Showing posts with label Philippine Literature. Show all posts
Showing posts with label Philippine Literature. Show all posts

The Tree by Godofredo Burce Bunao (Poem) - Meaning and Analysis

The tree was very beautiful to me
When I was a boy
I climbed for fruit or out of a branch of the tree
Made me a toy—
A top, for instance, that spun around, carefree
And wound for joy until it toppled over and was dead.

No longer the boy,
I find the tree as beautiful as though not
Just for branch
Or a bunch of fruit but-more than that-for a bed
Or to fence the ranch
In which I raise the beasts that fill the pot
In the many shapes
My simple commerce turn them to like bread
Or fish or grapes
To feed the brood the little woman me.

There go the boys.
Go watch them, strong limb; spread up the tree,
They pluck their toys
Out of its branches, as out of my childhood tree

I shaped my joys.

Meanings and Analysis


Imagine the poet standing on a road and on the side of the road is a big tree. Such tree reminds him of his childhood. A childhood where he spent a lot of time climbing trees. Climbing trees for their sweet fruits. Climbing trees for their sturdy branches from which he'd create old-fashioned toys like spinning tops. The memory encourages him to write a poem about it.

At its core, The Tree is a poem about growing up - that memorable transition between child and adult. In this process, some things change but things remain the same and intact. Read the poem again. The poet finds trees beautiful when he was a child. He still finds them beautiful as an adult. But the reasoning behind why he finds them beautiful has changed. As a child, the tree is beautiful because it gave him sweet fruits and sturdy branches for fashioning toys. As an adult, the tree is beautiful because it gives him the materials to build furniture and fences. 

The poet also encourages the reader to watch boys climb trees so that they can also experience what he's experiencing - a sweet trip down memory lane. A trip to a childhood they'll never be able to go back to - physically at least.

The last line in the poem - "I shaped my joys" - is more open to interpretation. It could mean that the poet's childhood shaped his joys into adulthood. As an adult, he finds joy building furniture and fences from trees. The same joy he experienced as a child eating the sweet fruits of trees. Would he have enjoyed building furniture if he didn't experience climbing trees as a child? Probably not as much. 

Manananggal Terrorizes Manila and Other Stories by Jessica Zafra (Book)

Manananggal Terrorizes Manila and Other Stories is a collection of short stories by Filipino author Jessica Zafra. It was first published by Anvil Publishing in 1992. The collection contains 15 stories including Portents, the story that won first place in the 1991 Carlos Palanca Memorial Awards for Literature in the short story category.

The stories featured in the collection are:

1. The Word-Eaters
2. Portents
3. Manananggal Terrorizes Manila
4. Face in the Crowd
5. What's In Your Glass
6. Scylla and Charybdis
7. Romeo, et. al.
8. "_____ Was Here"
9. Ten Thousand Easters at the Vatican
10. Doppelganger
11. The Ouija Board of Thomas Edison
12. The Wide Open Eyes of Madness
13. Kind of Brown
14. My Dog Is Dead
15. Through a Time Warp, With a Paddle

The blurb at the back of the book:

Jessica Zafra writes a column, "Womenagerie" in Woman Today and her articles have appeared in Metro. Her story, "Portents" won first place in the 1991 Carlos Palanca Memorial Awards fpr Literature. She was a UP Summer Writers' Workshop Fellow in 1985.

Jessica was a scholar at the Philippine High School and moved on to the University of the Philippines to major in Comparative Literature.

Manananggal Terrorizes Manila and Other Stories by Jessica Zafra

Other books by Jessica Zafra:


Journey: An Autobiography in Verse by Mila D. Aguilar (Poetry Book)

Journey: An Autobiography in Verse (1964-1995) is a poetry collection by Filipino author and poet Mila D. Aguilar. It was published by the University of the Philippines Press and the Creative Writing Center on March 15, 1996. The book contains an Introduction by National Artist for Literature Francisco Arcellana, Sr. The Introduction was written in verse form and so was the Preface by the author.

The blurb from the book's back cover:

"This book is not only an autobiography in verse; it is the history of a society in radical transition. Mila D. Aguilar, without realizing it at the time she was writing her poetry, has chronicled the most significant turn of events in Philippine society in the last half of the twentieth century, as it affected a Filipino woman of the petty bourgeoisie, in her prime.

Mila D. Aguilar was born in 1949, a baby boomer strongly influenced by her father, who won the Ramon Magsaysay Award for his pioneering work on the community school.

In the late 60s, when stirrings of the world revolutionary youth movement started, she was in college at the University of the Philippines, hotbed of dissent. When activism broke out in 1970, she was a young teacher and journalist, assigned to cover the youth front. When martial law was imposed in 1972, she had already gone underground.

She saw it all. In 1983, her revolutionary party's response to the Ninoy Aquino assassination convinced her that it was time to leave her beloved movement. Arrested and imprisoned in 1984, she was released in the midst of the jubilation over the EDSA Revolt in February, 1986.

What became of her after that? Her poems will tell you."

Journey: An Autobiography in Verse by Mila D. Aguilar

Preface:

"The poems in this collection constitute a journey launched early in my teens in quest of the meaning of life. It was a journey that necessitated - without, of course, my knowing so at the start - the discovery of three major actors in my life: Self, Society, and Maker. It took me more than thirty years to unravel the correlation between the three, and even now I suppose I should be wary to say that I already have.

Yet the feeling grows on me everyday that I have. As I review these chronologically arranged poems, I begin to see a pattern of thought and feeling that has followed my trail through the years, wherever I have been buffeted. It is aa consistent, persistent pattern outside of my control that has inexorably spiralled from my finite Self to an expansive Society, and from there to an immeasurable, awesome God.

I present these poems to the public with trepidation and not a little sadness, for going through them makes me feel that I am at the end of my rope: I have said all I can about life on earth - that is, as far as my limitations can carry me - and now all I have left to discover is life in heaven.

I guess I will continue to exist on this planet only if something remains to be done."

Dear Distance: Stories by Luis Joaquin M. Katigbak (Book)

Dear Distance: Stories is a collection of short stories written by Luis Joaquin M. Katigbak. The book was originally published by Anvil Publishing in 2016. The collection contains 20 stories. Katigbak died on April 20, 2016 at the age of 41, shortly after the first publication of Dear Distance.

Here are the 20 stories in the collection:

1. Subterrania
2. Visitors
3. It's Not Me
4. Little Fears
5. Passengers
6. Knowledge
7. Afterlife with Astrid
8. More Than I Ever Wanted Anything
9. Silences
10. Day Devoid
11. Tell the Sky
12. The Girl on the Bus
13. We Built This Robot
14. The Editorial Meeting
15. Tell Me Do, Something True
16. Robot Boy and Hepa
17. Sabado, 1995
18. Planetarium
19. And You Tell Me '87
20. Dear Distance


About the Author (from the book):

Luis Joaquin M. Katigbak (26 July 1974 - 20 April 2016) was the author of The King of Nothing to Do (Milflores Publishing, 2006), a collection of essays, and Happy Endings (University of the Philippines Press, 2006), a collection of short stories. Both were nominated for National Book Awards by the Manila Critics Circle. He won numerous honors for his writing, including four Palanca Awards, a Philippine Graphic Prize, and a Young Artists' Grant from the NCCA.

Luis worked in TV and advertising, and taught creative writing at the University of the Philippines. He was associate editor for Esquire Philippines from 2011-2015, and was also a well-known music critic. He wrote a weekly column for the Philippine Star, called "Senses Working Overtime".

Luis was hospitalized in December 2015 for complications from diabetes, and passed away on April 20, 2016 at the age of 41, shortly after the publication of Dear Distance.

At the end of the book, Katigbak wrote a section called "Some Notes on the Stories" where he talks about his inspirations for the stories in the collection. Here's that section:

Some of these stories were sparked by sights or sounds by other people, some of them approach the character of collaborations.

"Visitors" was inspired by an exhibit by Gabby Barredo; "Tell the Sky" was inspired by the work of Yvonne Quisimbing; "Little Fears" by the photographs of Frankie Callaghan. I asked Noelle Pico to dash off some lyrics to suit the lost fictional '80s rock star of "More Than I Ever Wanted Anything". "Tell Me Do..." was inspired by an illustration by Dave Yogore. "It's Not Me" was inspired by the album Identity Theft, by the band Drip (Beng Calma, Ian Magbanua, Malek Lopez, Caliph8, and Mark Laccay, at the time). "Sabado, 1995" was inspired by the Eraserheads song "Sabado" and "1995", and the '90s in general.

Many of these stories drew more directly from personal occurrences, from my life, and the lives of loved ones. If you know me in real life, you may recognize an incident or anecdote here and there. For everything borrowed without permission, you have my utmost gratitude, and, where appropriate, my sheepish apologies.

Dear Distance: Stories by Luis Joaquin . Katigbak

Dear Distance: Stories by Luis Joaquin . Katigbak

Dear Distance: Stories by Luis Joaquin . Katigbak


The Fashionista's Book of Enlightenment by Carlomar Arcangel Daoana (Poetry Book)

The Fashionista's Book of Enlightenment is a collection of poems by Carlomar Arcangel Daoana that was published in 2009 by Designed by Words Co. The collection contains 43 poems. Some of the poems have been previously published in other publications and anthologies (i.e. Ani, At Home in Unhomeliness, Dark Blue Southern Seas, Ladlad 3, Likhaan 3, Montage, Philippines Free Press, Tomas).

Reviews:


"This fine collection of forty-three poems is a gathering of odes and elegies to the grand frailties of the world: from missed relatives and pets, visited cities, to the many failures of the body as it continues enduring the daily grind of modern city-living. The poems in The Fashionista's Book of Enlightenment are driven by a formal, often detached (half-mocking?) tone that meticulously details chance encounters with strangers and instances of intimacy. Daoana delights in chronicling the many posturing and elaborate decorations of the high society, and is openly scornful at the artificial and heavily made-up. From couplets to experimentations with the prose-poem form, this book offers myriad themes that mostly revolve around a hunger for cleansing, an envy of angels, and a wanting for quieter evenings. Yet these poems are never insistent on lower volumes and change; they simply - and all-too-humanly - remain steadfastly watchful of little kindness." - Joel M. Toledo

"In The Fashionista's Book of Enlightenment we find one of the top poetic voices of the post People Power Revolution. The nuances of serene images like "The clouds hang low, bruise the tip/ Of the mountain, which, oddly, is chiseled/In such a way that the left slope looks like/Cragged ladder, broken teeth, an angle of anguish," fill the book with Byronic beauty with indigenous flair. If I were to pin my hopes on the future of Filipino poetry, Carlomar Arcangel Daoana's name would be amongst the top three. This book should be on the book shelves of serious readers of our contemporary poetry." - Nick Carbo

"Among our finest poets writing today - Carlomar Arcangel Daoana: in such poems as "Mending" and "Surrender", there throbs, beneath the casual intimacy of the considering eye and the tender feeling, a deep sense of the world's sorrow and calm, harm and care, doom and certainty." - Gemino H. Abad

Here are two poems from the collection:

Octopus


A male octopus travels an ocean
To have an embrace with his kind.
The tentacles know what to do
And soon the gaps are sealed as
If to say: nothing else but hunger.

The whirling in the depths is
A hopeless dance. No baby
Octopus shall swim in the ocean
Because of this love. As if to say:
Sacrifices is its own enduring gift.

The grip happens in darkness,
Ours, and we smell the ocean.
I knock on the door of your body
With a question: Who are you
In these ridiculously mortal clothes?

It took you half a road to enter
My bed, half a second to kiss me.
What dangerous hunger we have.
We descend into the doom -
A wreckage - arms locked.

Prayer


At this edge (must be), the altar of the world
(Given), a pile of words and significances tight
As house, light-ambushed and rain-cohered,
I invoke your pure delight and luminosity, boy
In a red jacket, registering as both breath and
Emergency, as the bus dips - sideways -
Into the three o'clock road. See you neither
Falling nor swimming in the fog, simply,
Standing and staring with no heft of purpose,
Just gazing, marvelously, letting time precipitate
As your slow body tilts toward the dissolved:
Landscape bereft of contradictions. I call to you
Instead of the muse, not just because we share
The same millennium, the same hollowed-out
Clouds of the unhinged city, but because -
Let me put it this way: You venerate lostness.
You know how to stop, and stopping, the blur
Is summoned from the details, and the unknown
Rolls like the spokes of white wheels, and
Something gets polished inside you and what shines
Is a small, incalculable belief in the little bit.
This morsel is what sustains me so the words
May come with blood in them - reprehensible,
Inert in many ways, hopefully human. As for you:
A revelation of salt, earth and the curved sky
Hiding beneath all this white. So bless me.
Restore me to my edgedness. Intervene
Against the wind shutting down flames and
Roses in my head. As soon as I hit forehead
Against the page, you should have known:
That I write because you exist on the other side,
Smoldering with a life that stays put (the way
You want it) complete and incomparable
In the total mist, needing me not one bit.


The Martyr by Nick Joaquin (Poem) - Analysis

As per Wikipedia, a martyr is "someone that suffers persecution and death for advocating, renouncing, or refusing to renounce or advocate, a religious belief or other cause as demanded by an external party". This is the general definition of a martyr. In the context of a romantic relationship, a martyr is someone who is more than willing to sacrifice everything in the name of love. This is the context that surrounds Nick Joaquin's poem The Martyr. The poem is about selfless love, blind love, uncompromising love, the kind of love that ignores everything to make the opposite party happy and free from any form of distress, emotional or physical.

The poem is about the ultimate romantic sacrifice. There's a saying in Filipino: "magpaka-martyr". This is exactly the content and theme of this poem. Now, as a reader, you can have your own opinion on the "magpaka-martyr" thing. You may think it's dangerous. Or you may think it's romantic. But it's something that exists. And very common at that. Love can enslave people. Love causes people to throw logic and reason out the window.

Being in love means never having to say you’re sorry
After all, at some point in your life
That love was the most important thing to you,
That love might be the one that you hoped would last forever,
That love made you believe that destiny does exist,
And that love made you question,
Why you were afraid to fall in love in the first place.


Lines 1-7: The speaker gushes with pride and nostalgia about falling in love, and rightly so. Everyone has been there. Meeting someone, falling in love, and believing that the universe has given you everything. According to the speaker, because of these reasons, you are not supposed to ever say sorry. Because saying sorry will be a betrayal of these things.

At that time in your life,
Everything just seemed so perfect,
Everything seemed so beautiful,
Everything seemed to glow for you,
And you were my everything.


Lines 8-12: The speaker trudges on with the superlatives he started on the first stanza of the poem. Love is perfect. Love is beautiful. Love shines on everyone. Love is everything.

I wouldn't even think twice about sacrificing my own happiness for yours,
I was even willing to bare up this walled but crumpled heart of mine,
Just so I could be with you.
All I ever did was care for you.
All I ever did was to make you happy.
And all I ever did was love you.


Lines 13-18: In this stanza, the speaker is now referring to the martyrdom of being completely and uuterly in love. A person in love will sacrifice everything for the person he loves. He is willing to be unhappy to make the loved one happy. He is willing to uncover his flaws and dark secrets just to be with his loved one. His only goal it to make the loved one happy.

Being in love means never having to say you’re sorry
But I needed to ask forgiveness from the one who was hurt the most…
Myself.


Lines 19-21: Here, the speaker divulges that there's a catch to never saying sorry to someone you love. In one way or another, there will come a time when you are going to say sorry. So if you are not going to say sorry to the person you love, who are you going to say sorry to? Your own self of course. Again, it's another sacrifice. Another show of martyrdom. You're a martyr of love. That's what martyrs do.

Strangers at First Sight by Nick Joaquin (Poem) - Analysis and Meaning

Strangers at First Sight is a poem by Nick Joaquin. On initial reading, the poem seems to be simple enough to understand. No fancy wordplay. No overbearing metaphors. But upon closer inspection, it's actually more vague than simple. It's written in clear and easy language but trying to decipher its meaning requires a bit of mental exercise. The poem is about falling in and out of love. It's about nurturing a relationship, seeing it dissipate, and hoping that you don't have to go through the same process again.

The title of the poem could be a playful reference to the saying "love at first sight". Come to think of it. Before lovers became lovers, they have to meet for the first time. During this first meeting, they were strangers to each other.

The poem also has a tinge of pessimism in it. The speaker's experiences with feelings and love has rendered him pessimistic. Enough to cause him to ignore everything and shut off his senses.

How could you possibly start from nothing?
And then end up as everything?

- The speaker is amazed at the power of love and feelings. Two people start out as strangers to each other. They don't know each other. They know nothing of each other. They are basically nothing of value to each other before they met. But after meeting and falling in love, they become everything to each other.

I never thought I’d feel this way again…
More like I pushed myself to never fall victim again
To this arresting feeling

- Here the speaker takes the opposite stance. In the first lines of the poem, he speaks highly of the power and beauty of love and feelings. In these next lines, he pushes back against such feelings. The only explanation to this pushback is that he had a bad experience with falling in love. He even used the word "victim". He was a victim of love, a victim of falling in love at first sight. And he doesn't plan on getting victimized again.

How ironic is it, That what I wanted to lose the most,
Is what most people long for their whole life

- Most people dream of falling in love at first sight. Of finding the one. But the speaker wants the opposite. He doesn't want fall in love again with a stranger only to see it disappear again.

I don’t know what to do,
Guess I’ll just ignore everything again,
Time to shut my senses to all the assaults that the world has to offer…
After all, I’ve suppressed everything so far
What’s one more to add?

- Here the speaker meets a problem. Going against your feelings is a lost cause. If you meet someone and you like her, there's not much that you can do to stop yourself from loving her. This is why the speaker laments not knowing what to do. He thinks of ignoring everything and shutting his senses. He comforts himself by reminding himself that he has suppressed everything so far.

This is definitely a poem that can be open to varying interpretations especially the last five lines. But the overall theme of the poem is on the power of feelings and the consequences of these feelings.

Games by Noelle Q. De Jesus (Short Story) - Summary and Analysis

Games is a short story by Noelle Q. De Jesus. It's a very brief piece. Just a dozen or so paragraphs. As the title of the story suggests, it's about the games a girl plays with her lover. The characters in the story weren't given names so let's call the female character Girl and her male lover Boy.

Girl likes playing games with Boy. She would regularly call Boy at the office where he works. She never gives her real name when someone picks up the phone. She would simply say that she is calling to talk to Boy. If the person who answered the phone asks who's calling, Girl would invent a name - Tina, Fannie, Malou, Carla, Sharon, etc. She would also invent accents to hide her identity. She lowers or heightens the pitch of her voice if it needs be.

She enjoys playing the game. She thinks it's fun. And her lover seems to not mind. He would answer the phone and they would talk. After the day's work, the two lovers would cuddle at home.

Eventually, there came a time when Girl stopped playing the game. One day, the lovers had a fight. The next day, feeling guilty and realizing that she was in the wrong, Girl called Boy at the office to apologize. As usual, she used one of her invented names when someone answered the phone. When Boy got on the phone and referred to her using her invented name, she was taken aback. It struck her that it's not right to be using a fake name when trying to seriously apologize to a person. This was the last time that Girl called Boy with an invented name.

About the author - Noelle Q. De Jesus got her B.A. in Interdisciplinary Studies from Ateneo. She has an MFA in Creative Writing from from the Bowling Green State University in Ohio, United States. In 1995, De Jesus won second prize in the Short Story category at the Palanca Awards for her story Blood.

Here's a short excerpt from the story:

And there was no picture in her mind as she breathed anxiously. Waiting for him to come to the telephone, nothing compared to her even when she heard the voice say, not without a teasing note. "There's a Beth on the line for you." No, she had been thinking about the words she say, how she was sorry, how she had been silly to feel so badly and how she loved him. She had been thinking that it was right to call him this way, in the morning. It was right to take just two minutes to make it better, so they would feel wonderful again and things could go back to they way they were.

Pedagogic by Cirilo F. Bautista (Poem) - Analysis and Meaning

I walked towards the falling woods
to teach the trees all that I could
of time and birth, the language of men,
the virtues of hate and loving.
They stood with their fingers flaming,
Listened to me with a serious mien:
I knew the footnotes, all the text,
my words were precise and correct-
I was sure that they were learning-
till one tree spoke, speaking in dolor,
to ask why I never changed color.

Analysis and Meaning


Merriam-Webster defines the word pedagogic as "of, relating to, or befitting a teacher or education". You can replace the title of the poem with this exact definition and it will make complete sense. The speaker in the poem is a teacher, an educator tasked with imparting knowledge to the less knowledgeable and the less experienced. The speaker is passionate about teaching. That's why he's always walking towards the "falling woods". The "falling woods" here is a metaphor. The "woods" can be a country, a population, or a citizenry. The trees in the poem is a metaphor for the people. By "falling", the speaker means that the people are intellectually dying. The people are either not getting the education they need/deserve or their their mental capabilities are waning.

So the speaker walks towards them. To teach them. To impart knowledge upon them. "Time and birth" can be a metaphor for history and fields of study like anthropology, archaeology, evolutionary biology, etc. "The language of men" can be a metaphor for literature and linguistics. "The virtues of hate and loving" can be a metaphor for philosophy and logic.

"Fingers flaming" means that the trees are starting to burn and it's just a matter of time before they start falling down. People are becoming more and more ignorant and it's the teacher's duty to help ensure that this doesn't happen. So the teacher teaches them everything - text and footnotes, and all. Precise and capable, the teacher thinks his lessons are getting through to his students. But he soon realizes that he was wrong. Instead of learning from him, his students are questioning him instead.

The phrase "speaking in dolor" plays a very important role in this poem. "Dolor" is a state of great sorrow and distress. The students are distressed about being taught. So what do they do? They rebel against their teacher. With that said, this poem can be interpreted as not just about the dying of education and the rise of ignorance, but also about close-mindedness or anti-intellectualism. Some people prefer being ignorant as opposed to having their eyes and ears opened.

Sadness by Bienvenido Lumbera (Poem) - Analysis and Meaning

Sweet little songs I make,
Tunes so pure and full of love.
When lovers are timid and mute,
I give them voice, I make them bold.
Once I bid a word to come
And help me put together a poem.
From far and near, from wherever,
The word brought the poem warmth.
Each word I painstakingly refine,
And I wash the impoverished tongue.
I soothe and salve the cry of pain,
I banish any trace of tears.
But sadness I cannot send away—
Its little waves lap and leave,
Lap and leave the shore of the heart,
This moment a whisper, next a storm.

Analysis and Meaning


This poem is about the power that sadness can hold over someone's heart and mind. Sadness can grip you so tight that there's nothing you can do but submit to it. All you can muster is wait for it to fade away and leave you alone. It follows that the poem is also about man's utter inability to deal with sadness. The reason why we always choose to submit to sadness is that there's very little we can do to prevent its onslaught. If you're sad, you're sad. You simply ride the wave and wait.

Lumbera applies analogies and metaphors in driving his message across. Singers can compose beautiful songs that can awaken timid and mute lovers. When listening to these songs, these lovers find their voice. The songs embolden them. Poets accomplish the same thing. They write poems that hit people's hearts and minds and give them warmth and feelings sof euphoria. Beautiful songs and lovely poems can erase pain and banish tears.

But sadness is a completely different monster. There's not much that poems and songs can do to banish sadness. In the poem, Lumbera describes sadness as waves that lap and leave the heart. One second, it's a little wave. The next second it's a tsunami. And most of the time, the heart isn't prepared for it.

This is a very lovely and sentimental poem. It's no wonder that some readers find it cheesy and corny. It's a great poem to read when you are sad. When you are lonely. Or when you are at the beach. Watch the waves as you contemplate Lumbera comparing waves of sadness to waves in the seashore.

Other poems by Bienvenido Lumbera: A Eulogy of Roaches, Servant, Ka Bel

Palanca Awards 2022 List of Winners

The Don Carlos Palanca Memorial Awards for Literature is the most influential awards program that recognizes writers in the Philippines. It's at the top when it comes to prestige. It's basically the Philippine version of the Pulitzer Prize. Writers who snag a Palanca award usually experience a boost in their writing career and an improved status within the Philippine literary community. The awards program was established in 1950 in memory of Don Carlos Palanca, a prominent businessman and philanthropist. Palanca died on September 2, 1950.

The 70th CPMA ceremony will be held at 6:00 o’clock on the evening of November 25, 2022. Venue will be at the CP Excelsior Executive Lounge in Legaspi Village, Makati.

Below is the Palanca Awards 2022 list of winners. We will be updating this list as more winners are announced:

I. Short Story - 
1st Prize - "Ceferina in Apartment 2G" by Ian Rosales Casocot
2nd Prize - "Ardor" by Exie Abola
3rd Prize - "The Money Changer" by Hammed Bolotaolo

II. Short Story for Children -
1st Prize - No Winner
2nd Prize - "Cloud Keeper" by Elyrah L. Salanga-Torralba
3rd Prize -"My Grandma Who Lives in Half a House" by Heather Ann Ferrer Pulido
 
III. Essay -
1st Prize - "Letter from Tawi-Tawi" by Alfonso Tomas P. Araullo
2nd Prize - "Filipino Millennial Monomyth" by Michaela Sarah De Leon
3rd Prize - "The Helmsman's Daughter" by Alexandra Francesca A. Bichara
 
IV. Poetry -
1st Prize - "Bol-anon Prodigal" by Ramil Digal Gulle
2nd Prize - "A Few Dawns from Now, a Sunfish" by  Soleil David
3rd Prize - "The Blueline" by Lawrence Anthony R. Bernabe
 
V. Poetry Written for Children -
1st Prize - "An Empty Chair in the Corner" by Elyrah L. Salanga-Torralba
2nd Prize - "Picnic, Symphony and Other Concepts a 4th Grader Needs to Know" by Peter Solis Nery
3rd Prize - No Winner 
 
VI. One-act Play -
1st Prize - "The Cave Dwellers" by Ronald S. Covar
2nd Prize - "Salvaged Eman" by Bonifacio P. Ilagan
3rd Prize - "Agencia Feliz" by Maria Kristine B. Roxas-Miller
 
VII. Full-Length Play -
1st Prize - "Orgullo Compound" by Layeta P. Bucoy
2nd Prize - "Black Bordello" by Jay Mariano Crisostomo IV
3rd Prize - "The Lost Filipino Patriots of America" by Dustin Edward D. Celestino 
3rd Prize - "The Lost Filipino Patriots of America" by Dustin Edward D. Celestino
 
VIII. Maikling Kuwento -
1st Prize - "Ang Value ng X Kapag Choppy Si Mam" by Charmaine M. Lasar
2nd Prize - "Barangay Alitaptap" by Abby Pariente
3rd Prize - "Kung sa Bawat Pagtawag ay Pagtawid sa Dagat" by Alec Joshua B. Paradeza
 
IX. Maikling Kuwentong Pambata -
1st Prize - "Si Veraptori Laban Kay Trolakuz" by Mark Norman S. Boquiren
2nd Prize - "Balong Batsit, ang Bidang Bulilit at Bayaning Bulinggit" by Wilfredo Farrales Sarangaya
3rd Prize - "Marisol Para Kay Lola Sol" by Benedick N. Damaso
 
X. Sanaysay -
1st Prize - "Kung Magkapalad Ka't Mangmang" by Venice Kayla Dacanay Delica
2md Prize - "Tatlong Pancit Canton" by Jhon Lester P. Sandigan
3rd Prize - "Isang Dekadang Kontrata sa Piling ng mga Mikrobyo" by Nathaniel R. Alcantara

XI. Tula -
1st Prize - "Uyayi ng mga Patay na Buwan" by Ralph Lorenz G. Fonte
2nd Prize - "Pintula" by Enrique S. Villasis
3rd Prize - "Mga Anino sa Guhoat Iba Pang mga Tula" by Sonny C. Sendon

XII. Tula Para sa mga Bata -
1st Prize - "Tula, Tula, Paano ka Ginawa" by Christian R. Vallez
2nd Prize - "Ale Bangbang" by Rebecca T. Anonuevo
3rd Prize - "Mga Pahina sa Alaala ng Nanay" by Ninia H. dela Cruz

XIII. Dulang May Isang Yugto -
1st Prize - "Punks Not Dead" by Andrew Bonifacio L. Clete
2nd Prize - "Dance of the Foolies" by Layeta P. Bucoy
3rd Prize - "Huling Haraya Nina Ischia at Emeteria" by Ryan Machado
 
XIV. Dulang Ganap ang Haba -
1st Prize - "Mga Silid ng Unos: Tomo Uno" by Joshua Lim So
2nd Prize - "Anak Datu" by Rodolfo C. Vera
3rd Prize - "Badung" by Steven Prince C. Fernandez 
 
XV. Dulang Pampelikula -
1st prize - "Amoy Pulbos" by Avelino Mark C. Balmes Jr.
2nd Prize - "DOS" by Noreen Besmar Capili
3rd prize - "Ang Pananalangin sa Getsemani" by Ehdison M. Dimen 
 
XVI. Short Story (Cebuano) -
1st Prize - "Barang" by Noel P. Tuazon
2nd Prize - "Ikigai" by Manu Avenido
3rd Prize - "John Wayne ug ang Goldfish kong Inahan" by Januar E. Yap
 
XVII. Short Story (Hiligaynon) -
1st Prize - "Ang Macatol Kag Ang 'Queen of Relief'" by Peter Solis Nery
2nd Prize - "Malipayun nga Katapusan" by Early Sol A. Gadong
3rd Prize -"Esperanza" by Ritchie D. Pagunsan
 
XVIII. Short Story (Ilokano) -
1st Prize - "Ti Kimat Ken Ti Silag" by Oswald Ancheta Valente
2nd Prize - "Ti Ubing" by Remedios S. Tabelisma-Aguillon
3rd Prize - "Karton" by Rodolfo Agatep Jr.
 
XIX. Kabataan Essay (Theme: “Life in the Midst of the Pandemic and Coping in the New Normal”) -
1st Prize - "Home is a Bowl of Warm Soup" by Glorious Savannah Exylin C. Alesna
2nd Prize - "Covid-19 is My Alter Ego" by Jenine A. Santos
3rd Prize - "The Social Pandemic" by Gavin Micah T. Herrera

XX. Kabataan Sanaysay (Theme: “Buhay sa Gitna ng Pandemya at Pagharap sa ‘New Normal’”) -
1st Prize - "Pamimintana" by Glorious Savannah Exylin C. Alesna
2nd Prize - "Ang Larong Naipanalo Ko" by Hansly Kendrich Cheng Saw
3rd Prize - "Mga Bantas ang Nagsilbi Kong Guro" by John Clarence D. Espedido

XXI. Novel
Grand Prize - "Bittersweetland" by Raymundo T. Pandan Jr.
Special Prize - "1762" by Alvin Dela Serna Lopez

XXII. Nobela
Grand Prize (Pangunahing Gantimpala) - "ANTIMARCOS" by Khavn
Special Prize (Natatanging Gantimpala) - "Teorya ng Unang Panahon" by Edgar Calabia Samar


NOTE: For those who want to help us in updating this list, kindly send us an email at filipinofreelancewriter@gmail.com or message us on our Facebook page: The Filipino Writer

A Distinction by Gerson M. Mallilin (Poem) - Notes, Critique, Analysis, Meaning

When only the brain has poetry
nothing else has;
the heart is numb with emptiness,
the eyes might as well be shrouded,
the lips yawn with the ghost of words
buried before they can become speech,
the hands are active crosses.

But when the heart has poetry everything else has;
the brain is renewed
and stirred to surpass itself,
the blood becomes a flood
of meanings and images
eyes, lips, and hands
can never
perfectly tell.

To understand this poem by Gerson M. Mallilin, one has to sit for a while and mull over the title and why the poet used such. The title is directly derived from the body of the poem. In the body of the poem, Mallilin offers his own distinction between a brain that has poetry and a heart that has poetry. The poem has two stanzas which is good and convenient for this particular poem because each stanza is devoted to a definition of "brain has poetry" and "heart has poetry".

In the poem, is Mallilin using the word "poetry" in the literal sense? Or is it used as a metaphor for something? Did Mallilin use "poetry" as a placeholder for something or some things? It's difficult to decide whether the word "poetry" is literal or metaphorical here. If you take the word literally, the poems makes sense. The word fits. If you also take it metaphorically, it also makes sense. It also fits. Maybe, this was what's intentioned by the poet. Maybe he wanted the reader to have the choice to either take the word literally or metaphorically.

According to the poem, if only your brain has poetry, you don't have much going on. You are empty, you can't see, you are lost, and you can't speak articulately. You have nothing.

Now, if your heart has poetry, you have everything. Your brain works perfectly, there's meaning around you, and your eyes, lips, and hands work according to their purpose.

I think what Mallilin is trying to communicate here is that a heart that has poetry trumps a brain that has poetry. Listen more to what your heart tells you. You will live a more meaningful and more fulfilling life if you listen to the dictates of your heart.

This is my own interpretation of the poem. That means I could be wrong. There are a couple of lines in the poem that I didn't quite grasp. I don't fully understand what the poet meant by "the hands are active crosses". I also didn't make full sense of the line "eyes, lips, and hands can never perfectly tell".

Three Generations by Nick Joaquin (Short Story) - Summary, Plot, Critique, Analysis

Three Generations is a short story written by Nick Joaquin that was first published by the then Manila-based magazine Graphic in 1940. This is believed to be the first story by Joaquin to be published. He was only 23 years old when the story saw print for the first time. The story was also included in the book The Woman Who Had Two Navels and Tales of the Tropical Gothic which was published by Penguin Classics in 2017.The book contained Joaquin's most famous and most influential short stories.

Characters:

1. Celo Monzon - A man struggling with his son's decision to pursue preisthood. He's also haunted by his childhood which was an unhappy one because of the beatings and abuse he received from his father.
2. Sofia Monzon - Celo Monson's wife.
3. Chitong - Celo and Sofia Monzon's son who decided to stop purusing law and go for priesthood instead.
4. Nena - Celo Monzon's younger sister who was taking care of their aging father.
5. Paulo - Celo Monzon's cousin.
6. Celo's father - He is not named in the story.
7. the girl - A young woman who is in a romantic relationship with the old man.

Setting:

The setting of the story isn't specified in the story itself. The events happened in Celo's house and his father's house which is located at the edge of town.

Themes:

The story has several interconnected themes - family relationships, family dynamics, forgiveness, coming of age, death, dealing with death, moving on, love, forbidden love, and domestic violence. Read the story again and try to pinpoint how these themes are weaved into the fabric of the story.

Summary:

The story opens one morning with Celo and Sofia Monson having breakfast. Sofia tells her husband that their son Chitong has decided to stop pursuing his law studies and become a priest instead. Celo is surprised by his son's decision. He comments that Chitong has "always been quiet and reserved" and "not noticeably of a religious temper."

Sofia tells Celo that he needs to go and see his aging and ailing father. Sofia informa him that his younger sister Nena called and that their father has been acting up again. In a flashback, Celo is reminded of his childhood when his father used to beat him up. Celo tells Sofia to tell Chitong to have their car ready. Chitong is to accompany him when he goes to visi his ailing father.

Celo goes to a Dominican church to pray. His son Chitong is there. He tries to compose himself so that he can fervently pray but the thoughts of his father and the beatings he suffered under him when he was a child occupies his thoughts. Chitong looks around towards his father. But Celo turns away and walks out of the church. Chitong informs his mother Sofia of what happened at the church. He tells her that his father is angry with him for choosing to pursue the priesthood. He breaks down and cries. Sofia comforts him.

Celo and Chitong drives to the house where his ailing father lives. The house is at the edge of town. They are met by Celo's youngest sister Nena who informs them that the old man has refused to eat for several days. Nena also tells Celo that the old man keeps on asking for "the girl", a young woman in a romantic relationship with the old man. Celo has driven the girl away prior. 

Celo spends time with his father. He changes his clothes and feeds him. The old man refuses to speak to Celo and defies his every move. Celo then leaves the house and instructs Chitong to stay behind with the car. He says he will take the bus to go home and return in the morning with a doctor. 

Chitong tries to sleep in the same room as his grandfather but he can't because the old man keeps on crying, moaning, and calling on the women he has loved and been with. Chitong tries praying over his grandfather but the pain and desire in the old man's eyes continue to bother him. No longer able to stand the cries of the old man, Chitong decides to go out in town and find the girl who has been with the old man before he got very sick. The idea is that the girl should be able to comfort and calm the old man down.

Chitong finds the girl's house and convinces her to go with him to see the old man, her lover. Back at the old man's house, before the two enter, they are met by Nena. Nena tells them that Chitong's father has come back because there was no available bus to take him home. The girl becomes hesitant to enter the house but Chitong tells her to be not afraid.

Chitong and the girl enters the house and they see his father in the sala. Celo sees them and angrily shouts at Chitong to get the girl out of the house. Celo thinks about taking his belt out and beat the girl. Chitong adamantly protects the girl and stands between her and his father. Celo clinches his fist and strikes Chitong in the face. Celo is immediately overpowered by guilt. He has never struck his son. Not until now. 

Celo and Chitong stares at each other. Shocked and petrified of what just happened. During this incident, the girl has taken the time to slip away, enter the old man's room, and lock it behind her. During the night, the voices of the girl and the old man, the lovers, can be heard coming from the room. The girl is telling the old man that she will never leave him again. That no one shall ever take her away from him again.

Questions and Answers:

1. Are the Monzon family rich? Yes. It's alluded to several times in the story. They have a servant girl waiting for them during breakfast. Sofia Monzon was also referred to as "senora" and "Dona" at some points in the story.

2. Why did Joaquin title his story Three Generations? It's an obvious reference to the three main characters in the story who represent three generations of the Monzon family - the old Monzon, Celo Monzon, and his son Chitong.

3. What moral lesson can be learned from the story? There are several moral lessons that can be gleaned from the full story. Following your heart or the dictates of your passion can be learned from Chitong. Although he knows that his parents, his father in particular, will not be happy if he ditches studying law and pursue priesthood instead, he still went for it. Chitong's maturity and act of defiance against his father can also be a source of moral lessons. Don't be afraid to stand up against authority figures if you know that you are in the right. 

4. How do you write a reflection paper about the story? The best way to approach this is to choose one of the themes in the story. Start from this single theme and build your reflection paper around it. Tackling several themes in your paper will be difficult and will likely end up incoherent. For example, choose the theme of domestic violence and write a reflection paper on how this trickles down from one family generation to the next.

5. Is there a Tagalog version of Nick Joaquin's Three Generations? None that we know of. As far as an official Tagalog version goes, we don't think there's one. There are obviously translated versions floating out there but these are usually done by teachers, students, and enthusiasts. 

Christmas in a Little Barrio: a Short Story for Children by Ceres Alabado

[This story appeared in the anthology book Childcraft: The How and Why Library; Volume 3: Children Everywhere (1975). The story was accompanied by illustrations by Rod Perez.]

In villages, or barrios as they are known in the Philippines, many people live in little one-room houses. The houses are built of palm leaves and bamboo.

In a little barrio by the sea lived Piit, Ulalia, Inggo, and their father and mother.

Their home was a nipa-thatched hut on the swampy shore of a cove beyond which was the sea. When the strong winds from the south blew, their little hut trembled like the nipa palms lining the strip of land. At night, if they had a candle to light their home, they closed their bamboo window to keep out the wind. If not, they opened it wide so that they could at least look out into the starry night.

One day, Father, who was a fisherman, suddenly fell ill and after a few days, became paralyzed. Although he could talk and swallow food, he could not move a leg, a hand, or an arm. Mother had to feed him and to take care of him as if he was a child.

Thus it fell upon Piit, who was ten years old, and Ulalia, his sister, who was a year younger, to work for their living. They had to leave school and henceforth take their father’s place in the sea, under the sun.

At first they thought it was easy. Piit knew how Father had worked so hard. But always Father smiled, as if he never grew tired. Work was fun. Sometimes Piit had helped him drive those bamboo poles deep into the sand under the sea, not too far out, just beyond the nipa swamp surrounding their little hut where the sea began. Or, after three months, when the oysters had grown at the bottom of those poles and were ready to be gathered, sometimes Piit would jump into Father’s banca and accompany him out to the open sea, there to watch him dive again and again into the water and reappear with armfuls of the craggy, brackish oysters of the sea. Father would laugh and shake so heartily, sometimes the oysters all spilled back into the sea.

But to work alone, without Father, was different. Not daring to venture out into the open sea, Piit and Ulalia confined their hunt to the waist-deep swampy water around their hut where, their bare feet sloshing away in the mud, they would stumble upon the rough clusters underneath. With bare hands or pointed stick they would pull and pry and shake the sharp hard shells off the stones or the stumps of nipa palms. Their hands and feet got bruised and scratched; their bodies soaked in mire and salty water. At the end of the day, their wrinkled hands and feet were numb, their bodies cold. Mother would give them hot steaming rice to eat at sunset. Before they fell asleep she would tell them to pray to God to give them strength.

In the morning, Mother was up before the sun. She would count the oysters, a hundred a heap, and leave them at the foot of their ladder for sale to the people passing by. If there had been a big catch, she would set aside some extra rough shells, break them open with a knife and scrape off the oyster meat into earthen jars where she knew oysters keep for days. When Piit and Ulalia awoke, she would send them out to peddle in the streets in town and with the money they earned, to buy two gantas of rice for their meals at home.

Months passed. The work soon became like a game to them. Sometimes they even thought it better than school. But alas, the time came when they had exhausted the hidden oysters in the swamps. Every day they gathered less and less. Now they could not even fill up a basket. They could not even buy one ganta of rice to eat.

Mother kept silent. She could not, no, she would not tell her children to go out into the sea as their father had done before. Fear gripped her heart. But she spoke not a word of it.

Piit and Ulalia did not know what to do. They staked out bamboo poles in the swamp but these they knew would not bear oysters overnight, not until months and months later. It would be a long, long wait. They were hungry. They were all hungry. All day, every day, Inggo had only rice water to drink and his thumb to suck. All night long he cried as if his whole body would burst. The next morning he, too, was sick.

The night breeze became cooler. From the low window of their nipa hut, Piit and Ulalia watched the shadows of the fishermen as they set out to sea, this time much earlier, for the nights were getting longer, the days shorter.

Then Piit looked up. He scanned the darkening sky above the sea.

“There is no star,” Ulalia whispered, as if she knew what Piit was thinking. “And we have no light.”

They were sitting side by side on the worn buri mat laid out on the bamboo floor close to the window. The rest of the family had gone to sleep huddled together on the far end of the mat.

“Soon it will be Christmas,” said Piit. He, too, was very careful not to raise his voice above a whisper, for Mother had just dozed off from tiredness. Inggo had been feverish and restless the last three days, and it was all Mother could do to rock him in her arms to sleep.

“I wish—I wish how I wish we could have something for Christmas,” sighed Piit.

“Yes, and Inggo and Father well by then,” whispered Ulalia.

But the days and the nights passed and Inggo was still feverish. Now he was shivering from cold. It seemed Mother could never gather enough warmth in her arms to wrap around the chilled little body.

And then came the time of the early morning Masses, the misa de gallo, held every day in church, nine days before Christmas. Everywhere the cool air was filled with a certain festive joyousness. Everyone could feel it as he trudged dutifully on to town.

Except Piit and Ulalia. Although they had Mother’s permission and they had resolved, cross their hearts, to wake up at the stroke of dawn, they never did make it to the Mass in town. Like Mother, they, too, were too tired from the day’s work to wake up earlier than usual.

The church bell would peal its last beckoning call, a few hurrying feet shuffle nearby on the dirt road leading to the church, the gay chattering and giggling of neighbors echo through the stillness of the holy dawn, yet there they were, these two—Piit and Ulalia who had promised each other to wake up this one last time—still curled up in deep tired slumber.

Not even the delicious smell of sticky rice puto bumbong and bibingka cooking at roadside stands a few meters from their home could tickle their nostrils and get them started. Not even the firecrackers and kuwitis bursting into joyful thanksgiving after the Deo Gratias of the Mass, would as much as stir a muscle of their motionless little legs. Nothing. Not even Mother’s gentle push on their shoulders, “Children, children, you mustn’t oversleep. There’s work to do. And you know I count on you!”

Piit and Ulalia slept on and on and on.

Until the sun came up, hot and bright upon their brown unwashed faces. That was what always woke them up.

And today it was the day before Christmas.

Inggo was still feverish. He had become thinner and paler. It seemed he had only a flicker of life left in him.

Piit woke up early. Without telling Ulalia, Mother, or anyone, he took Father’s knife and his banca and rowed out, around the cove almost into the sea. The suns was just rising on the horizon. A slight breeze brushed past him. His banca lifted and fell idly on the little swells. He had been here often in the past with Father. Now he had only to follow what he remembered was the glassy path which led to Father’s bamboo poles standing upright in a row like a fence set upon the sea.

As soon as he was within reach of the first pole, he made a grab for it and quickly fastened his banca tight to it. Biting the knife between his teeth as he had seen Father do, he dove straight down to the bottom of the pole. As fast as he could pry the sharp shells off the poles and gather them up in his arms, he surfaced back, his chest heaving as he hurled his load down into the banca. Up and down he raced until he was so tired he thought he would stop breathing.

Once, a wind rising in little puffs and gusts heeled the banca over to one side and almost spilled the oysters back into the water. Pik scrambled onto the opposite side, but as the wind suddenly dropped, the banca soon righted itself. For fear of losing his already big haul, he decided to head back home. He was getting weak with thirst and hunger and exhaustion, but now joy hammered hard in his heart.

Mother had begun to worry and wonder where Pitt was. She had called out to the winds for him. She had sent out Ulalia, who was working alone in the swamp, to look for him. This boy, she muttered to herself, was giving her added trouble. But when she saw him rounding the cove jubilantly with his banca-load of big fresh oysters, she completely forgot all her fears and anger.

“My biggest catch, Mother,” Piit called out to her between breaths, “and all by myself ! By myself, you know that!”

“Yes, I know, I know. I can see that,” was all Mother could say.

It did not take them long to sell all of Piit’s new catch. Before the end of the day, Piit and Ulalia counted twenty centavos left over from their earnings after having bought the two gantas of rice for Mother.

They laid the coins on a flat stone by the roadside and divided the money equally between them for each to spend as he pleased.

“Ten for you, ten for me,” Piit counted.

“Wait, wait. Don’t you think we should tell Mother first?” Ulalia asked.

Piit agreed. And they put the twenty centavos together again.

But Mother knew before they could tell her about the surplus. “That will be yours. Buy yourselves anything you wish.”

“Anything, Mother? Really, really?” The two cried out loud with delight, skipping away. They climbed down the ladder and parted.

The stars that appeared that night glimmered brighter than ever. The crisp evening breeze sweeping the waters of the sea kept rhythm with the song in the hearts of the two happy children. Soon they were lulled to an early sleep as their mother once more told them the story of the star that shone so bright the Three Wise Men knew for sure it was the star that would lead them to the manger of the King of Kings.

Father hummed a lullaby for Inggo, lying still beside him:

Sleep, little babe
A star shines in the night
To guide you in your flight.
Smile, little babe
A star shines from afar
To bring joy to your heart.

As the church bell rang at last for the Christmas midnight Mass, Piit and Ulalia suddenly awoke. The bright stars beaming on their faces were like the warm stinging rays of the morning sun that often roused them in their sleep.

Inggo started to cry, “Ma . . . Ma. . . .”

Mother dragged herself close to the little one to cuddle him. No longer shivering nor feverish, now he began to cry for milk.

And there was milk.

“I bought that, fresh from our neighbor’s carabao,” said

“There!” said Ulalia, as she struck a match to light one ittle white wax candle. “I bought that.”

“Why, it is Christmas day, I had almost forgotten,” Mother exclaimed. “A merry, holy Christmas!”

Lament for the Littlest Fellow: a Poem by Edith L. Tiempo

Lament for the Littlest Fellow
by Edith L. Tiempo

The littlest fellow was a marmoset.
He held the bars and blinked his old man’s eyes.
You said he knew us, and took my arms and set
My fingers around the bars, with coaxing mimicries
Of squeak and twitter. “Now he thinks you are
Another marmoset in a cage.” A proud denial
Set you to laughing, shutting back a question far
Into my mind, something enormous and final.

The question was unasked but there is an answer.
Sometimes in your sleeping face upon the pillow,
I would catch our own little truant unaware;
He had fled from our pain and the dark room of our rage,
But I would snatch him back from yesterday and tomorrow.
You wake, and I bruise my hands on the living cage.

Other poems by Edith L. Tiempo: Bonsai

A Child Looks At Its Mother: a Poem by Anatolio S. Litonjua

A Child Looks At Its Mother
by Anatolio S. Litonjua

Mother dear, why do you have
Four candles by your side?
Are they to light you in your sleep
And keep the ghosts outside?

I smell the flowers on your breast,
They are so sweet and clean.
O Mother, see, a butterfly
So black has fluttered in.
You told me Father bringing toys
Will very soon return.
I hope he comes tonight. My doll
Is sick and old and worn.

Mother dear, why are you so cold?
Why do these people weep?
- Oh, but Grandma told me not
To wake you from your sleep.

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

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.

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