A Child of Sorrow by Zoilo Galang (Novel)

A Child of Sorrow is considered as the first ever English-language novel written by a homegrown Filipino writer. The book was written by Zoilo Mercado Galang (1895-1959), a writer hailing from the province of Pampanga. He published the book in 1921.

Summary


The story revolves around two lovers, Rosa and Lucio, who had undergone a lot of tribulations in their relationship. They were torn between fighting for their love or complying their responsibilities to their parents. Besides, there was Oscar who gave several quakes to their strong ties. 

Until one night, Oscar raped the beautiful Rosa. She was helpless that time like a gazelle in the teeth of a lion. The two--Rosa and Lucio--said goodbye to each other with Rosa couldn't move on and wept almost every day and Lucio who drowned himself in paperwork, books, and all. At the end, Rosa died. 

[Source: Sophia Bual; academia.edu]

Other literary works by Zoilo Galang:
1. Tales of the Philippines
2. Life and Success
3. The Box of Ashes and Other Stories

Is Senator Bong Go Running for President? (Timeline)

August 25, 2021 - Go released the following press statement:

"My position has not changed. I am still not interested in running for President. And as I have said before, if Mayor Sara runs, I will support her.

Umpisa pa lang, sinabi ko na kung ano ang magiging desisyon ng mga Duterte ay suportado ko ito. Sa ngayon, antayin na lang natin ang kanilang pinal na desisyon.

I leave my fate to God, to the Dutertes---kung anuman ang desisyon nila Pangulong Duterte at Mayor Sara pagdating sa pulitika ---and to the Filipino people dahil sila po ang nagbigay sa akin ng pagkakataon na makapaglingkod sa kapwa at marating kung saan man po ako nandirito ngayon. Hindi ko sasayangin ito.

Please lang, pagdating sa usaping eleksyon, ihuli niyo na ako dahil hindi talaga ako interesado na tumakbong Pangulo. Lahat ng problema sinasalo ng Pangulo. Nararanasan ito ni Pangulong Duterte ngayon at nakikita ko ang hirap na pinagdadaanan niya.

Mas gugustuhin kong magtrabaho at magserbisyo sa tahimik na paraan na may resulta para sa kapakanan ng mga Pilipino.

And as chair of the Senate Committee on Health, patuloy akong naka-focus na tulungan ang gobyerno at ang ating mamamayan na malampasan ang pandemya sa mas lalong madaling panahon. Bakuna muna bago pulitika. Maraming salamat po."

August 25, 2021 - Sara Duterte released the following statement:

[Statement by Mayor Inday Sara Duterte on Senator Go and President Duterte Tandem and the PDP Fiasco]

"I would like first, to apologize to my mother for this statement. Second, I ask the nation to read my message from the point of view of a politician and nothing else.

1. The President, very recently, personally confirmed to me that he will run for Vice President and Senator Go as President. It was not a pleasant event. I was left with two letters endorsed to me by the President for consideration - one note explained why I should endorse the Go-Duterte tandem and the other suggested that I take in Senator Go as my Vice President.

2. I strongly suggest to the President and Senator Go to own up publicly their decision to run as a tandem. If they can confirm it privately, then I do not see the reason why they cannot be candid about it to the public. They should simply present to the people what they can offer to our country and how they can help our fellow Filipinos. I respectfully advise them to stop talking about me and make me the reason for them running or not running.

3. Senator Pimentel and Mr. Ronwald Munsayac should stop blaming me for the sad state of their political party. It is not my fault that no one among you is a leader worthy of the respect of the majority. Do not blameme for the sitcom that your party has been reduced to.

4. I am not a "Last Two Minutes" person. I think, I organize, and I implement accordingly. In the meantime, I refuse to be a political punching bag for  party in complete disarray.

Maraming salamat mahal kong mga kababayan."

The Short Stories of N.V.M. Gonzales

N.V.M. Gonzales has released seven (7) collections of his short stories. His first book of short fiction, Seven Hills Away and Other Stories, was published in 1947 in the United States (Denver, Colorado) by Allan Swallow Press. His final short story collection, A Grammar of Dreams and Other Stories was published by the University of the Philippines Press in 1997. This was the same year that Gonzales was proclaimed as a National Artist of the Philippines. Gonzales died two years later on November 28, 1999.

Here's a quick list of Gonzales's published short story collections:

1. "The Tomato Game".1992
2. A Grammar of Dreams and Other Stories. University of the Philippines Press, 1997
3. The Bread of Salt and Other Stories. Seattle: University of Washington Press, 1993; University of the Philippines Press, 1993
4. Mindoro and Beyond: Twenty-one Stories. Quezon City: University of the Philippines Press, 1981; New Day, 1989
5. Selected Stories. Denver, Colorado: Alan Swallow, 1964
6. Look, Stranger, on this Island Now. Manila: Benipayo, 1963
7. Children of the Ash-Covered Loam and Other Stories. Manila: Benipayo, 1954; Bookmark Filipino Literary Classic, 1992

Seven Hills Away and Other Stories (1947) - This is the book that introduced Gonzales's short fiction to a wider global audience. Alan Swallow, an American English professor and publisher, printed the book because he believed that Gonzales's stories about Filipino lives is worth sharing to an American audience. 

Poems by Angela C. Manalang Gloria

Paradox

The things I planned and wanted so
Held off my bidding like a foe:
A past, white feathers in my hair,
Applause, a scandalous affair.
The things I did not want at all
Now hold my body to my soul:
Conscience, an empty diary,
A son, and self-sufficiency.
Having the things that passed me by
Would I be nearer to the sky?
And stripped of all that I now have,
Would I be farther from the grave?

***

Soledad

It was a sacrilege, the neighbors cried,
The way she shattered every mullioned pane
To let a firebrand in. They tried in vain
To understand how one so carved from pride
And glassed in dream could have so flung aside
Her graven days, or why she dared profane
The bread and wine of life for some insane
Moment with him. The scandal never died.

But no one guessed that loveliness would claim
Her soul’s cathedral burned by his desires
Or that he left her aureoled in flame…
And seeing nothing but her blackened spires,
The town condemned this girl who loved too well
and found her heaven in the depths of hell.

***

Revolt from Hymen

O to be free at last, to sleep at last
As infants sleep within the womb of rest!

To stir and stirring find no blackness vast
With passion weighted down upon the breast,

To turn the face this way and that and feel
No kisses festering on it like sores,

To be alone at last, broken the seal
That marks the flesh no better than a whore’s!

***

To the Man I Married

I
You are my earth and all the earth implies:
The gravity that ballasts me in space,
The air I breathe, the land that stills my cries
For food and shelter against devouring days.
You are the earth whose orbit marks my way
And sets my north and south, my east and west,
You are the final, elemented clay
The driven heart must turn to for its rest.

If in your arms that hold me now so near
I lift my keening thoughts to Helicon
As trees long rooted to the earth uprear
Their quickening leaves and flowers to the sun,
You who are earth, O never doubt that I
Need you no less because I need the sky!

II
I can not love you with a love
That outcompares the boundless sea,
For that were false, as no such love
And no such ocean can ever be.

But I can love you with a love
As finite as the wave that dies
And dying holds from crest to crest
The blue of everlasting skies.

***

Querida

The door is closed, the curtains drawn within
One room, a brilliant question mark of light…
Outside her gate an empty limousine
Waits in the brimming emptiness of night.

***

To Don Juan

It was not love-why should I love you?-
It was not folly, for I was wise,
Yet when you looked at me, your looking
Opened a kingdom to my eyes,

It was not love, it was not folly,
I have no name to know it by,
I only know one shining instant
You held my earth, you held my sky.

***

To a Lost One

I shall haunt you, O my lost one, as the twilight
Haunts a grieving bamboo trail,
And your dreams will linger strangely with the music
Of a phantom lover’s tale

You shall not forget, for I am past forgetting
I shall come to you again
With the starlight, and the scent of wild champakas,
And the melody of rain.

You shall not forget. Dusk will peer into your
Window, tragic-eyed and still,
And unbidden startle you into remembrance
With its hand upon the sill.

***

May

April came and April went
Through a magic crystal weather.
Now with mischievous intent
Pan and I will walk together.
Lean and hold your breath and say
Softly from a jasmine bower,
"We have caught the fairy may
Can't you see her in this flower?"

***

Words

I never meant the words I said,
So trouble not your honest head
And never mean the words I write,
But come and kiss me now goodnight.

The words I said break with the thunder
Of billows surging into spray:
Unfathomed depths withhold the wonder
Of all the words I never say.

Poems by Simeon Dumdum Jr.

On the Death of a Five-Year-Old

You'll need a board, one-by-eight-by-twenty,
A hammer, a saw.

To start,
Hold a thread on the child, vertically
For length, the shoulders for width.
Saw off the board on two benches to get
The back, the sides, the lid.
Put together with a handful of nails.

You haven't planed, or painted, or cut
Any edge - 
No coffin is ever a work of art.

***

Upon Seeing a Couple Kiss While I Am Taking Coffee Near the Airport

What if no one witnessed the couple’s quick kiss?
What if I was not in the coffee shop now,
Having cappuccino alone and gazing at those who pass by?

Coincidences mark the imprint of this hour.
Whether they be casual or one of great weight,
How could I tell? Only the kissers knew the import of their kiss.

Kisses I have known (and among them were yours,
I recall one when we were going upstairs,
That’s another story, however youthful, honest, a pure joy—

As I think all kisses must be if done here,
At a coffee shop just beside the airport).
Well, to them, the kissers, I raise this cup of coffee and my heart.

***

How I Want Picasso to Sketch Me

This is how Pablo Picasso
sketched Ella Fitzgerald.
Her breasts like the waves of Hokusai,
hair a cluster of grapes.
She tilts her head upwards
the way singers do
when belting a high note.
And the song that comes out of her mouth
is like cotton candy.
That’s Ella—pour Ella Fitzgerald,
Son ami, signed, Picasso.

This is how I want Picasso
to sketch me, chest flat, like the Shield
of Achilles but with no design,
a flat cap on my head,
eyes raised but wearing glasses,
lips slightly open,
a thought bubble above me
like a growing rain cloud,
and if he cannot make the sketch
(not the least because he is dead),
I can very well do it myself.
In grade school I was doing sketches
like that which he made of Ella,
but I am poor in forging signatures
and do not know French.

***

The First to Love

Always she is a step ahead.
When I think of giving her flowers,
She waylays me with wine-red roses.
And if I get up in the morning,
Pulled out of bed by the idea
Of a long walk across the fields,
She would be there, lacing her shoes,
The coffee, which was on my mind,
Filling up the room with its presence.
But one day, when there was a downpour,
I made sure I would be the first
To suggest that we have a race
In the rain, but she turned me down,
And I saw in her smile that we
Were too old for such recklessness.
But that afternoon, the sun blazed,
And she asked what just then had crossed
My mind, that we both go outside.
The road was a patchwork of water.
I wanted to help her across
A rain puddle, forgetting that
Her legs were longer than mine.

***

Love Makes the World Go Round

He was wild
In her sixth month, he had the map of the world
Tattooed on her.
And then, without saying goodbye,
He left for America.

In her trimester,
Her belly grew into a tight and shiny globe
The Northern Hemisphere stretched around
The North Pole of her navel.
She would rub the northern slope of her abdomen
And feel the kick of the fetus
Between the United States and Canada.
And then she would wonder
In which countries
He would be now.

Since then she’d had five men
In as many years—
And five children.
This was to keep her hands holding the globe
Of her belly.
This was her only way of feeling the world—
And of going
To America.

Fernando M. Maramag: Biography and Poems

Fernando Mamuri Maramag was a Filipino poet, journalist, editor, essayist, and teacher. He was born on January 21, 1893 in Ilagan, Isabela. His father was Rafael Maramag and his mother was Victoria Mamuri, a Spanish mestiza. At the age of 15, Maramag went to study at the Philippine Normal School (now Philippine Normal University). He later transferred to the University of the Philippines where he graduated. In UP, Maramag wrote for the school paper and soon became the editor-in-chief. 

During his stay in UP, he became classmates with Jose Hilario and Pilar Hidalgo Lim. When he was 21, Maramag became the principal at the prestigious Instituto de Manila. He also taught as an English professor at UP and at San Juan de Letran. 

Maramag married Constancia Ablaza. They had six children.

Maramag worked as an editor for various publications including The Manila Tribune, Rising Philippines, The Philippines Herald, and the National Weekly. Maramag also worked for the Philippine government as the chief of the publications division of the Department of Justice. He later served as the technical assistant to Manuel L. Quezon, then President of the Philippine Senate. 

Maramag died on October 23, 1936. On January 21, 1983, a commemorative marker was installed in his hometown in Isabela to honor his contributions to Philippine literature. 

Poems:
  • The Rural Maid
  • To a Youth
  • Moonlight on Manila Bay
  • My Queen Tagala
  • The Atheist
  • A Christ Without a Cross
  • Jose Rizal
  • The Presentation
Moonlight on Manila bay

A light serene, ethereal glory, rests
Its beams on each cresting wave;
The silver touches of the moonlight lave
The deep's bare bosom that the breeze molests;  
While lingering whispers deepen as the wavy crests
Roll with weird rhythm, now gay, now gently grave;
And floods of lambent light appear the sea to pave - 
All cast as spell that heeds not time's behests.
Not always such the scene: the din of fight
Has swelled the murmur of the peaceful air;
Here East and West have oft displayed their might;
Dark battle clouds have dimmed this scene so fair;
Here bold Olympia, one historical night,
Presaging freedom, claimed a people's care.

"Fernando M. Maramag was born in Iligan, isabela in 1893. He is considered the country's first important poet in English. Records show that his works dominated The College Folio from December 1910 to November 1912, and R. Dato's Filipino Poetry (1924). A poer and essayist, Maramag's translated Ibanag folk songs into English, such as the "Cagayanon labor Song", "A Translation of an Orphan's Song", and "Cagayano Peasant Song". His poems include "To a Youth", "The Aetheist", and "Moonlight on Manila Bay". His essays were anthologized in Leopoldo Yabes's Filipino Essays in English 1910-1954 (1954). He passed away on October 23, 1936." [Source: Philippine Literature: An Introduction to Poetry, Fiction and Drama by Baritugo, Caranguian, Punsalan, Solmerano]

The Rural Maid by Fernando M. Maramag (Poem)

The Rural Maid is Fernando M. Maramag's most well-known poem and he has written well over fifty poems. It's written in the style that is uniquely Maramag's. If you read a number of his other poems, you will start to see the common glue that tends to bring them all together.

It's a poem by someone who has fallen head over heels over someone. The speaker is overflowing with romantic feelings for someone he has met just once. He is aching to see her again but he knows that may not be happening at all. He's always thinking about her and dreaming of having her in his arms.

The term "rural maid" as used in the poem could be the equivalent of the Filipino term "probinsiyana". The poet also shortened "maiden" to "maid".

How do you differentiate a rural maid from an urban maid? A rural maid is someone who grew up in the provinces. An urban maid is someone who grew up in the cities. This is the most basic difference between the two. 

The Rural Maid

Thy glance, sweet maid, when first we met,
Had left a heart that aches for thee,
I feel the pain of fond regret—
Thy heart, perchance, is not for me.

We parted: though we met no more,
My dreams are dreams of thee, fair maid;
I think of thee, my thoughts implore
The hours my lips on thine are laid.

Forgive these words that love impart,
And pleading, bare the poet’s breast;
And if a rose with thorns thou art,
Yet on my breast that rose may rest.

I know not what to name thy charms,
Thou art half human, half divine;
And if I could hold thee in my arms,
I know both heaven and earth were mine.

Other poems by Fernando M. Maramag - Moonlight on Manila Bay

Poems by Guillermo Castillo

Argument in a Circle

God I debate with you about your being
but your arguments go a -circling confusing
till I believe only in the dizziness which is me
If this should go on how should You and I ever come to 
a conclusion?
God!

***

Ink

Ink
bottled in glass prison
meaningless in itself
black and mute without a language
silent but strongly urged
to speak.

Ink
chance-impressed on white
inarticulate unintelligible chaotic
welcome on the bareness of white
but still foreign excommunicate.

But ink
pen-lifted pen-impressed
on black white paper
Will-ordered
Interprets intensifies clarifies
expresses
Life.

***

Picture Show

By God’s divine will,
I waken sitting in the dark
with my attention set
upon a Screen before me
while God behind me in His closet
with His intricate machines
projects a Moving Picture Show
a masterpiece which we call – LIFE

***

I Bring Thee Great Wealth, Georgianna

I bring thee great wealth, Georgianna
I bring these to thee:
I bring thee a bird, Georgianna
A bird I bring thee;
I bring thee a rose, Georgianna
A rose I bring thee;
I bring thee my love, Georgianna
My love, all for thee;
Please give me your love, Georgianna
Please come live with me.

(I love you, go away, (said Georgianna.

I bring you a car, Georgianna
Hop in, drive with me;
Got plenty money, Georgianna...

(Yes yes! Let me see...
(I'm yours, let's away! (cried Georgianna.

Ma. Romina M. Gonzales Biography

Ma. Romina M. Gonzales is a Filipino writer and journalist. She is most well-known in the Philippine literary scene as a writer of short stories. Welostit, a short story of hers won 3rd prize at the 1997 Palanca Literary Awards. Her short story Flood won 2nd prize at the 1999 Palanca Awards. Her first collection of stories titled Welostit and Other Stories was published by the University of the Philippines Press in 2003.

From the "The Author" page of Welostit and Other Stories:

Ma. Romina M. Gonzales has a degree in Communication Arts, cum laude, from Assumption College, and a master's degree in Creative Writing from the University of the Philippines in Diliman. She worked as an associate editor of the Philippine Human Rights Monitor and as a shipping and travel correspondent of the defunct Manila Chronicle before moving to TODAY, where she is a senior reporter covering the Malacanang beat.

She was a fellow at the UP and Silliman national workshops, at the Hawthornden International Retreat for Writers in Scotland, and at the Women in Journalism International Programme of the Institute for the Further Education of Journalists in Sweden. Some of her stories - hatched between consciousness and sleep, mostly written between deadlines - have won Carlos Palanca Awards. She is working on her first novel.

She lives with her family in a 133-year-old house in Malabon.

Welostit and Other Stories by Ma. Romina M. Gonzales

Welostit and Other Stories is a short story collection by Ma. Romina M. Gonzales. It was published by the University of the Philippines Press in 2003. It contains 10 short stories, most of which have previously appeared in other publications. The cover for the book was designed by Luis Joaquin M. Katigbak and featured an illustration by Adam Julian David.

The 10 stories in the collection are:
1. Till There Was You (first appeared in Philippine Free Press)
2. Offertory (first appeared in Philippine Free Press and The Likhaan Book of Poetry and Fiction 1996)
3. Metropole Valentine
4. Sanded Soles (first appeared in Today's Weekender and Dream Noises: A Generation Writes)
5. Elevator (first appeared in Today's Weekender and The Likhaan Book of Poetry and Fiction 1995)
6. Rock (first appeared in Philippine Free Press)
7. Welostit (first appeared in Philippine Free Press, Pen & Ink, and The Likhaan Book of Poetry and Fiction 1997)
8. Sunset Hair (first appeared in Today's Weekender)
9. Flood (first appeared in Today's Weekender)
10. Cockroach (first appeared in Philippine Free Press and Th Likhaan Book of Poetry and Fiction 2002)

Blurb from the back cover:
In her first collection of stories, Gonzales invites readers to become voyeurs of the quirky human psyche. A powerful janitor performs a peculiar ritual on top of the highest building in the city. A daughter's curiosity about her father's pagan rites leads to a fantastic tale that masks her father's darkest fears.

A motherless girl eases her loneliness by riding off to a magical playworld on a cunning horse that she has unwittingly freed. A girl cursed with hair resembling "a mass of woven mice" gets her wish and pays dearly for her vanity.

Poor relatives attend the annual reunion of their wealthy clan on a rainy day and their lives take an unexpected turn. In the title story, a thirty-something yuppie recalls with wry humor the cost of her dalliance with her young nephew's best friend.


Here's an excerpt from the title story, Welosit. This story won the 3rd Prize in the Short Story Category at the 1997 Palanca Literary Awards.

Your eyes reminded me of newly-screwed light bulbs beaming pure light. They were free of the gathered dust that dimmed and wrecked old bulbs, and I squinted when you tried to convince me that you were two years older than me.

It was easy not to believe your claim initially, your long hair over your clean, lineless face; your loose jeans under your loose, over washed, overused shirt; your easy laughter. Later, your shallow memory. You were either an amnesiac collagen-dependent or many, many years younger.

There were times when I would forget how old we were and you would just talk about anything you could think of, perhaps to keep me from remembering. But music often broke it. One time, we were driving along Quezon Avenue, looking for a place to eat when the DJ on the radio said something about a “Blast from the Past,” and aired “Man on My Mind” which I sang along with, to your apparent dismay. “Who is that?” you asked. The curve on my lips straightened when I saw your bright eyes.

“Carly Simon,” I said, and continued singing along with the song in my head.

You wrinkled the corners of your eyes, producing wispy lines.

“The daughter of Paul Simon,” I said with a straight face.

“Paul who?” you asked, killing my joke.

“Paul Simon. Of Simon and Garfunkel.”

“Simon and who?”

“Simon and Garfunkel. ‘Sounds of Silence’.”

“‘Sounds of Silence’?”

“‘The Boxer’, ‘Scarborough Fair’, ‘El Condor Pasa’, ‘The Only Living Boy in New York’. You know, ‘Time, check your plane right on time. You know, I’ll probably go fine. Fly down to Mexicowowowo’—or something like that.”

“Oh. Ohhh, that song. They sang that? I thought Everything But the Girl did that. It was just a cover, then.”

I was younger than you when I first heard that song. I was in high school, rubbing my eyelids an iced moss-green for a late afternoon schools dance, all the time thinking of how I could squeeze out of a date with my mother’s friend’s son and sprint behind the dimmed gym with the rest of my dateless friends to sing Leif Garret’s version of “Put Your Head on my Shoulder”---I, for Michael Jackson; Beth, for Shawn Cassidy; Nimfa, for the funniest Sotto brother, Vic. Nimfa would punch my shoulder every time I reminded her of her teenage infatuation, seventeen years from that day. She’d say that at least, she had good taste---Vic had since become sought-after by femmes fatale while Michael Jackson, whose darker, big-haired, flaring-nosed version I used to hang on my wall, had turned to boys and monkeys. With slanted eyes, she would tell me that I too had resorted to the same pursuits. I could have easily retorted with a hundred caustic remarks thinly disguised as jokes but I would never answer her, not even with pursued lips.

A.E. Litiatco: Writer, Poet

A.E. Litiatco is a Filipino writer and poet. Together with A.R. Laudico, Litiatco wrote the screnplay for the film Amapola (1948). Produced by Sampaguita Pictures and directed by Tor Villano, the film starred Paraluman, Oscar Moreno, and Lillian Leonardo.

Books:

It Isn't Just Horses: Selected Stories (1973)

Poems:

Paradox

My dear, my dear, canst though resolve for me
This paradox of love concerning thee:
Mine eyes, when opened, with thy beauty fill - 
But when they're closed they see the better still.

***

To a Herrickose Swain

If you dare ask no kiss,
And dare not beg a smile,
Nor sue that, or this,
She'll grow bored the while.
And if you merely hope
To kiss the air that kissed her,
You'll get the air, you dope - 
And she a smarter mister!

Flirt
Two-Volume Novel
Lord of Creation

Natividad Marquez: Works, Poems, Biography

Also known as Naty, Natividad Marquez was a Filipino writer, poet, educator, and lay missionary. She was born in February 1901 in Tayabas City, Quezon. She was the daughter of Gregorio Lopez Marquez and Maria Nicomedes Jurado. She died in 1956 at the age of 55. She is known for her poems, the most popular of which include The Little Sampaguita and The Sea. 

Poems:

The Little Sampaguita

Little sampaguita,
With the wandering eye,
Did a tiny fairy
Drop you where you lie?

In the witching hour
Of a tropic night,
Did a careless moonbeam
Leave you in its flight?

The Sea

Why does the sea laugh, Mother,
As it glints beneath the sun?
It is thinking of the joys, my child,
That it wishes every one.

Why does the sea sob so, Mother, 
As it breaks on the rocky shore?
It recalls the sorrows of the world.
And weeps forevermore.

Why is the sea so peaceful, Mother,
As if it were fast asleep?
It would give our tired hearts, dearest child,
The comfort of the deep.

In Search of God by Conrado V. Pedroche (Short Story)

Once upon a time, in the days when the world was younger, there lived an ugly boy. No uglier boy had ever been born in the whole neighborhood, and for a long time the unhappy parents triedto keep him from straying from their house, so ashamed they were of his looks. They loved the boy, yes, but they could not understand why he should be so ugly. Naturally Juan was a lonely child.

"I am going to look for God," Juan announced one day. "I am going to ask Him why He made me ugly.

"With faith in his heart, Juan set out in search of God. He did not doubt that he would see God. Through valleys, across rivers, over mountains he traveled.

One day, resting under a coconut tree, he fell asleep. And soon he heard a voice. Whether he wasdreaming or not he could not say but he heard the voice, and the voice said:"Friend Juan, don't be afraid. I am the coconut tree under which you are resting. I would like to know where you are going at this time of day."

"I am going to see the Lord," Juan said. "I am going to ask Him why He made me ugly."

"Will you be able to see Him?", the coconut asked.

"I'm sure I will," Juan answered.

"If you see God," said the tree, "will you ask Him for me why I have never borne fruit? I have been standing here for many, many years now and I have never been blessed with one single nut."

"If I see God, as I am sure I will, I will ask Him that for you," Juan promise the co conut tree.

Juan went on his way. Soon he came upon a river. He sat down by the bank to rest. While be wasresting, he saw a crocodile with a big tree growing on his back.

"Friend Juan," said the crocodile, "I know you are on your way to see God. Will you kindly do me a favor?"

"Of course," said Juan. "What is it that you want?"

"Please ask the good Lord why He caused such a monstrous tree to grow upon my back."

"I will gladly do that," Juan said.

On the third day of his journey, Juan stopped to rest near a brook. While he was fanning himself with a palm, he saw a farmer approaching.

"If you see the Lord as I believe you will, ask him why my pants have stayed short all these years. I want them to be as long as the pants worn by other people," said the farmer.

"I will gladly do that for you," said Juan.

After another week of journeying, Juan woke up from a good rest in the shade to find old man with a long beard bending over him. He knew at once that He was God. He knew without asking,for at that moment he felt his heart within him thumping with joy and fear.

"My boy, " said the Old Man. "You were sleeping very soundly. Did I disturb you?"

"No, Lord," Juan said. "I must have fallen asleep because I have been journeying for many days. I have come looking for you."

"I know," the Lord said.

"On my way I came across a coconut, a crocodile, and a farmer. Each of them asked me to carry a message to you, Lord," Juan said."What does the coconut want?" asked the Lord.

"The coconut tree wants to know why it has not been blessed with fruit although it has lived for many, many years," Juan related.

"That's easily explained," God said. "The coconut tree grows exactly between two yards owned by two old friends. If it bears fruit, it will only be the cause of trouble between the two neighbors. Do you understand, Juan?"

"Yes. Lord," Juan answered, "I will tell the coconut tree."

"Anything else?" the Lord asked.

"When I was crossing a river, I met a crocodile. He wants to know why a tree grows on his back.He says he finds it too heavy and ungainly to lug around."

"The crocodile is in the habit of harassing the neighborhood with his constant raids on poultry yards, taking back to the river such things as pigs and chickens, sometimes even children. I have caused the tree to grow on his back to show him how heavy his sins are. He must carry this tree everywhere he goes until he reforms," the Lord pointed out.

My friend, the farmer, wants to know why it has been his lot to wear short pants all life," Juan relayed the farmer's question.

You see," God said, "If he wears long pants, he will want to go to the big city and work in an office and sit in a swivel chair while at work. He will forget all about farming. If that happens, who will till the soil? The farms will be neglected. Tell him to stick to the soil. His work is nobleand he should love it.

"I will tell him, Lord," Juan said. "And now, please tell me why you made me very ugly.""My child," the good Lord said quietly, touching Juan's stooped shoulders, "Does it matter very much to you?"

"Yes, Lord," said Juan. "It is inconvenient to be ugly."

"If the heart is good, how one looks does not really matter" the Lord explained.

"I believe you, Lord. You know best what is good for your creatures," Juan said. "Your heart is full of faith. You have never wished evil on any man. You have always shown willingness to help those in need, never counting the cost nor expecting any return for your efforts. Go back now. Your faith will be rewarded," the Lord said.

"I believe you, Lord," Juan's heart was filled with trust and gratitude.

Juan went home. Though weary and exhausted, he wasn't too tired to inform the coconut, the crocodile, and the farmer of God's answers to their questions. They were all satisfied. They trusted in God's wisdom. As soon as he reached home, Juan lay down to sleep. In the morning, when he stood before the mirror, he realized that a strange thing had happened to him in the night. His ugliness was gone!

"Great God in Heaven!" he cried, falling on his knees in profound gratitude, his faith greatly strengthened.

In the Shadows I Think of Her: a Poem by Conrado V. Pedroche

In the Shadows I Think of Her
by Conrado V. Pedroche

A young girl was taking a bath
by a wide-mouthed well:
she was naked, she was lovely,
and her shoulders were smooth
and brown and cool;
she splashed a bucketful of water
over her head, and, her hair
tumbled darkly over her tiny breasts;
her body glistening wetly
under the bright summer sky.
When she saw me she covered her nakedness
with her small ineffectual hands
and bared her white teeth in a snarl
of defiance, her eyes gleaming
with bright childish anger.

Tonight walking alone under
the flowering trees, in the shadows
I think of her: Where is she now? I whistle a tune and the silence
rings with fluid echoes - 
Did her body ripen into fullness
rich with promises of affection?
Is she waiting for a lover's kiss
in the moonlight, for her lover's arms
in the moonlight? Is she happy?
I have no way of knowing.
I shall never know.

Conrado V. Pedroche: Books, Poems, and Other Literary Works

Conrado V. Pedroche was a Filipino writer, poet, and essayist. He was born in Victoria, Tarlac on September 6, 1909. He obtained his Ph. D. degree at the University of the Philippines in 1932. 

Books:

Full Circle: A Literary Journey to This Moment (1977)
One World Comedy and Other Humorous Stories (1976)
Filipino Myths and Legends (1973)
Collected Poems (1973)
The Ginger Girl and Other Stories: a Book of the Philippine Folk Tales (1965)


Poems:

An Infant's Death
Through Ages and Ages Eternal
Hymn to Labor
The Song of the Traveller
Moon-Struck
Pandora
River-Winds
Spiders and Worms
To a Woman
Man Upon the Cross

Short Stories:

The Man Who Played for David
Ele-a-ese las be-o-bo
Donato's Quandary
The Song of the Golden Cricket
The Meadows
The Sad-Eyed Goldfish
The Ugly Butterfly
City of Grass
There Was a Boy Named David

Essays:

Kung-Kung

Former UFC Heavyweight Champions: What Happened To Them And Where Are They Now?

Mark Coleman 
One of the very first stars in the UFC and in MMA in general, Coleman fought his first five bouts in the promotion. He won all five fights. In his sixth outing, he faced Dan Severn for the inaugural UFC Heavyweight Championship belt. He submitted Severn in the very first round. Coleman never successfully defended his belt as he lost to Maurice Smith five months later. He also lost his next two bouts in the UFC.

Coleman then decided to try his luck in PRIDE. He was submitted by Nobuhiko Takada in his debut. After that, however, he went on a tear to win the Pride FC 2000 Openweight Grand Prix. In his stint at Pride, Coleman lost to legends like Antonio Rodrigo Nogueira, Fedor Emelianenko, and Mirko Cro Cop. In 2009, Coleman returned to the UFC but got knocked out by Mauricio Rua. He decisioned Stephan Bonnar in the same year. In 2010, Coleman fought Randy Couture and got submitted. This was his last fight.

Coleman was inducted into the UFC Hall of Fame in 2008. In late 2020, Coleman suffered a heart attack due to an artery blockage. He underwent a surgery to have a stent installed.

Maurice Smith
Randy Couture
Bas Rutten
Kevin Randleman
Josh Barnett
Ricco Rodriguez
Tim Sylvia
Frank Mir
Andrei Arlovski
Antonio Rodrigo Nogeuira
Brock Lesnar
Shane Carwin
Cain Velasquez
Junior dos Santos
Fabricio Werdum
Stipe Miocic
Daniel Cormier
Francis Ngannou

Poems by Carlos Bulosan

Without Ceremony

Hurriedly the crowd disappeared at the street's end.
Forever the curious faces look and stare, obscuring,
Leaving the possible truth unseen -
Open and big faces are nothing but blurred images.
These are faces that are saddened by the spying years,
Faces that once gleamed with a surge of promise
And strength, strength tautened with reservations.

From the deep tunnel of winter ploughing,
I see faces growing fragmentary with stale careers.

Under the furious triumph of winter rain, the mind
Quickens. A little leakage of memory fills, drains,
And opens a new wound of queer poignancy.
From the savage lines of faces, it moves, coils,
And sets a fire. Thought is like a mountain storm
Threatening the hunters.
How steep is time,
How deep is sleep - 

***

Letter from America

You write in the Far East where you are
They cut down the trees and leveled them to the ground
Where fire stood and laughed and screamed, where birds
Flocked to partake with the festival, but were silenced
By the barking of guns; and their story is the history
Of leaves when inviolate guerdons shake the trees.
You tell me that the mountains are tunneled, the hills
Dug out and thrown into the rivers, and the rivers
Are emptied; you tell me that the fields are planted
With camps, houses, buildings, and the garden where
We had gathered roses for the queen of spring
Is now a stable for horses, and our house us a sleeping
Quarters for soldiers.
You aske me why, and what shall I say?

What could I say in words?
I sit here fingering actualities, thinking of what
Cities I have seen indistinguishably - like rain;
But could I answer your questions with these?
In any case you would not approve of pictures,
And this makes us one. For in this city where
The streets scream for life, where men are hunting
Each other with burning eyes, mountains are made of sand,
Glass, paper from factories where death is calling
For peace; hills are made of clothes, and trees
Are nothing but candies.
In these we are almost the same. And now that I look
Out of the window I see our America bleeding.
I do not know of any answer to tell you.

***

In Time of Drought

To sit in silence is like watching the night
Spread over the land and the winds are sliding by
In an unmistakable whisper; to stand and wander in
The evening is like fingering our eyes in the dark.
Come to the valley and listen to the sharp call
Of tuber roots; and red tiger lilies are bravely shouldering
Their delicate thinness above the parched earth,
Crying for rain.

Let us wait late tonight and see how naked we appear
Under no sun, how unutterably defeatable we are
By the razor cry of exhaustion, our body's strange
History. For such is the excess of our desire:
We surrender, being whipped by futilities.

From this dread doom, there is an escape to no conflict;
This is only a cloud of smoked realities...
And now I hear the temporal cry of the loam, of birds
Sluicing the late evening air, hushing the land,
And the leaves are signaturing the approach of winter.
Nothing is more exquisite than the silver scream
Of the starved earth awakening to the thistles of rain,
Life answering life. I knew this from the easy
Stir of blood answering blood, of roots outstaying
The rose, and the sharpened slant of a tree without leaves.
Tonight the faint clash of earth is answering silence.

***

Secret

Your face is as big as a seed,
But you do not bear fruit
To complete the meaning of your name;
Like the night that spreads
Over the sea with thick wings
But has no body
To tell of its existence

***

No Story

Grass repeats the story of the wind. It bends
Down on glassy knees and whispers to the earth.
The earth laughs lovelily and poisons its leaves.
But this snow quieter than grass under rain, what does
It tell of the sun? It is spineless. When the sun burns
Its stoves, it emerges into the earth.
It has nothing to tell, but it gives the words
Of a story that the earth whispers to the grass.

***

Monuments

All night the sea rushed in monosyllables
To the shore, where the rocks and reefs loomed
Majestically and silence stood without shoes;
And the foam crept to the edges of darkness
Burning its inflammable garments, whereon
Water activities showed delight and humor.

Silence, imperial silence, I have felt your beauty
In the hour of formlessness; it cupped me up
Like an autumn wind moving into space.
Monumental silence, I too have something to tell,
I too have a passion to arise, and the honor
To possess this passion - 

All night the sea rushed in silence and knelt
In the darkness, complaining in monosyllables.

Tanabata's Wife by Sinai Hamada (Short Story, Full and Complete Text)

I
 
FAS-ANG first came to Baguio by way of the Mountain Trail. When at last she emerged from her weary travel over the mountains, she found herself just above the Trinidad Valley. From there, she overlooked the city of Baguio itself.

Baguio was her destination. Along with three other women, she had planned to come to work on the numerous roads that were being built around the city. Native women were given spades to shovel the earth from the hillsides, and to make way for the roads that were being cut.

They had almost arrived. Yet Fas-ang knew of no place where she could live in the city while waiting to be taken in as a laborer. Perhaps she would stay in the worker’s camp and be packed with the other laborers in their smelly quarters. She had heard a lot about tiered beds, the congestion in the long, low-roofed house for the road work¬ers.

It was mid-afternoon. The four women and three men, new immigrants from Bontoc, walked on the long straight road on the Trinidad Valley. They had never before in their lives seen a road so long and straight. After the regular up and down journey over the hills, the level road was tedious and slow to travel on.

Plodding along, they at last left the valley behind, passed through the narrow gap of the Trinidad River, and entered Lukban Valley. All along the road, the sight was a succession of cabbage plots, more and more.

And when they passed Lukban Valley and came to Kisad Valley still there were rows and rows of cabbage.

But now the sun was sinking low behind the brown hills in the west. And the company thought of their shelter for the night. For they had one more steep hill to climb before the city laborer’s camp. So they had been told. And their feet ached painfully. Was there no door open for them among the thatched homes in the valley?

It was then that they came to the house of Tanabata-san. The Japanese gardener was looking out through his tiny window as they were about to pass on. He halted them.

“Are you looking for work?” the gardener called in his broken dialect.

“Indeed we are, my lord,” one of the strangers replied.

“If you like, I have work for two women, in my garden,” Tanabata offered.

The men looked questioningly at the women. “Which of you would like to stay?”

One man asked.

Only Fas-ang was willing to consider the gardener’s offer. She stepped forward.

“How much would you give me?” she demanded.

“Ten pesos.”

“Ten Pesos?” Fas-ang asked for twelve, but Tanabata would not agree to that. Fas-ang reflected for a moment, and then confided to her compasions, “Guess I’ll stay. There is but a difference of two pesos between what I’ll get here and my wage if I become a road worker. Who knows? My lot here may even be better.

One of the remaining three women was also persuaded to stay after Fas-ang had made her decision. Tanabata was smiling as he watched the two make up their minds.

The rest of the company were going on their way. “So you two will stay,” the eldest of the group said, affecting a superior air. “Well, if you think it is better for both of you, then it is alright. You need not worry over us, for we shall go on and reach the camp early tonight.”

In this way, Fas-ang first lent herself to Tanabata. She was at the height of her womanhood then. Her cheeks were ruddy, though not as rosy as in her girlhood. She had a buxom breast, the main charm of her sturdy self. As she walked, her footsteps were heavy. And anyone would admit that she was indeed pretty.

II

Tanabata had had no wife. For a long time now, he had been looking for one among the native women, hoping he would find one who might consent to mary him. But none did he ever find, until Fas-ang, guided by fate, came. He had almost sent for a Japanese wife from his. homeland. He had her picture. But it would have cost him much.

Would Fas-ang, perchance, learn to like him and later agree to their marriage? This was only a tiny thought in the mind of Tanabata as he sat one evening looking wistfullv at Fas-ang. She was washing her feet by the water ditch in front of the house. Every now and then, she lifted her skirt above her knees, and Tanabata saw her clear, bright skin, tempting him.

After a time, Fas-ang herself would watch Tanabata. As they sat before their supper she would cast furtive glances at him across the low, circular table. He was bearded. Sometimes, he let his beard grow for three days, and his unshaven, hairy face was ugly to look at. Only with a clean countenance, and his blue suit did Fas-ang like him at all

Well-dressed, Tanabata-san would walk on Sunday to the market fair. Close behind him follow one of his laborers, carrying two heavy baskets over his shoulder. The baskets overflowed with the minor produce of the garden: strawberries, celery, tomatoes, spinach, radishes, and “everlasting” flowers. Fas-ang, in her gayest Sunday dress would trail in the rear. She was to sell garden products at the market.

In the afternoon, the fair would be over. Fas-ang would go home with a heavy handbag. She would arrive to find Tanabata, usually drunk, with a half-emptied gin bottle before him on the table.

Fas-ang would lay the bag of money on his crossed legs. “That is the amount the vegetables have brought us,” she would report.

“Good.” And Tanabata would break into a happy smile. He always said gracias after that, showing full trust in Fas-ang. He would pick out two half-peso pieces and give them to her. “Here, take this. They are for you. Buy yourself whatever you like with them.” For he was a prosperous, generous gardener.

On weekdays, there was hard and honest work in the garden. The other native woman had gone away when she saw that she was not favored as Fas-ang was. So, Fas- ang, when she was not cooking, stayed among the cabbage rows picking worms. All that Tanabata did was to take care of the seedlings in the shed house. Also, he did most of the transplanting, since he alone had the sensitive fingers that could feel the animate sense of the soil. He had but little area to superintend, and only three farm hands to look after.

New life! Fas-ang liked the daily turns that were her lot. Little by little she learned to do the domestic chores. Early in the morning she rose to cook. Before noon she cooked again: And in the evening likewise. She washed clothes occasionally, and more when the laundress came irregularly. She swept the house and, of course, she never forgot to leave a tea kettle steaming over live embers. Anytime, Tanabata might come in and sip a cup of tea.

III

Immediately after noon on weekdays, when the sun was hot and the leaves were almost wilting, Tanabata like to stroll and visit his neighbor, Okamoto-san. They were of the same province in Japan, Hiroshimaken. Okamoto had a Benguet woman for a wife. Kawane was an industrious and amiable companion. The only fault Okamoto found in Kawane was her ignorance. She had no idea of the world beyond her small valley.

One afternoon, Tanabata as usual paid his friend a visit. This was a great conse-quence, for he had a mind to ask Okamoto if he thought Fas-ang could be a fit wife for him. Tanabata was slow in broaching the subject to his friend, but he was direct:

“I think I shall marry that woman,” Tanabata said.

“Which woman — Fas-ang?” Okamoto said.

“Yes”

“She is good woman, I think. She seems to behave well.”

“I have known her only for a short time. Do you think she will behave well al-ways?” Tanabata asked earnestly.

Okamoto was hesitant and would not be explicit, “I can not tell. But look at my wife. She’s a peaceful woman,” he answered simply.

“There, my good friend,” Tanabata reminded his neighbor, “you forget that your wife is of the Benguet tribe, while Fas-ang is of the Bontoc tribe.”

“Yet they are good friends — as much as we are,” was Okamoto’s bright rejoinder. And they both laughed.

IV

Two days later Tanabata proposed to Fas-ang. He had frequently teased her before. But now he was gravely concerned about what he had to tell. He had great respect for this sturdy native woman.

He called Fas-ang into the big room where she heretofore seldom entered except to clean. It was dimly lighted. Fas-ang went in, unafraid. It seemed she had anticipated this. She sat close beside him on a trunk. Tanabata talked carefully, convincingly, and long. He explained to her as best as he could his intentions. At last, she yielded. Without ceremony and without the law, they were wedded by a tacitly sworn agree¬ment between themselves.

As before Fas-ang did not find difficult to tend the truck garden. To be sure, it was sometimes dull. Now and then she would get exasperated with the routine work. But only for a short time. Ordinarily, she was patient, bending over the plants as she rid them of their worms, or gathering them for the sale in the market. Her hands had been trained now to handle with care tender seedlings, which had to be prodded to grow luxuriantly.

When the sunbeams filled the valley, and the dewy leaves were glistening, it was a joy to watch the fluttering white butterflies that flitted all over the garden. They were pests, for their chrysalids mercilessly devoured the green vegetables. Still, their advent in the bright morning could stir the laborers to be up and doing before they, themselves, were outdone by the insects.

In time, Fas-ang was introduced to Japanese customs. Thus she learned to use chop¬sticks after being prevailed upon by Tanabata; they had a zinc tub outside their hut in which they heated water and took a bath in the evening; Fas-ang pickled radishes after the Japanese fashion, salting them in a barrel; she began to use wooden shoes, though of the Filipino variety, and left them outside their bedroom before she retired; she became used to drinking tea and pouring much toyo sauce in the viands; mattresses too, and no longer a plain mat, formed her beddings.

A year after they were married they had a child, a boy. The baby was a darling. Tanabata decided to celebrate. He gave a baptismal party to which were invited his Japanese friends. They drank sake, ate Japanese seaweeds, pickles, canned fish, etc.

But Fas-ang, in all this revelry, could not understand the chattering of her guests. So, she was very quiet, holding the baby in her arms.

The men (there wer no women visitors) had brought gifts for the baby and the mother. Fas-ang was very much delighted. She repeatedly muttered her gracias to all as gifts were piled before her.

Then the men consulted the Japanese calendar. The child was given the name Kato And the guests shouted banzai many times, tossing glassfuls of sake to the ceiling They wished the mother and child, good luck.

Tanabata was most solicitous toward Fas-ang as she began to recover from the emaciation caused by her strenuous childbirth. He would now allow her to go out. Sh< must’Stay indoors for a month. It was another Japanese custom.

At length, when August had passed, Fas-ang once more stepped out into the sun shine, warm and free. The pallor of her cheeks had gone. She was alive and young again. Her usual springy steps came back and she walked briskly, full of strength and passion, it seemed.

V

But what news of home? Fas-ang yearned to hear from her people back in Besao Bontoc. Had the kaingins been planted with camote and corn? Her kinsmen had heard of her delivering a child, and they sent a boy-cousin to inquire about her. He was told to see if Fas-ang lived happily, and if her Japanese husband really treated her well. I not, they would do him harm. The Bontocs or busol are fierce.

A scene from the film adaptation of the story.

The cousin came. Tanabata entertained the cousin well. He bought short pant for the Igorot boy and told him to do away with his G-strings. The boy was much pleased. After a week, the boy said he would go back. And Tanabata bought some more clothes for him.

Fas-ang saw her cousin off. Tanabata was then in the shed house, cultivating th seedlings. Fas-ang instructed her cousin well: “Tell Ama and Ina I am happy here they must not worry about me. My husband is kind, and I’m never in want. Giv them this little money that I have saved for them. You see, I have a child, so I shall live here long yet. But I do wish to go home sometime and see Ama and Ina. Often feel homesick.

She wept. And when her cousin saw her tears, he wept too. Then they parted.

VI

It was no hidden truth that Tanabata loved his wife dearly. In every way, he tried to show his affection. Once, he had not allowed her to go to the city to see the movies. But he repented after wards and sent her there without her asking.

Fas-ang soon became a cine addict. She went to shows with one of the garden boys Sometimes, she took her baby along. She carried the baby on her back. They had to take kerosene lamp with them to light their way coming home. They would return near midnight.

Tanabata, alone, would .stay at home. He sat up late reading his books of Japanese novels. When Fas-ang arrived, she would be garrulous with what she had seen. Tanabata would tuck her under the thick blankets to warm her cold feet. She would then easily fall asleep, and after she had dozed off, he would retire himself.

More and more, Fas-ang liked to attend the shows. The city was two miles away. But that did not matter. The theater was fascinating. Moreover, Fas-ang admitted, she often met several of her relatives and townmates in the theater. They too, had learned to frequent the cine. Together they had a good time.

Tabanata asked Okamoto what he thought of Fas-ang’s frequenting the shows. Okamoto, being less prosperous and more conservative, did not favor it. He advised Tanabata to stop her. But Tanabata was too indulgent with Fas-ang even to intimate such a thing to her. Though inclined to be cautious, he loved her too much to deny her any pleasure she desired.

Thus Fas-ang, after the day’s duties, would run off to the show. Tanabata had grown even more lenient. He could never muster courage to restrain her, much less scold her. She never missed a single change of program in the theater. Tanabata did not know what to do with her. He could not understand what drew her to the cine. For his part, he was wholly disinterested in screen shows which he had attended but once long ago, and with which he had been disgusted. Still Fas-ang continued to attend them as devotedly as ever.

VII

One night she did not come home. She returned in the morning. Tanabata asked where she had slept, and she said, “With my cousin at the Campo Filipino,” She had felt too lazy to walk all the way down to the valley, she said.

That whole day, she remained at home. Tanabata went out to the garden. Fas-ang rummaged among her things. She tied them into a bundle which she hid in the cor-ner. She dressed her child.

Then, at midnight, when Tanabata as sound asleep, she escaped. She carried her child and ran down the road where her lover was waiting. They would return to Bontoc, their native place. The man had been dismissed from the military post at Camp John Hay.

Fas-ang left a note on the table before she left. It had been written by the man who had seduced her. It read: Do not follow us. We are returning home to Bontoc. If you follow us, you will be killed on the way!

When Tanabata had the letter read to him he dared not pursue the truant lovers. The note was too positive to mean anything but death if disobeyed. He was grieved. And for three days, he could hardly eat. He felt bitter, being betrayed and deserted. Helpless, he was full of hatred for the man who had lured his wife away.

Okamoto, faithful indeed, came to comfort his friend. He offered to come with his wife and live with Tanabata. But Tanabata would not consider their proposition. Nor could he be comforted. He politely begged his friends to leave him alone. He had suddenly become gloomy. He sat in his hut all day and drank much liquor. He shut himself in. The truck garden was neglected.

Months passed. The rows of cabbage were rotting. Tanabata was thought to be crazy. He did not care what happened to the plants. He had dismissed the new help-ers that were left him. Weed outgrew the seedlings. The rainy season set in, and the field was devastated by a storm. Tanabata lived on his savings.

The rainy season passed. Sunny, cold November came to the hills. In a month more, Tanabata would perhaps go home to die in Japan. His despondency had not been lessened. When he thought of his lost boy, he wept all the more.

VIII

But, one evening, Fas-ang came back. She stood behind the house, scanning the wreck left of what was formerly a blooming garden. She had heard back home, from wayfarers who had returned, of Tanabata. The man who had alienated the affections of Fas-ang had left her.

“Your Japanese husband is said to be ruining himself,” some reported.

“He pines for you and his boy,” others brought back.

“It is said he is thinking of going home across the sea, but he must see his little son first,” still others informed her.

Fas-ang at once decided. “Then I must return to him before it is too late.” And so she came.

In the twilight, she stood, uncertain, hesitant. She heard the low mournful tune arising from the bamboo flute that Tanabata was playing, What loneliness! Fas-ang wondered if that now seemingly forbidding house was still open for her. Could she dispense the gloom that had settled upon it? There was a woman’s yearning in her. But she wavered in her resolve, feeling ashamed.

The music had ceased. She almost turned away when the child, holding her hand, cried aloud. Tanabata looked out of the window, startled. He saw the mother and child. He rushed outside, exultant. Gently, he took them by their hands and led them slowly into the house. Then he lighted the big lamp that had long hung from the ceiling, unused.

Poems by Virginia R. Moreno

Batik Maker

Tissue of no seam and skin
Of no scale she weaves this:
Dream of a huntsman pale
That in his antlered
Mangrove waits
Ensnared;

And I cannot touch him.

Lengths of the dumb and widths
Of the deaf are his hair
Where wild orchids thumb
Or his parted throat surprise
To elegiac screaming
Only birds of
Paradise:

And I cannot wake him.

Shades of the light and shapes
Of the rain on his palanquin
Stain what phantom panther
Sleeps in the cage of
His skin and immobile
Hands;

And I cannot bury him.

***

Order for Masks

To this harlequinade
I wear black tight and fool’s cap
Billiken*, make me three bright masks
For the three tasks in my life.
Three faces to wear
One after the other
For the three men in my life.

When my Brother comes
make me one opposite
If he is a devil, a saint
With a staff to his fork
And for his horns, a crown.
I hope for my contrast
To make nil
Our old resemblance to each other
and my twin will walk me out
Without a frown
Pretending I am another.

When my Father comes
Make me one so like
His child once eating his white bread in trance
Philomela* before she was raped. I hope by likeness
To make him believe this is the same kind
The chaste face he made,
And my blind Lear* will walk me out
Without a word
Fearing to peer behind.

If my lover comes,
Yes, when Seducer comes
Make for me the face
That will in color race
The carnival stars
And change in shape
Under his grasping hands.
Make it bloody
When he needs it white
Make it wicked in the dark
Let him find no old mark
Make it stone to his suave touch
This magician will walk me out
Newly loved.
Not knowing why my tantalizing face
Is strangely like the mangled parts of a face
He once wiped out.

Make me three masks.

***

Love the Third

In your cool hut of earth
Lure me now, Death,
And I shall come
In the thickening heat
Under the rot-sweet tree
My lust I’ll hang to fan
Till the last passerby pass
Then we can come
On a hundred legs climb
Your hollow stairs and down
Your herb root beds down
I have come
Though you feel my violet past
Trickle in clotted whispers
From what was once my eyes:
(While concubine to Life
And to art still concubine
Was passionate only when flogged
Was fertile mostly when denied)
Now be my lover
The third and my only
Matrix keeper and my last
Death in a cool hut of earth.

Livingston Research Philippines: Salary and Everything Else You Need to Know

If you are actively looking for an online job, there's a good chance that you have come across Livingston Research. This company is seemingly everywhere. Their ads constantly pop up in social media especially on Facebook. They also have regular postings in job sites. If you also read reviews about the company, most of these are fairly positive. With that said, this is definitely a company worth checking out if you are looking for a source of income that you can do online and in the comforts of your home.

In this brief guide, we are going to look into the most important things you should know about Livingston Research. These are the most frequently asked questions about the company.

Is Livingston Research available in the Philippines?

Yes, absolutely. Hundreds of Filipinos already work for the company. Some do it full-time and others do it part-time. That's one of the perks of working for a company like Livingston Research. The work hours are flexible. You decide when or how much you would like to work. You work for the company as a freelancer.

How do you apply for a job on Livingston Research?

Visit their website and click on the "Hiring" button. You should be directed to the application window. There are several levels in the application process. After signing up and inputting your details, you will have to go through several tests. I'm not sure if these tests have changed but when I applied (2021), I went through three tests. These are as follows:

1. Language test - If I remember correctly, there were 25 questions in this test. The questions are not that difficult so if you have a good grasp of the English language, answering the questions should be a breeze. There's a also a timer in finishing the test but don't worry because the time limit is more than enough for you to answer the questions. 

2. Subject test - You will advance to the subject test if you pass the language test. The questions in this test are more specific and a bit more difficult because they are meant to examine your knowledge on your chosen fields and expertise. When you apply and sign up on their website, you will be asked to choose the fields and disciplines that you want to work on. For example, you can choose the humanities or business management or science, etc. The questions in this subject test will depend on the disciplines you choose during your sign-up process. Let me give you an example. In my subject test, one of the questions was "How many sonnets did William Shakespeare write?" I got this question because during my sign-up process, I chose literature as one of the disciplines I would like to write about. 

3. Task test - If you pass the subject test, you will be provided with a task test. Basically, you will be given a task that is very similar to the tasks that you will get should you pass the task test and accepted as a regular freelancer for the company. The task test is usually an article between 300 and 500 words on a specific topic. Just like a regular task in the site, you will be given 48 hours to finish and submit the article. After submitting and uploading the finished article, wait for 2 to 5 working days for your article to be reviewed and vetted. You will receive an email telling you if you passed or failed the final test. 

This is where it gets tricky. If you failed the task test, this means that you won't get in the company as a freelancer. You can try again using a different email address. Now, passing the task test doesn't necessarily mean that you are in. Passing the task test can mean two things. One, you are in as a freelancer which means you can immediately start writing because you will have access to the paid tasks. Two, you passed the test but you will be added to a queue list of freelancers. What this basically means is that there are currently no openings for new freelancers. This means you will be considered when new openings come up. It's kind of shady and can be frustrating but it is what it is. 

Some people who passed the test wait for weeks before they are in. Some wait for months. So it's kind of a luck thing. So if you passed the task test, your only option really is to wait and hope that there will be new openings and you will be among those considered to take one of the spots.

How are you paid?

Freelancers get paid for their completed tasks via PayPal, Payoneer, and Skrill. If you don't have an account on any of these platforms, you should start getting one. I highly recommend PayPal because it's so easy to sign up and get an account. All you need is a valid email address.

How much is the Livingston Research salary for Filipino freelancers in the Philippines?

It depends on several factors. The main factors affecting salaries are the availability of tasks and the amount of time you spend on completing tasks. Obviously, the more tasks you complete, the more earnings that accumulate in your account. However, you have to keep in mind that it's not always the case that tasks are always available. There are thousands of freelancers in the system so competition for tasks is tough. Some days can go by without tasks available. 

Some freelancers earn 5000 pesos a month from Livingston Research. Some earn much less. Some earn between 10,000 and 20,000. Some even claim to earn as much as 45,000. So you see, the salaries are varied between freelancers. But here's a good metric for how much you can earn from the platform. Their pay per page for tasks is between $3.8 and $12.5. So their rates are definitely higher compared to other similar platforms out there. 

Can you work on Livingston Research full-time?

As a freelancer, it's possible. But as we mentioned earlier, the tasks available are unstable. With that said, we recommend that you don't focus on Livingston Research as your main source of income. Just treat it as another side hustle. A source of extra income. 

Your Guide to the Best Shoe and Ankle Gaiters for Running

If you ask any runner what his or her greatest frustrations are when it comes to running, there's a good chance that "pebbles getting into a shoe" will be one of such frustrations. Small stones, hardened dirt, and other forms of small debris are enemies of the enthusiastic runner especially a runner who loves trails. A pebble getting into a shoe is annoying. It makes running very uncomfortable and you can easily lose your focus because of it. If you are in an official race, taking off your shoe, removing the pebble lodged inside, and putting your shoe back on can eat away at your time. In the minute or so that you spend removing the pebble, one or two runners can easily overtake you.

Whether you are simply training or actually running an official race, it's always a good idea to put on shoe and ankle gaiters. In this quick guide, we are going to briefly look into the best shoe and ankle gaiters for running that are currently available in the market. 

What makes a good shoe gaiter? There are dozens of brands out there that make this essential running accessory. That said, options and supplies aren't a problem. But how do you choose from the available brands and models. What should you look for in an ankle gaiter?

A good and effective ankle gaiter should meet the following characteristics:
1. It actually prevents pebbles and other small debris from getting into the shoe. It should be designed in a way that it accomplishes this ultimate goal.
2. It should be easy to put on and remove. This is a very important feature especially if you are going to use the gaiter in an official race where every second counts. If you are in a race wherein you need to change the pairs of shoes you are using, removing and putting the gaiter back on should be easy to minimize the time you lose in doing so.
3. It should be tough and designed to withstand the elements like water, snow, heat, mud, etc. It should be made from materials that doesn't easily break down when exposed to these natural elements. A good ankle gaiter is something you can use for months or even years to come.

Let us now look into some of the best ankle and shoe gaiters available in the market today. The good thing about gaiters is that they are small and light so they are easy to handle and ship. Most manufacturers sell their gaiters to runners wherever they are located in the world.

1. Salomon Trail Gaiters - Salomon makes some of the most amazing gear for runners and their gaiter models are no exception. If you already use Salomon shoes, it's highly recommended that you get their gaiters because these gaiters were designed with Salomon pairs in mind. The gaiters fit snugly into their shoe models. Of course, no one's stopping you from using Salomon gaiters on other brands of running shoes.

Salomon offers two types of gaiters - Trail Gaiters High and Trail Gaiters Low. The two are pretty much the same. The biggest difference is that the High model goes higher above your ankle which means more protection. Both types feature Velcro straps which make them easy to put on and remove. Another good feature of these gaiters is the additional padding on the section that meets with your ankle bones. This extra padding protects your ankle bones from scraping and other injuries. [Buy on Amazon.]

2. 

Filipino Horror Books

Trese Comic Book Series by Budjette Tan and Kajo Baldisimo (2005-)
There are seven books in this award-winning series written by Budjette Tan and illustrated by Kajo Baldisimo. The seven volumes in the series are a must-have for comic book aficionados and horror junkies. The series perfectly combines themes of horror, crime, and dark fantasy to create original and engaging plots. Trese is one of the very few Filipino comic book series that enjoyed popularity both in the Philippines and abroad.

The main character in the series is Alexandra Trese, a mysterious female detective whose specialty is dealing with cases of supernatural origin. If the policemen encounter paranormal crimes that they can't explain and handle, they give Alexandra Trese a call. 

The Trese series:
Trese 1: Murder on Balete Drive
Trese 2: Unreported Murders
Trese 3: Mass Murders
Trese 4: Last Seen After Midnight
Trese 5: Midnight Tribunal
Trese 6: High Tide at Midnight
Trese 7: Shadow Witness. 

After reading the comic book series, you should also check out the anime adaptation of the series which is available on Netflix. The reception for the animated adaptation have been mostly positive. Most fans of the books found the adaptation really good despite the fact that it did not exactly stay true to the source material.

This is an anthology of 13 horror stories by 13 Filipino authors. Every single story in this anthology is a gem. Each story is unique in its own way. That is not surprising at all because the authors tapped for this book are already accomplished fictionists. Many of them have already published stories in various publications. 

The anthology contains the following stories:

1. All That Darkness Allows by Don Jaucian
2. The Skip by Joseph F. Nacino
3. Dalaw by Nicole V. Ignacio
4. Mama's Here by Mich Lagdameo Roque
5. The Invite by Marla Miniano
6. Sunshine by Chiara Cui
7. All the Birds by Yvette Tan
8. Going Down by Kara Ortiga
9. Fire Tree by Weng Cahiles
10. Analemma by Eliza Victoria
11. Stigmata by Chinggay Labrador
12. Phantoma, Towards a Pharmacology by Karl R. De Mesa
13. Inked by Anton D. Umali

Cubao Pagkagat ng Dilim: Mga Kuwentong Kababalaghan by Tony Perez (1993)
In this collection of short horror stories, Tony Perez transports Filipino mythical creatures that are usually associated with folklore from rural areas to Cubao which happens to be among the busiest and most populated urban centers in Metro Manila. Virgilio S. Almario described the collection as a marvelous experimentation on the short story format. And he's right. This is a great collection of original stories written in an experimental but very absorbing style.

News of the Shaman: Four Novellas of Horror by Karl R. de Mesa(2010)
The four novellas in this book have recurring characters so they intersect and build upon each other. If reading a long novel intimidates you, don't worry because this isn't a novel. Each of the four stories here can pass as a stand-alone work. Of course, you will appreciate the book more if you read all four novellas. There's a reason why de Mesa made the stories interlace each other.

The four novellas in this book are Angelorio, News of the Shaman, Faith in Poison, and Bright Midnight. 

Demons of the New Year: : An Anthology of Horror Fiction from the Philippines
Edited by Karl R. de Mesa and Joseph F. Nacino

All That Darkness Allows: 13 Tales of Horror and Dread

All That Darkness Allows: 13 Tales of Horror and Dread is an anthology of Filipino horror stories published by Summit Books in 2016. It contains 13 stories by 13 Filipino authors. It also features black-and-white photographs by Shaira Luna. It has a Foreword and a section "About the Authors". If you are just starting to dig into Filipino horror books, starting with this anthology will be a good start.

Here's a list of the stories in the book:

1. All That Darkness Allows by Don Jaucian
2. The Skip by Joseph F. Nacino
3. Dalaw by Nicole V. Ignacio
4. Mama's Here by Mich Lagdameo Roque
5. The Invite by Marla Miniano
6. Sunshine by Chiara Cui
7. All the Birds by Yvette Tan
8. Going Down by Kara Ortiga
9. Fire Tree by Weng Cahiles
10. Analemma by Eliza Victoria
11. Stigmata by Chinggay Labrador
12. Phantoma, Towards a Pharmacology by Karl R. De Mesa
13. Inked by Anton D. Umali

Back-cover blurb:
The moon takes on an ominous form, threatening mankind as it hangs from the heavens. A woman must confront her past and accept her fate when her dying best friend ask her to inherit an ancient power she might not be ready to handle. An LRT skip train sends passengers to an alternate dimension, where manila is ridden with strange creature hungry for flesh. 

A troubled little girl tiptoes around her stern mother after gaining a creepy new playmate. A mysterious all knowing entity manipulates the concept of time, sending a pair of friends on a descent into madness. A young ink aficionado unravels after getting tattoo, possessed by an unknown force that threatens the very fabric of her being. 

 All these stories and more are part of All That Darkness Allows- a modern horror anthology containing 13 works of speculative fiction from today's brightest young literary voices and the country's most prolific author in the genre. Written in blood and penned in the shadows, these are fearsome tales of horror and grief, sick humor and sheer evil, and how the macabre and the mundane can coalesce and coexist, allowing darkness to eventually take over.

The Foreword:
There are already rough sunshiny stories about life grounded in reality. Said tales can have themes that include, but are not limited to: romantic love, budding friendships, adventure, coming of age, family dynamics. They can sometimes be so hinged on a painfully rose-tinted reality that readers might find themselves blinded, unable to explore darker facets of the human condition. Not to say that these narratives aren't important or haven't contributed to the canon of fiction as a whole, but not everyone enjoys rainbows, unicorns, and happy endings. Harsh truth be told, some just prefer literature that deals with blood, guts, and the cold, inescapable kiss of death.

The Best and most popular works of horror have elucidated on themes that include, but are not limited to: the trappings of mortality, spirituality, sexuality, the supernatural, the occult. And when horror successfully navigates these deep, often murky waters, it is able to elevate the form's role in pop culture from mere pulp entertainment.

The common denominator, however, is fear. In this collection of 13 short stories, it comes in many forms: fear of parenthood, fear of accepting one's fate, fear of relinquishing control, fear of confronting the hidden demons that lay dormant until shaken awake. Horror can't exist without fear - they are close cousins entangled in a morbid embrace.

One of the most valuable functions of horror (and speculative fiction in general) - outside of scaring an individual shitless, of course - is to dwell on the questions that can't be answered by genres bound by laws of the real world. For example, how does a Cardinal of the Catholic Church gain true deliverance by feeding on the blood of young prostitutes? Is there another dimension, where ravenous alien-like creatures litter the city streets? Can a new, overprotective mother save her baby from the clutches of an otherworldly intruder? If a woman's menstruation cycle heightened her ESP, how would she use it to her advantage? Would you still call it rape if the victim were a bloodthirsty manananggal?

These are just some of the questions this anthology wishes to answer. In the end, you might discover that those answers were not the ones you were hoping for, and find yourself lost even deeper in the shadows. Don't feel too morose if you do, because sometimes, when you let the macabre consume you whole, when you allow the darkness to come in and blanket your being, it's only then that you actually see the light.

How to Send Money from Gcash to Your UnionBank Account

Can I transfer money from my Gcash to my UnionBank account. The answer is yes, you absolutely can. And it's actually very easy. The process takes just a few steps and a few minutes of your time. It's an easy and efficient way to cash out your Gcash funds. Once the money has been transferred to your UnionBank account, you can withdraw the funds from any ATM with your UnionBank debit card.

Here are the steps on how to transfer money from Gcash to UnionBank:

1. Log into your Gcash account through the app.
2. In the homepage, press the "Bank Transfer" option.
3. Select UnionBank from the listed partner banks.
4. Enter the amount you want to transfer. Keep in mind that the maximum amount of cash you can transfer from Gcash to UnionBank is 50,000 pesos. Your transfer should not exceed this account.
5. Enter your bank details (Account Name, Account Number). Double check these before you continue.
6. Enter your email address. The app will send a digital copy of your receipt to the email address you entered. Don't worry, this is an optional step which means you don't have to divulge your email.
7. Press the Send Money button.

That's it. You are good to go. The amount you transferred should reflect in your UnionBank account in real time or in just a few minutes. Of course, you will also receive an SMS in your smartphone with the details of the transaction.

Is there a transfer fee or transaction fee when you send money from Gcash to UnionBank. Yes. Gcash refers to this collected amount as convenience fee. But don't worry because it's not that high. You will charged 15 pesos per transaction. I repeat, per transaction. That means that if you transfer twice successively, you will be charged 30 pesos (15 x 2). With that said, as much as possible, try to transfer all the funds you need in a single transaction to save on fees.

Here's an example of the SMS you will receive as confirmation that your Gcash funds have been transferred to your UnionBank account:

"You have sent PHP 3000 of Gcash on 2021-Aug-03 to UnionBank of the Philippines account ending in 0532. Convenience fee for this transaction is PHP 15. Your new balance is PHP 55 with Gcash Ref. No. 1234567899874 and InstaPay Trace No. 123456. Thank you for using Gcash."

Why You Should Send Money from Gcash to UnionBank

1. It's very easy to do and it's very convenient. As I mentioned earlier, it's just a few steps and will take a minute or two of your time. You have very little to lose.

2. It's a great way to easily replenish your UnionBank account. If you are looking for an easy source of funds for your bank account without too much hassle, transferring via Gcash is the way to go. For example, you are shopping online and you need to pay via your UnionBank card but you have short funds, you can easily send funds to it via Gcash. The funds are transferred in real time.

3. The transaction fee is very minimal. It's only 15 pesos per transaction. And remember that you can transfer funds at a maximum of 50,000 pesos. 

Facebook Ads Account in Grace Period: How to Resolve the Issue

If Facebook is unable to charge and collect your payment for your ads at the end of the month, your Facebook Ads account will be placed under "In Grace Period". If you open the Facebook Ads app in your smartphone and press on the hamburger button, it says right there that your account is "In Grace Period". The only reason this happens is if you are unable to pay for your outstanding balance. 

If you go to Billing, there's a payment due notification there that says "We could not process your payment. Pay the amount due to keep your ads running." In other times, the notification says this: "We were unable to charge your ad account using __________ because you may have reached your card limit. Please add a new payment method or pay your card balance and try charging it again."

If you open your Ads account through a desktop browser, the "In Grace Period" tag isn't there. Your account only says that you have an outstanding balance and that you should pay for it immediately. 

An account being placed under "In Grace Period" is understandable. You have to pay for your outstanding balance before you are able to create another ad. But there's a problem that a lot of advertisers face when it comes to resolving this issue. Many of them get stuck "In Grace Period" despite paying for the outstanding balance. 

What's worse is that when you settle your balance, a notification will say that the payment went through but your outstanding balance still remains. It doesn't matter if you pay for the balance through the Ads app or through a desktop browser. The account keeps reverting back to one with an unpaid balance. It's very frustrating to say the least.

When I encountered this problem, I tried paying for the balance several times. I use three payment methods and I tried to pay for the balance using all of them but to no avail. My payment is not reflecting at all in my account. It just keeps on saying that I have a payment due.

The big question now is this. How do you resolve the issue? How do you make the "In Grace Period" tag go away?

I paid for my balance via PayPal and this was the message that I received: "Your PayPal (________) was successfully charged. It may take up to five minutes for this change to be visible on your account. You can now create new ads and any existing ads will start running again."

I waited for 5 minutes, an hour, a day. But the payment is still not reflecting in my account. 

Still clueless as to what the problem is, I consulted with Google. A lot of page owners and advertisers are having the same problems and issues. Solutions vary but these are the most common ones:

Ways on How to Fix and Resolve Your Facebook Ads Account That is "In Grace Period"

1. Submit a support ticket. This is the first thing you should do. Facebook Support can be very unreliable but you never know. Some users say their problems get fixed immediately, others say it took days to even receive a response, and some say they never heard back from Facebook. Nevertheless, submit a support ticket. It will take just a couple minutes of your time.

To submit a payment support ticket on the Ads smartphone app, go to the Main Menu, press Billing, scroll down to the bottom of the screen and press Get Payment Support. From there, just follow the prompts.

2. Try paying again for you balance. On the app, go to Billing, press, Pay Now, and finish the transaction. If this doesn't work, try repeating the process. Some users say their payments went through after the second or third attempt. 

If your payment is still not reflected, try waiting for 24 hours. Check on your ad account the next day if the payment went through.

3. Try adding another payment method. There's a good chance that the problem is not with Facebook but with your payment method. The good thing is that Facebook allows several payment methods at once. This means that if your primary payment method doesn't work, it will try to charge your other payment methods. 

So add another payment method to your account and try paying again for your outstanding balance. 

4. Try deleting your primary payment method then add it back again. Then tray paying for your balance. Many users say this worked for them and it immediately removed the "In Grace Period" tag. For example, if your primary payment method is PayPal, delete PayPal as a payment method then add it back. Then go through the payment process all over again.