It’s tricky pulling these strings. You could end up pulling the entire universe. You have to choose carefully, know when to cut them. I write personal essays, meaning years of prep work or cultivation have taken place before I even begin to write it all down – movies, maladies, math. There’s a feeling that something is coming together. When that happens nothing is banal.

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Poetics: Rogene Gonzales

Poetics: Rogene Gonzales

I write because I want to be sane

 

            It’s that simple to say.

In this world full of absurdities, my conscience dictates that writing is the only right thing left for me to do in order to feel “normal”. At the moment, I am caught up at a point when every year seems to be different; job choices change by the impulse and the monotony of the routine drains happiness out of everything I do.

Perhaps this is how it feels to be in the middle of everything.

I was once told that writing was only for expression, at times where memories were still vague to the luster of politics and economy. What would I be today when I never found that old essay my parents hid inside their cabinet?  Who could I’ve been when I just stuck myself with a retake of integral calculus and inorganic chemistry? These are the questions I always ask myself.

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Poetics: Arbeen Acuña

Poetics: Arbeen Acuña

Ang Anyo ang Nilalaman: Tala sa Babala ng Balang Araw

 

Wala naman na akong isusulat na maituturing na tunay na “bago,” dahil maaaring ipaloob ang anumang isulat sa dati nang tema, anyo o nilalaman, kaya may mga antolohiya at mga kuleksyon. Anumang bago ay may karampatan pa ring lumang kahong kalalagyan o may kung anumang relasyon sa luma, kaya may tradisyong pampanitikan at may “arkibong kultural” (sa pakahulugan ni Groys, 2014). Halos lahat ng pamamaraan ng pagkukwento, lalo sa pagitan nitong mga pahina, ay nagawa na yata, kaya may mga tumatawid ng bakod tungo sa ibang anyong biswal na mas magiging angkop sa kani-kanyang proyekto (at walang masama roon). Wala pa ako sa pagpokus sa gayong pagtawid ng anyong palabas dito sa pahina—ang pahina ang tanging espasyong nagsisilbing lunan ng aking mga palabas (o pakulo) na maaaring sa akin na lamang bago. Sa nakaraang mga isinulat, ito na marahil ang gumagabay sa akin: basta’t bago sa akin at/o hindi ko tiyak ang mangyayari at/o hindi ko alam kung mapagtatagumpayan ko at/o hindi ako sigurado kung paano ikategorya at/o ewan kung dapat nga bang ikategorya, susubukan kong isulat basta may isa o higit pang aspeto o antas na walang katiyakan.

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Poetics: Alvin Ursua

Poetics: Alvin Ursua

ANO / PAANO / BAKIT AKO NAGSUSULAT

 R O M A N T I S I S M O   S A   P A G I T A N

2016

 

Ambisyoso ako. Swear.

Gusto kong sulatan ng libro ang bawat bayan sa aming lalawigan. Quezon. Isinulat ko ang Lucena: Dagim at Dagitab, na ang Kataga, Samahan ng mga Manunulat sa Pilipinas Inc. ang tumatayong publisher, panganay kong aklat ng mga tula para pangatawanan ang kabaliwang ito. Isusunod ko ang tungkol sa karanasan ko at ng kababata ko sa Candelaria, Quezon. Wala pa akong naiisip na pamagat ng pangalawa kong kalipunan. Yabang pa lang ang mayroon ako at kagandahang lalaki kaya may nasimulan nang dalawang koleksiyon sa proyekong nabanggit. May term na “Candelaria” bilang pamagat.

Nakadisenyo ang panulat ko bilang long-term goal. Balak ko talagang isa-isahin ang paglikha ng libro ng mga tula mula sa mga karanasan ng mga Quezonian. Siguro naman, bago ako mamatay, magagawa ko iyon. O kaya nama’y habang tumatanda ako, dumarami na rin ang kasama ko sa ganoong pangarap na posibleng posible.

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Poetics: Arnie Quibranza Mejia

Poetics: Arnie Quibranza Mejia

“What I Write, How, and Why?”

 

My writing life was born the day my first lover died. I was 25 years old, in the pink of health, and felt that the future stretched infinitely before me. The trauma of seeing Ansel die at such a young age jolted me into the realization that life is fragile and may end anytime. That propelled me to start writing down memories of my life with Ansel, to capture them on paper before they dissolved beyond recollection. I was in deep grief over his passing and recalling the special moments we shared helped me get over my despair, assuring me that he was real, and what we had was real. Writing began as therapy: writing about how I felt when we first met and the holidays we shared began the healing process.

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