KONSENTRASYON

During the Bikolinismo Awards 2009. My book was conferred the Premio Bibiano Sabino para sa Librong Bikolnon.

POETICS AS CULTURE AND CULTURE AS LAW

Local languages in the regions are also official languages as per the 1987 Constitution. For the purposes of instruction and communication, the official languages of the country are Filipino, and until otherwise provided by law, English. And for the same purposes, local languages shall serve as auxiliary medium (Art. 14 Sec. 6-7 of the 1987 Constitution).

Yes, auxiliary medium, but only for the purposes of instruction and communication, particularly in the academe and government subdivisions. However, as literary medium our local languages may also be construed as occupying the privileged space of being official. Likewise, literary culture is part of custom which is deemed to be not contrary to morals, law and public policy, hence countenanced by the Courts when proven as fact (Arts. 11-12 RA 386). Our country also has a prevailing policy in support of ethnicity for the framework of national unity (Art. 2 Sec. 21 of the 1987 Constitution).

Perhaps the above provisions are only in recognition of the country’s being multi-cultural and multi-lingual. Literary pursuits in the regions involving ethnicity as in the search for local aesthetics is very much lawful. In fact, when in contact with foreign states our policy shall always be for the right to self-determination (Art. 2 Sec. 7 of the 1987 Constitution). What more when we deal with fellow Filipinos under the context of nationhood?

Tomorrow, we shall be awarding prizes to some Bikolnon writers during the Bikolinismo and Premio Tomas Arejola. The more exciting part of the event is not really the awards night itself, but the opportunity of Bikol writers to gather right after the awards rites and exchange thoughts about the state of Bikol literature and its direction. And this writer is lucky enough to be part of the awards night as the book “Pagsasatubuanan: Poetikang Bikolnon” will be conferred this year’s Premio Bibiano Sabino para sa Librong Bikolnon.

The people must know that our pursuits are official in nature, and not mere auxiliary or hobby. Publishing our works and giving them prizes are just some of the ways to assert this fact. This is a happy realization for this blogger as I dig out the writer’s place under the province of our fundamental law and statutes. Literary culture is a sound custom and countenanced by law. Culture is law, as the latter is supposed to be shaped, if not influenced by the former.

Our poets are legislators too. Younger poets invoke the elder ones. Poetics is law, and if in the proper context, poems can articulate culture and native wisdom which in turn are very much suited to be a rich source of legislation and law.

BIKOL BOOK AWARD

Earlier, I blogged about the need for the National Book Awards to open itself up for books published in Philippine languages other than Tagalog/Filipino. Of late, more and more books are coming out from the provinces written in their respective local languages. As I said, I am not so keen on awards, but then with the NBA existing, I think these titles ought to have a place in the roster.

Here in Bicol, there is a new category in the Premio Tomas para sa Literaturang Bikolnon seeking to recognize Bikol books that contributed much to Bikolnon letters. It is open for book authors, editors and illustrators for titles distributed from September 2007 to September 2009. It is the Premio Bibiano Sabino para sa Librong Bikolnon.

Being part and parcel of the PTPLB, the Premio Sabino awarding will be alongside the regular categories. This year, it will also coincide with the Bikolinismo Awards. The winner will be conferred a citation plus a modest cash prize. I only pray that this Bikol book award will continue from this year onward to be Bicol’s counterpart for the National Book Award.

Needless to say, this September is Bikol Literature Month. Some of the Bikolinismo awardees are giving lectures on their craft just so they could make the most of their visit in the City of Naga. Dr. Zeus Salazar, on the 30^th, 9am at the Museo de Caceres, will talk about an archeological find, a jar cover/lid that could explicate the historicity of the Ibalong. Foremost screen writer Ricardo Lee, on the 29^th, 8am at the UNC-IMC, will give a lecture on the screenplay. He will likewise launch his latest novel, Para Kay B.

With all this writers around, I think Kabulig-Bikol should take advantage of their presence and arrange even an informal meeting or gathering right after the awarding ceremonies on Tuesday.

Finalists for 6th Premio Tomas Arejola named, Top Winner receives Naga City Jaycees Writer of the Year Plum on Sept 29

Two stories for children, three essays, four short stories, one 1-act play and eleven collections of poetry are in contention for top honors in the 6^th Premio Tomas Arejola para sa Literaturang Bikolnon.

This was announced by Carlos Arejola, chairman of the Bicol-wide literary competition widely regarded in the literary circle as the region’s premiere literary prize.

Cited in the stories for children are: “Kun Tanu Maharang an Lada” by Owen del Castillo of Pilar, Sorsogon and “A-HU-HO, A-HE-HE (o an Kolor kan Buhay ni Koroy Sa Apat na Osipon) by Estelito Jacob of Camaligan, Camarines Sur.

The finalists for the essay category are: “Pagiromdum” by Eden Enano-Estopace of P. Ocampo St., Manila, “Buhay Riles” by Eilyn L. Nidea Parocha of Ragay, Camarines Sur and “Seminarista” by Owen del Castillo.

The eleven collections of poetry cited this year are: “Parokyano kan Tinampo” by Jerome M. Hipolito of Calabanga, Camarines Sur;  “Insomya” by Owen del Castillo of Pilar, Sorsogon;  “Sa Lugar na Dinakulaan” by Alex Michael S. Boribor of Pioduran, Albay; “Muklat” by Rodel Delera Añosa of Aroroy, Masbate; “Pisaran asin Iba pang mga Rawitdawit” by Leopoldo C. Brizuela, Jr. of Ligao City; “An mga Para-lagaylay asin pang mga Rawitdawit” by Irvin Parco Sto Tomas of Canaman, Camarines Sur; “Sa hubasan, nagprobar akong magsurat” by Eduardo Endraca Uy, Jr. of Gubat, Sorsogon; “Naglakaw ako” by Welbert Cipria of Tabaco City; “Apat na Tigsik sa Tabaco Buda Iba Pang mga Rawitdawit” by Richard Madrilejos of Tabaco City; “Paglabto sa Pagtubod” by Honesto M. Pesimo, Jr. of Naga City; and “Hamot kan Narumdon” by Jaime Jesus U. Borlagdan of Tabaco City.

Cited in the short story category are: “Ligñon Hill” by Rodel Delera Añosa of Aroroy, Masbate; “Kaldero-Kawali, Buhay an Nahale” by Alex Michael S. Boribor of Pioduran, Albay; “Dolores” by Owen del Castillo of Pilar, Sorsogon; and “Pagsarado” by Jaime Jesus U. Borlagdan of Tabaco City.

Only one 1-act play, “Sa Minundagan Sana: Pasirip sa Que Lugar Este kan Dayo ni Jimple” by Richard Madrilejos of Tabaco City, is cited by the Premio Arejola this year.

The said literary works will be honored on September 29, this year at the Conference Hall of the Avenue Square in Naga City at an awards rite which shall also honor the first recipients of the Bikolinismo Outstanding Bikolano Artists search.

The best entries, to be named in the said event, will receive P5,000 and the PTALB medallion. The grand prize shall then be chosen from among the category winners and shall be conferred the title Writer of the Year, and receive P10,000 and the Naga City Jaycees Parasurat kan Taon trophy. The cash prize and trophy is courtesy of the Naga City currently headed by Mark Enrile.

Also to be honored are the finalists of the Rawitdawit para ki Ina, a special poetry category for elementary and high school students, namely: “Pagkamoot kan Sarong Ina” by Sean Marben P. Guinoo and “Pagtubod. Pagkamoot. Pag-omaw” by Grechil Angela L. Ayen, both of St. Louise de Marillac School of Pili; “Bulos kan Pagtubod” by Ailyn B. Caringal and “Pag-omaw ki Ina” by Flerida Ann G. Deniega, both of Ragay National Agricultural & Fisheries School; “Peñafrancia Fiesta” by Kimberly Anne F. Tolop, “An Ika-Tersentenaryong Milagro kan Inang  Peñafrancia” by Khim Joseph R. Naval, and “Nuestra Señora de Peñafrancia an Pangaran Niya” by John Paul A. Bacsain, all of Pili National High School.

First handed out last year, the winner of the Rawitdawit para ki Ina category receives cash and prizes worth 3,000 and a medallion designed by Marianne Olaño of Baycrafts, a Naga-based outfit and trademark.

The two other major prizes to be handed out are the Premio Bibiano Sabino para sa Librong Bikolnon and the PTALB Lifetime Achievement Award.

NASAGANG NA SUMAGANG

August 15 at the Avenue Square was my first ever book launch but I was not nervous at all. I had company, a woman of course (can’t live without them), and the other seven writers and two visual artists who participated. Surely, it was a feast of the written word.

Actually, the “Pagbungsod” was just a part of “Gira nin Panahon”, an arts and culture project of Development Institute of Bicolano Artists Foundation, Inc. (DIBA). It features not only literary arts, but also the visual arts. In fact during the launch, there was an art exhibit at the second level of the venue.

The “Pagbungsod” will also be brought to other areas in the region. In fact, an Iriga leg is already being cooked up by poet Frank Penones, who by the way, announced during the launch that this writer will be conferred the Sumagang Award (for literary arts). The said distinction is the highest that the City of Iriga could ever give to Iriguenos who made a great mark in their chosen field of endeavor.  With due respect to Manoy Frank, my nominator, I really had the gut feel as early as early, from the time he texted me a congratulatory message, that the award will not really be given to me. Of course the mere fact that he announced it at the Avenue Square before Naga City public officials, educators, media, writers and artists; he must have been assured by the Sumagang committee of my winning. Being a writer of great repute, he must have had verifiable basis.

Alas! My ‘literary clairvoyance’ did not fail me. It was just a foul-up after all, in other words ‘kuryente’. Manoy Frank sent me an email saying he was not sure if the Sumagang committee was not able to defend their recommendation of me or if it was the committee itself that changed its mind and scrapped my name off the list before sending it to Mayor Madel for approval. According to the rules set by the Sumagang Awards, only nominees screened by the committee will be sent to the Mayor for approval. This way, we could prevent the Caparas-Alvarez Case of inserting a “nominee” at the approval level of the contest while the same “nominee” did not undergo the screening process set by the committee. In essence, a shortcut.

The Sumagang committee has the discretion as to who it will recommend for the award. Heck, it even has the power to change its mind to the detriment of those who construed its decision as final. The Mayor also has the power to reject a recommended nominee. The trick is the formal letter because it contains the official information (but lest we forget that Manoy Frank is the PIO of Iriga City Hall). Also, I think, nominees and nominators have no cause of action against the committee and the Mayor, hence they cannot complain, protest or even file suit in a quo warranto proceeding since they are just that, nominees and nominators (Cuyegkeng vs. Cruz, July 26, 1960) and I think, the same rule applies even to the National Artist Awards.

I am not bent on discussing this issue here by virtue of delicadeza. I am the nominee after-all. But surely, I did not nominate myself, this I can say. Manoy Frank, in his own volition took up the initiative and asked for my writer’s archive. But since the “Pagbungsod” crowd of civil and intelligent citizens were duly informed of my supposed conferment of the Sumagang, I see it fit that things be clarified here. But surely, I hold that Manoy Frank was in good faith on account of his eagerness to congratulate a bard-brother.

It is painful for us Iriguenos of course. This could be construed as something similar to the dagdag-bawas National Artist. Frank Penones will not make those pronouncements in public if he were not sure of it. Anyway, I am not so keen on awards. Specially those tainted with irregularities. As writers, we all work hard to build a good by-line. I for one, will not allow mine  to be besmirched just because of the Sumagang. Also, I maintain that poets are immortal, superior to politicians and more sublime than human accolade. In such that awards don’t honor us, we are the ones who give prestige to the awards.

Bikol literature is arguably populated by Irigueno writers and poets. This is something that Iriga-LGU must learn to recognize and accept, lest they only expose their ignorance.

A HOUSE FOR RENT AND THE TSINOY AWARDS

I would like to thank Mrs. Maria Ngo and the Filipino-Chinese community in Iriga City for nominating me for the 6^th Dr. Jose P. Rizal Awards for Excellence (for Arts; Literature and Culture). Surprisingly, I landed as finalist. Past awardees include Charlson Ong, Ricardo Lee, Jose Mari Chan and Doreen Yu

I almost had a resolve to shy away from nomination-based contests, but how do you refuse and disappoint an eager nominator? Thanks again Shan-si!

Naga City is fast becoming a destination for trade and finance. Banks and hotels continue to sprout around downtown as more and more people visit the place. However, if it is a prolonged stay (for school or work), hotel bills can get quite expensive. A nice house in a nice neighborhood would then be a better choice

For just PhP15 Thousand per month the family can have the highest quality of life in the city at 19 Jasmin St., City Heights Subdivision, Naga City.

For more info please contact this writer via e-mail or call (054)2995169 or (054)4730487.

DISSOLVING WHAT IS MARGINAL AND CENTRAL

‘Dissolving what is marginal and central.’ This is the end-tail of the blurb I gave for Pangasinan poet-laureate Santiago B. Villafania for his KWF funded second book ‘Malagilion: Sonnets tan Villanelles’. And this is exactly what you will experience if you happen to understand Pangasinense and read the works therein, considering that there are also English poems in the collection. So place your orders now while supplies last.

Meanwhile, this summer Malagilion experience of mine seemed to have extended itself toward one melting-pot of heat, traffic and culture, and that is Sampaloc, Manila. I was invited to sit as panel during the 9^th UST National Writers Workshop held right inside the Pontifical University’s campus in España. It was in 2002 when I won a slot as fellow for poetry in the same workshop along with the likes of Ma. Francezka Kwe, Mikael Co, Alex Agena and Maryanne Moll. The end result was a drained supply of Red Horse beer in the creepy but classy Hotel Veneracion in Baguio City.

This year’s fellows were mostly young (like me, haha). And I did my best to be fair and objective as possible. I pointed out parts that needed improvement, offered correctives so as to leave a sense of direction. The country’s workshop set-up is primarily inductive. It is easy to get lost in faultfinding without offering remedies.

In a way, this is the advantage of LIRA’s palihan system—there’s the theory or lecture, and there’s the application or writing part. And the workshop would last for months or even a year so the panel can follow-up on the progress of the writing fellows.

For a change, I added (together with Santiago Villafania) some tinge of regional paradigm in my critiques. I wanted the fellows to see that panelists come from diverse backgrounds and they ought to identify who could help them best. In my view, I saw it fit not only to share what I know about Tagalog/Filipino poetics but also Bikol poetics more importantly that some writing fellows were from the provinces.

I believe that writers from the regions have a lot to share. In the KWF’s Talaang Ginto, I am beginning to see this trend. Writers from the region would win because they infuse something from their culture in their Tagalog/Filipino poems, thus enriching the National Language. Cirilo F. Bautista, himself a Gawad Collantes honoree and judge has this to say: ‘…because Filipino—which is now called our national language—has a democratic character, it offers contemporary poets new inroads and challenges. Indeed, some of them have shown that words and phraseology, and imagery from one region can be positioned within the structure of Tagalog. John Iremil Teodoro and Genevieve Asenjo of Antique, Jose Jason Chancoco of Bicol, and Santiago Villafania of Pangasinan have done exactly that and, consequently contribute to the enrichment of the poetic medium. (Breaking Signs, Philippine Panorama May 4, 2008).

FEU’S TRANSITION LITERARY CONTEST

I got an SMS from Far Eastern University instructor and writer Miel Kristian Ondevilla on January 23, 2008 at 5:30:06pm informing me that I will sit as one of the judges along with himself, Kristian Abe Dalao and Alfonso Dacanay for the 2008 Transition Literary Contest. And on January 26 (Saturday), I received via LBC the entries for the poetry and one-act play categories.

For poetry, I am supposed to prepare a ranked shortlist of 10 poetry collections, although only five of which will be given prizes. I got from the mail a total of 42 entries for the poetry category. I immediately screened the manuscripts and eliminated 19 entries, leaving me with 23 entries for my first shortlist. During my second screening, I removed 12 more entries, leaving me with 11 entries for my second shortlist. To come up with my top ten, I eliminated one more entry. Then I started ranking the remaining entries.

And here’s my final and ranked shortlist:

1. et., al by humblestsauthor

2. Nursing is an Art by Poet with a Lamp

3. Rain of Ours by Drench

4. Poems by Atomos

5. Necessary Truths by Go the Distance

6. Miscelaneo 2007 by El Soñador

7. One-Night Stand by Fool

8. Mirror of Thy Soul by Atropos

9. Mendacity by Miss Nomer

10. When White Wings Became Black by Akimoto Ren

I think “et., al” deserves the First Prize because the poems in the collection have clear and intuitive images and clear-cut endings. The author also has eye for detail and contrast, and knows how to shift POVs and use run-ons effectively. The collection also presents 3^rd World reality and has a well-established milieu (Quiapo, Manila area).

This eye for detail is exhibited in the way “The Gypsy” is described for characterization and likewise in lines such as: “And then you asked yourself on what sight might embrace you upon arriving home. Perhaps/a house, columns so fragile to touch, eaten by some/pests, a withered frontyard yielding death, kitchen/sink growing moss, appearing like mini continents//and islands floating on infected waters.” (The Wanderer)

Also, observe how the author employs the magic of enumeration: “On her way she saw everything/was the same but then more significant, substantial/in her subconscious: the rough texture of the pavement, the number of lines the pedestrian lane//has, the faces of the people distinct despite mixed up in the crowd.” (The Victim)

Stark contrast also amplifies irony in the way “The Woman” is described: “Sleeve of a cloth, more so/like a rag, protruded in her dilapidated suit case, perchance/she spotted in a trash bin of an executive company.”

Effective use of run-on lines also shows that the author has great grasp of the ebb and flow of words and details—and emotions: “Some clients who have proven/her factual go back and offer a gift as a gratitude:/sometimes a charm, sometimes an adorable stuff toy,/sometimes money, which she will accept with extreme//joy.

The poet also veers away from the pitfall of didactic poetics such when presenting in a detached manner a situation or image that could justify why a mother would rather be a fake fortune teller just so she could support her ailing child: “As she opens the door, a child about nine years/of age, crippled by polio and suffering from renal/failure, smiles despite pain, a teddy bear in her grasp. (The Gypsy)

The same may be observed as to the concluding vision of the problematic persona in “The Wanderer”: “In the end of your vision an inhabited shore in grief,/from afar resembling like the hand of your only son,/trembling in the dusk, begging for a filament of light.”

The greatest virtue of “Nursing is an Art” is sincerity of voice and tone, establishing the collection’s common persona early with the first poem “Memoirs of a Nurse”. It deserves the Second Prize because poem after poem, the author displays sound stanzaic strategy. The collection also presents the insights of a nurse still very much attuned to his humanity and thus exposes us to common issues surrounding the life of a healthcare front liner. In effect, it brings us to the phenomenology of caring. This type of poetry may very well create a niche in the Philippine literary landscape to coincide with the “Nursing Syndrome” we are into now.

Sincerity in this collection is not coupled with ignorance but with knowledge: “There is pain/deeper than wounds./Immeasurable, incurable pain./Pain resistant to medications.” (Pain)

Great poetic control is exhibited by inserting great emotions into separate and short stanzas: “”Papa, if you will stop the chemo,/I will love you more.”//His words like daggers/stabbing me infinite times,/every stab a pang of death.//But what can I do?/I hugged him tight,/kissed him/and hugged him again.//Unspoken love.” (Paternal Love)

Healthcare workers are humans after-all, with personal longing and needs: “Then she called me anak,/an endearment/I longed to hear/eversince.//I was struck.//Should I present reality/that I am not her daughter?/Or should I give in/to my emotions/and pretend/even just for a moment/that she is my mother?” (Mind Games)

Third Prize should go to “Rain of Ours”. It caught my attention because of its collective design. It has rain as central image. Now the challenge is on how the poet will situate it alongside various POVs, situations and personas and not run out with fresh insights. The author was able to achieve great success most of the time, if not for some lines that would tend to be bare and declaratory. The modern poet as a philosopher should also try not to romanticize and yield to higher powers and let them operate and resolve the pivotal issue within the poem.

The author exhibited great skill on craft just with the first poem “Rain”. He/she was able to employ the first and third person POVs without much trouble—from She, he to I. Likewise, the author was effective in using rain as metaphor for human situations and temperaments. Just with the first poem, he/she was able to summarize the collection’s thesis: that we as humans, give meaning to the rain even though the rain is just as it is. That is why we have a she-persona so happy about it, and a he-persona so sick of it, and the I-persona also joining in the contemplation.

There are great lines such as the hyperbolic: “Falling, your force/creates clanging, disturbing sound against/our roof, moreso like tiny, billion death/bells struck all at once.” (Rain, 3)

There are cool images too such as this one from “Rain, 4”: “Papa once walked there, the crack/grew like a spider’s web from his point to all directions./He said it was frightening.” Or this one from “Rain, 5”: “According to the news, there was a village already soaked underwater,/cadavers floating like brown leaves.”

However, there are lines that are actually good but go too far and declare: “It is falling rain, giving everything/to the land yet getting nothing/beautiful in return, only rain/again – cycle of sadness.” Or “I gaze on the outside through the pane, wondering/how rain depicts sadness and loss/despite giving itself unselflessly,/persistently – sacrifice.”

There are also parts that would tend to overspeak and romanticize: “We thrive in your center, oh rain, let us/thrive within you, wash our minds from/sorrow, claim our bosom from pain, grudges,/revenge, fragmented love and lost dreams.”

The same yielding to a higher power is seen in this deus ex machina line from “Rain, 4”: “Yet, still, we pray. In the night/endless rain came and soaked everything.” Or from “Rain, 5”: “Still, we pray./Slowly, rain subsided like a child’s whimper, fading.”

Fourth Prize should be given to “Poems”. Same as “et., al” the poems in the collection are well ensconced in its Manila milieu. Employing the same intuitive imagism, the author also has eye for contrasting details. The poems, having high degree of orality, are very much performable. The poet also found effective use for line-space as pauses. However, some poems would tend to delve into what I call as “angas poetics” and contaminate the poet’s philosophy with ranting.

Intuitive imagism can be seen in lines such as: “Too much for this,/we uncoil our hair,/chop off/and outside/where pebbles are scanty,/we shooooouuuuut/our baptismal names,/running barefooted/along the rampaging shore.” (Amateur)

Here we could visualize the first-person plural poet-personas running wild as if in Silliman Beach, leaving their poetic footprints for posterity.

Also notice the effective stanzaic strategy in segregating contrasting images/details between the Nazarene’s foot and the devotee’s in the poem “Quiapo”: “In Your/greasy, wounded feet/with nails blood tinged/and jagged and swollen ankles,//Bless these acrylic, well-trimmed/nails of silk feet in a/polished leather sandal.” Indeed it seems that it’s so hard to follow His ways, even in Quiapo Church.

However, with the poem “Postmortem,” inasmuch as it can be better served by a stanza break starting with “the smell of incense/and formalin, telling you/it’s time to start the postmortem care before everything decays and fouls” can also be rid of it’s “angas poetics” with regard the sound and legal purpose of postmortem. Perhaps the poet could be more specific with regard the postmortem’s ‘client’ so as to justify that indeed it’s already a clinical abuse of his/her resting body.

Now even if “This Morning, Or We are Never Tired of Using the Rain as Metaphor All Over and Over Again” succeeds in effecting the tone of apathy with regard its persona, the poem “Free Verse” is again, pure sexual ranting as “An Incident in the Cemetery During a Windy Todos Los Santos” is pure “angas poetics” and existentialist hopelessness

Fifth Prize should go to “Necessary Truths” because of its cool lines, effective use of repetitions and oriental endings. However, I could sense that the poet offers not much new insight even if he/she uses poetic devices. The poetic form ‘haiku’ is also erroneously employed in the “Haiku Exercise”, being that it is not really in conformity with the haiku’s 5-7-5 syllable structure.

Repetition is effectively employed in the poem “Dancers”: “They are there,/gymfit, sculptured bodies…//They are there,/bodies moving,/” However, here, the persona/voice seems to be an outsider looking in, and therefore maybe too judgmental. This is not the case with “Avenida, 2:57 AM” from the collection “Poems”. It’s the better poem because there is involvement with regard the persona in being one with the ‘ghosts’ of the streets.

Arguably, the best poem in this collection is the “Embalmer” with cool lines such as: “You have spent/almost your whole life,/and maybe, your remaining/productive years sealing/ a covenant with the dead.”

The poem also exhibits oriental temperament when it ends with: “One night while sleeping/on your working table,/a dried leaf rested on your face/from an open window.”

“Child Poem” and “Morning Scenery in Japan” are poems devoid of fresh insights. The first poem for instance simply restates that love necessitates child-like innocence and the second poem is simply the persona’s visualization or contemplation of a Japanese scenery as depicted in a calendar.

I received 7 entries for the One-Act Play category. I would eliminate an entry early on—whenever I encounter too much grammatical lapses or get the plot figured out just with the first or second page. I am also particular with form, so if it’s not a one-act play it’s out.

Here’s my final ranked shortlist:

 

1. Violet by Zuj

2. Cosmic Lapses by Martian Hunter

3. ‘Where Is It Again?’ by Bad Robot

4. ‘Because I was Gay’ by Siegfried Ulysses

5. Maria Clara of 20^th Century by Bittersweet and Strange

6. The Decision by MondE

7. Sitting with Eloisa by Vanrout

First Prize should go to ‘Violet’ because just as it is cool to watch because of its theatrics, it is also well-grounded on Philippine realities. It also builds its thesis with convincing characters, smart dialogues and a plot with a parting shot. However, we ask, do we really have to use the male archetype in forwarding feminist ideals? Here, the powerful Don (ala-Godfather), revered and feared by many turns out to be a woman named Angel who wants to start a new world order, a feminist one, that is. Again we ask, will it not simply reverse the polarity?

Second Prize should go to ‘Cosmic Lapses.’ I read this as an existentialist play with an interesting thesis with regard the absurdity of this world—that everyman is really for himself. Here, a mentally ill protagonist is met with detachment and apathy by his female psychiatrist and her secretary/intern. This way, he gets more chances at psychological normalcy from his imaginary friend. My only argument with this play is that it is hard-up on Philippine realities and could very well be set somewhere in the US. Even the imaginary friend looks like an American.

Third Prize should go to ‘Where is It Again?’ because just like ‘Cosmic Lapses’ I read it as an existentialist play, a story within a story delving on the absurdity of life. Here, the protagonist has a peculiar need to always carry something in her left arm. She looks for a book where a story that she will need for an upcoming class is printed, but simply cannot find it. One of her friends tells her of the story’s plot—an absurd tale of mishaps, only to find out later that she has the book safe in her left arm the whole time. This play could get a bit talky and dragging so it needs to be trimmed down a bit.

Fourth Prize should go to ‘Because I Was Gay’ because it’s an unusual love story albeit with the ‘highschool reunion genre’ as backdrop and saccharine ending. And although ‘Maria Clara of 20^th Century’ ranks fifth, I don’t recommend it for a prize because it’s quite sophomoric and tends to be predictable.

Since the 1950’s, the Transition Literary Contest has been part of FEU’s literary tradition. It’s a hell of a big deal for FEU writers to win a Transition prize and get printed in the Transition journal with the late Jess Q. Cruz‘ pointillist cover design. With the Transition and the FEU Press, we can expect more great writers coming from this university.

STARTING THE YEAR

2008 starts rather fast for this blogger. First, my poem ‘Pagsilung’ appears in the December 30 2007-January 5, 2008 issue of Bikol Reporter. Its Tagalog/Filipino version ‘Panonood’ had an earlier peek at daylight in the pages of Philippine Panorama in November 2006. Second, my by-line came out as one of those featured by master poet Cirilo F. Bautista last January 6 for his ‘Breaking Signs’ column, also in the Philippine Panorama entitled ‘Winning Writers’. Third, another poem of mine in English, one I call ‘In the Green of Marahan’ gets printed in the January 2008 issue of Homelife magazine. It’s such a bonus because in the same issue, poetry editor Dr. Leoncio P. Deriada discusses the results of the 2007 poetry competition.

Iriga City once again proves to be the undisputed home of Bikolnon contemporary writers. Deriada writes: ‘Among the cities, Iriga and Quezon were topnotchers with four poems each.’

Now Quezon City is home to UP-Diliman and Ateneo de Manila. It is a place teeming with writers. Now Iriga City is in the Bicol region’s Rinconada area and one writer even said that Rinconada means ‘sa tabi-tabi’. Oh my! We are not living up to our name.

Deriada also reports on the contenders for the Filipino category. Noted names include Ariel S. Tabag, Alex C. de los Santos, Isidoro M. Cruz, Carlo A. Arejola, Genaro Gojo Cruz, German V. Gervacio and Genevieve L. Asenjo.

In any deliberations, the judges’ level of expertise on craft will define the results. And here is Deriada’s report: ‘Of the nine, five merited our lengthy discussion: “Mayon (by Jacob),” “Imnas (by Tabag),” “Ille de Tulle (by Arejola),” “Paglubog (by Cordero)” and “Gabing Ganito (by Chancoco).” Even if we discussed “Ille de Tulle” very extensively, we finally removed it from the winning list. So was “Imnas.” We found the remaining poems very good and so we discussed them further. We could not fault Chancoco’s craftmanship. It deserved the first prize. Cordero’s technique of imaging was practically faultless until the less-than-skilled poster-like last lines. Even then, we found “Sa Paglubog ng Araw” superior to Jacob’s “Sa Muling Pagputok ng Mayon.”‘

Needless to say, I am happy that the judges were privy to the techniques I employed. Otherwise, they would not have appreciated my entry. But then again, this is all just a game (as all contests are), and should not be taken seriously. A writer must serve his art and not the judges of any literary contest.

Right now, I am also giving a lecture-workshop series to 16 young writers all from a nearby exclusive school. It’s theory and practice, lectures then poetry clinic. Of course, I don’t claim to know everything so it is also a way for me to learn new things with them. The teacher-student relationship has always been a dialectics.

By the way, this blog would like to congratulate Mr. Marcel L. Milliam a First Place Co-winner in the 2007 Meritage Holiday Poetry Contest as adjudged by Eric Gamalinda. Marcel was my co-fellow during the 12^th Iligan National Writers Workshop. Sharp and outspoken, our sessions were always lively because of him. He would always visit our room and bug us to come out and have some beer. And I am sure he will treat us some more when we both get to visit Manila. Congrats again, Marcel!

 

ANNOUNCEMENTS

Man Asian Prize Exec Director to Meet with Local Writers Jan. 24

Peter Gordon, Executive Director of the Man Asian Literary Prize, will be in Manila on Thursday, January 24, to promote the prize among Filipino writers and to speak on “International Opportunities for Filipino Writers.” The UP Institute of Creative Writing is hosting his talk, which will be held that day at 2:30 pm at the AVR Room, 2nd floor, Rizal Hall (Faculty Center), UP Diliman.

The Man Asian—informally known as the “Asian Booker”—was established in 2006 and made its first award in 2007 for the best unpublished novel in English or English translation by an Asian. Filipino fictionist and UP professor Jose Dalisay Jr.’s novel Soledad’s Sister made the shortlist of the inaugural prize, which drew 243 entries from all over Asia. The deadline for the 2008 Man Asian is March 31.

Gordon will speak about the prize and on literary publishing in Asia in general. The UPICW is inviting all interested writers, translators, publishers, teachers, and students to attend the lecture-discussion, which will also feature Dr. Dalisay and fellow novelist and columnist Alfred “Krip” Yuson.

Peter Gordon is also a founder and former Director of the Man Hong Kong International Literary Festival (held each March in Hong Kong), founder and editor of the Asian Review of Books, and publisher at Chameleon Press. He writes a weekly op-ed column in the Hong Kong daily The Standard and is chairman of the Russian Interest Group at the Hong Kong General Chamber of Commerce.

(From Vim Nadera)

2007 Meritage Holiday Poetry Contest

Meritage Press is delighted to announce the results of the 2007 Meritage Press Holiday Poetry Contest, judged by Eric Gamalinda. The results include this contest’s second time for a tie for “First Place”, and also the first repeater for “First Place”:

First Place, Co-Winner: “First Winter Passing” by Naya S. Valdellon
First Place, Co-Winner: “O.N.S.” by Marcel L. Milliam
Honorable Mention: “AN EXPLANATION” by R. Torres Pandan

Naya S. Valdellon is this contest’s first poet to receive “First Place” twice, the prior time occurring in 2002 when she tied with Michella Rivera-Gravage in the contest judged by Oliver de la Paz. The 2007 results also feature our first non-English language poet winner. Unfortunately, Eric Gamalinda felt he was only able to assess the Tagalog entries, and so entries in other Filipino languages were not included in the judging.

Judge Eric Gamalinda says about the winning entries:

“First Winter Passing” is a lovely poem about how language connects and disconnects, and how it is nearly impossible for many of us to bridge this solitude except perhaps through poetry and its spectral silences. “O.N.S.” is deceptively old-fashioned like a kundiman, but fused with a naughty, graphic eroticism and a verbal precision that no translation can do justice-by lines 7-9, I was captivated by its masterful lyricism. “An Explanation” is a quiet, elegant little poem that feels like an iceberg: beautiful, mysterious, larger than it seems. I apologize to those who sent poems in other Filipino languages that I couldn’t read; I had to exclude them from the competition, and thus only judged the Tagalog-language poems.

Here are some information about the winning poets:

Naya S. Valdellon is currently finishing her M.A. in English major in Creative Writing at the University of Toronto. Her chapbook of poems, The Reluctant Firewalker, was published by the National Commission for Culture and the Arts as part of its UBOD New Authors Series in 2005. Her poetry has received the Hart House Poetry Prize, the Maningning Miclat Award, and the Don Carlos Palanca Memorial Award for Literature.

Marcel L. Milliam is Ilonggo by birth but Capiznon by association. He is the founding Chairman of “Yanggaw”, The Capiz Writer’s Circle, and a member of the “Dagyang Pulong” Iloilo Writers Group. He works for GMA TV6 in Iloilo as a talent under the ETV Department. He writes poetry mainly in Hiligaynon, but produces pieces in English and Filipino as well. After receiving fellowships from the 1st Fray Luis De Leon Creative Writing Desk of the University of San Agustin, Iloilo, “2nd Panagsugat” Writers workshop of UP Vis-Min, 12th Iligan National Writers Workshop of the MSU-IIT, and the 7th Iyas National Writers Workshop for his Hiligaynon poems, he has now “crossed-over” into fiction. He has won twice the NCLA-VI “Paktakontxt” of the NCLA-VI, consecutive wins in the UPV SWF Bigkas Binalaybay sponsored by the NCCA from 2003-2007, both in the Pagbigkas at Pagsulat Categories. His works have been published in four issues of SanAg, the official literary Journal of the Fray Luis De Leon Creative Writing Desk of the USA-Iloilo as well as in the 33rd ANI of the CCP and numerous other local and national publications. At present he is a 3rd Year student in the Bachelor of Laws Program (Llb.) of the University of Iloilo College of Law and is actively involved in the works of the Alternative Law Groups Inc. (ALG) and was a paralegal intern of the Children’s Legal Bureau (CLB), Cebu. When he miraculously has free time, he is also involved with the Iloilo theater scene as a stage actor.

R. Torres Pandan has been a law school dean for ten years and a partner in the biggest law firm in Bacolod City, Philippines for 16 years. He has won the Palanca Awards for poetry and his first book of poetry was short-listed for the 2005 National Book Awards. He is also the Research Director of the Philippine Supreme Court’s JURIS project on mediation.

The winning poems can be seen at the Meritage Press “Babaylan Speaks” link at
http://meritagepres s.com /babaylan/

Be ONE of the 15 FELLOWS with multi-awarded writers!

IYAS Writing Worshop

• Aplicants should submit original work: either 6 poems, 2 short stories, or 2 one- act plays using pseudonym, in five (5) computer-encoded hard copies of entries, font size 12, bound or fastened, in separated folders with a diskette (MSWord).

• These are to be accompanied by a sealed size 10 business envelope with the author’s real name and pseudonym, a 2×2 ID photo, and a short resume, which must be mailed on or before March 14, 2008.

• Entries in Cebuano, Hiligaynon, Tagalog or Filipino may be submitted. Fellowships are awarded by genre and by language.

• Grant will cover board and lodging and a partial transportation subsidy.

PANELISTS

Dr. Cirilo F. Bautista

Ms. Genevieve Asenjo

Dr. Marjorie Evasco

Prof. Danny Reyes

Dr. Elsie Coscolluela

Dr. Antonio Tan

Wokshop is on April 20-26, 2008 at the Balay Kalinungan Complex, University of St. La Salle , Bacolod City .

Sponsored by: University of St. La Salle, NCCA, Benvenido N. Santos Creative Writing Center , De La Salle University, and Negrence Studies Development Center

SUBMIT YOUR APPLICATION TO:

Dr. Gloria Fuentes
Asst. Vice President for Academic Affairs Office
University of St. La Salle
La Salle Avenue , Bacolod City

HAGBAYON’S 2007 YEAR-END REPORT

“Onward you move regardless of plans, you my friend are a roadworthy man.”—Wolfgang, ‘Roadworthy Man’

Now let us recapitulate some of the important events that I got involved in this year.

I helped in my father’s candidacy as a Baranggay Kagawad. Though it made me see the real score behind this political exercise, I still believe that we can still do better and improve grassroots legislation for national progress.

As writers, we are also legislators. Thus on July 1, 2007, Kabulig-Bikol ratified its Constitution and By-Laws. Though I see that there are still provisions that require some work, as it is, the current By-Laws can already help the organization function with some degree of formality. This country is run by law and not by men, and the same goes for any organization.

I served as Election Officer during Kabulig-Bikol’s selection of the new NCCA-National Committee on Literary Arts Representative. As part of the process, we interrogated the candidates with regard their plans and programs. And then we proceeded to the electoral process via secret balloting. The margin was so close, and to complicate matters, one of the members took an early leave and so we needed to contact him and know his vote. Not wanting a delay in the process, Estelito B. Jacob conceded to Carlos A. Arejola.

We processed the nomination and sent it to the then Head of the NCLA, Lito Zulueta. But later on, we had to resend the nomination because the NCCA, after revising its IRR made some changes in the nomination requirements. They now required a joint nomination (we tapped DIBA, Inc.) and a duly-accomplished application form. As Election Officer and likewise Kabulig-Bikol’s PR Officer, I provided Carlos Arejola with updates with regard the changes in the requirements. We sent the documents again, and this time, not anymore to Lito Zulueta but to the Project Management Division (as indicated) and Carlos Arejola’s application was approved.

Kabulig-Bikol also helped in raising some funds to partially shoulder Carlos’ transportation expenses for the NCLA elections held in Cebu City last December 10. And he is now officially the Representative for Southern Luzon. Though he is expected to represent Bikol writers he will cover as far as the Quezon Province in the NCLA as it tries to deliberate on and execute programs that would revitalize the literary arts scene in the region.

Meanwhile, another group that is determined to push for advocacies with regard Bicol culture and history was formed during the year. Tentatively named Bonyog-Bikolnon it has Fr. Wilmer Tria, Fr. Philip Bersabe, Estelito B. Jacob, Fabiana A. Arejola, Jose Fernando Obias, D.C. Nathan A. Sergio, Ruben P. Barrameda, Ramon Olaño Jr., Jose V. Barrameda Jr., Fr. Manny Zagaoa, Kristian Cordero and Jose Jason L. Chancoco as Incorporators. The group, during its December 9, 2007 meeting at the Madrigal Building agreed to place Jose Obias, Fabiana A. Arejola and Jose Jason L. Chancoco as Interim Chairman, Treasurer and Secretary respectively. The group is now processing its registration with the Securities and Exchange Commission.

Now this blogger believes that for Bikol literature to prosper, Bikol writers ought to think not only of their respective careers and go down from their Ivory Tower and meet up with other people also interested in the art specially the beginners. That is why my monthly Palihan continues. And I see myself doing more of these literary discussions this coming year.

As for the publications, we still got lucky. Here’s some of my published works this year:

• Homelife: “Isang Gabing Ganito” (October Issue) and “Elehiya” (November Issue)
• All with Tagalog translations—“Tigsik Lubid”, “Siklo-Real” and “Siklo Solar” in Ani 33: 20^th Anniversary Issue (Nature and Environment) edited by Mr. Herminio S. Beltran, Jr
• Along with poet Santiago Villafania, I indulged in a literary discussion with master poet Cirilo F. Bautista. And the result of this fruitful discourse was published in Bautista’s Philippine Panorama August 19, 2007 article entitled “Of Writers and Readers”
• Bikol Reporter: March 18-24, 2007 issue—“Pasakalye ki Kaye 1” and November 25-Dec 1, 2007 issue—“Opera”
• “Sa Parasurat na Inapon sa Salog”, “Sakyada”, “Sa Berde kan Marahan” and “Pasakalye Ki Kaye 1” in Burak nguna bago bunga: Ika-apat na tipon nin mga luwas kan Burak, an Dahon Parawitdawit. Pinakaray ni G.B. Calleja
• March 2007 Issue of The Pillars—reprint of “The Chanters of Baao”
• “The Social Dimension of Textual Interrogation in the Classroom” in The Arabesques Print Review, a journal based in South Africa.
• “Bakwet” in Latay sa Isipan: Mga Bagong Tulang Filipino (UST Press) edited by Dr. Cirilo F. Bautista and Allan Popa. Launched on August 30, 2007 at the World Trade Center.
• “Nekromansa” in Sawi: Funny Essays, Stories and Poems on All Kinds of Heartbreaks (Milflores Publishing)

I am still the Bikol and Tagalog editor of Dalityapi Unpoemed’s Makata. It still receives contributions from all over the world. Still, it is a portal of Philippine if not Southeast Asian literary arts.

While I also served as judge for the 2007 Premio Tomas Arejola para sa Literaturang Bikolnon, this blogger is also happy to report the three literary distinctions I got this year:

• Talaang Ginto: Gawad Surian sa Tula, Gantimpalang Collantes 2007 (Hon. Mention)
• Gawad “Soc” Rodrigo 2007 (From the Komisyon sa Wikang Filipino and National Commission for Culture and the Arts)
• Home Life Magazine Poetry Contest 2007 (1^st Prize, Filipino Category)

I also participated in these literary activities:

• Served as host during the OragonRepublic Writer’s Night at Lolo’s Bar on July 19, 2007
• Read poems during the Mundag Literary Awards at Ateneo de Naga University on February 17, 2007
• Reactor to Dr. Cyril Conde’s lecture on February 15, 2007 at Ateneo de Naga University entitled “The Archive of Kadunong: Exploring the Oral Narrative Literature of the Bikol Region in the Philippines”. I talked about oral tradition and Bikol printed poetry.
• Forum Member or Kinatawan during CHED and KWF’s “Konsultasyon-Balikatan sa Ortograpiyang Filipino” held at DepEd-RELC, Legaspi City on July 10, 2007
• Along with other Bikol writers, I supported Dr. Cirilo F. Bautista’s nomination to the Order of National Artist 2009
• Launched the Hagbayon Podcast Channel on June 2, 2007 at http://www.gcast.com/u/hagbayon. And I think it’s the first of its kind in the country.

And of course, my thanks to ABS-CBN reporter Ms. Rizza Mostar and cameraman Christopher Hermoso for featuring this writer for the ‘Bicolano: Angat Ka!’ segment of TV Patrol Bicol on December 7, 2007.

As always, this is for God, for Bicol and the people I love. Merry Christmas and a Happy New Year to All!