HARIBOL SURALISTA

HARIBOL SURALISTA
Pag-omawon an Kagurangnan, an pursang minabusol kan sakong pluma. Haribol.

SARONG MAINIT NA ALDAW

Posted by Jai Jesus Uy Borlagdan Thursday, September 07, 2006

Dakol an naghahagad kan aldaw
na magin arog kaini.
Ini an minapabulawan sa mga tinampo
sa pigbabalad na ani, an minaparambong
kan mga halayhayan sa mga dinurumog
sa paglaba, an minapadagos sa pagbuhos
ki tulang sa mga paa kan mansiyon
na pigtatapos, an minasibot sa sadiyot
na bagting kan pigtitindang palipot.

Gari ka naghihiling
sa bintanang malinawon an salming.
Gari kita pigpapahiling:

Su liwanag arog kan init
na nagmukna sa kinaban.
Hali digdi minahugpa an linaw
sa mga itsura. Rirawon.
Garo ritratong ikinurit ki tarom.

Namamate ko su nahiling ko: Pigsasapna kita—
piggigibo giraray.

Hali satuya minaluwas
an hilaw na lawas
na nagkurubong sa diklom
sa itsura kan tubig
na natipon sa malipot na panahon.
Siring man sa irarom kan arik-arik
muyang pumaknit kan gayon
hali sa mga dai narereparo
dangan magturon-turon
sa dagang mainiton—sarong sayaw
ki pagpamidbid: Hilinga, huni kami

Hilinga, ta parakua man an init na ini.
An ragit arog an dagit
kan pagbawi. Ano an pigbabawi?
Kalumuyan. Pigbabalik an tagas
sa kinaban nganing mabuhang
mawaran ki kupot
arog kan minapasang marang daga.
Hali digdi makaluwas daw an pisog
kan kapinunan?

Pigbabalo kita kun sagkod sain
an kayang itao. An gibuhon giraray kita
bakong arog kaini kundi daing natok na mga gapo—
magin kaarog kan pigtatangad na mga lawas
na daing digta—purong enerhiya!—
mga lansang buda yelong pataw-pataw
sa kahewasan.

*
Sa kahaluyan
arog kan bagang kinaon kan sadiring isog
suminibog na su init
pasiring sa saiyang kapinunan na rarom—
sa lugar na pigtalikudan kan mga bulod—sa diklom—

o kita an nagrayo sa pagkadaog. Makakarayo daw kita?
Ta dai pa tapos—ta daing kasagkodan—an talimon
ta sa kalayo, sa init na garo dagit, na garo pagkamuot,
na minagibo satuya,
na minaraot satuya.
Pawa Agosto 28, 2006

 

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Karangahan Online

Karangahan Online
Karangahan: Pagranga sa Panurat Bikolnon. Kagibo: Jimple Borlagdan. Pinduton an ritrato para makaduman sa Karangahan

On Borlagdan's Poetry


A Rush of Metaphors, Tremor of Cadences, and Sad Subversions
By Tito Genova Valiente
titovaliente@yahoo.com

The first time I read the poems of Jesus Jaime Borlagdan, Jimple to those who know him, I felt immediately the seething movement of the words. There was a rush of metaphors in his works. I immediately liked the feeling that the rhythm caused in one’s reading for poetry, in my book, should always be read aloud. I was hearing the voice. It was a voice that happened to sound from afar and it was struggling to link up with a present that would not easily appear.

It was heartbreaking to feel the form. I felt the lines constricting. I saw the phrases dangling to tease, breaking the code of straight talk and inverting them to seduce the mind to think beyond the words. Somewhere, the poems were reverting back to direct sentences, weakening the art of poetry with its universe of ellipses and nuances, but then as suddenly as the words lightened up, the poems then dipped back into a silent retreat, into a cave, to lick its own wounds from the confrontation that it dared to initiate.

For this column, I decide to share parts of the longer paper I am writing about this poet.

In Karangahan, the poet begins with: Bulebard, ikang muymuyon na salog/ki gatas buda patenteng nakahungko,/ako ngonian kahurona. Borlagdan translates this into:Boulevard, you forlorn river/ of milk and downcast lights/ speak to me now. Savor the translation, for in Bikol that which is a dialog has become an entreaty.)

The poet is always talking to someone but in An istorya ninda, an osipon ta, he talks about a the fruits of some narrative: Ta sa dara nindang korona kita an hadi/ sa krus, kita su may nakatadok na espada./Naitaram na ninda an saindang istorya./Punan ta na man su satong osipon./This I translate as: For in the crown they bear we are the King/ on the cross, with the embedded sword./ Marvel at this construction, as the poet cuts at the word “hadi” and begins the next line with “krus” and the “espada.” Marvel, too, at how he looks at conversion and faith, a process that made us special but also wounded us with ourselves stuck with the sword.

Finally, the poet says those lines of the true believer: They have already spoken their story, now let us begin with our tale. The poet does not have a translation but will the istorya in this line be “history” and osipon be “myth.” Shall these last four lines in the first stanza be both a subversion of our faith embedded in a foreign culture or a celebration of what we are not, and what we have not become?
Puni na an paghidaw. Puni na an pagluwas/hali sa kwartong pano ki luha, puni na/an paghiling sa luwas kan bintana./Puni na an paghidaw para sa binayaan./Puni na an pagsulit sa daluging tinimakan./Puni na an paghidaw sa mga sinugbang utoban. Terrifying lines as the poet calls us to begin the remembering and also begin the moving out from the room full of tears. In the poet’s mind, the lacrimarum vale or valley of tears had become an intimate area for instigating his own release.

The rhythm is there as in a prayer. But it is no prayer. There is the repetition but it is not a plea. There is the self but it is one that has turned away from itself into something else. That self is one that shall face the recollection of the faith that has been burned.

And yet the poet, resolute when he wants to, loves to sing and hint of fear and anxiety. Even when he is merely observing children playing in the rains, he summons images of terrible beauty. The skies become diklom na pinandon na “may luho” (with hole). From this hole, comes the sarong pisi ki sildang/ tisuhon na buminulos. The poet stays with this metaphor with such intensity that the silken thread coming from the hole justifiably becomes luhang garo hipidon na busay/paluwas sa mata/kan dagom. Dark wit and a penchant for the horrifying are tandem graces in these lines.

This is the poet who can, without self-consciousness, tell us of the …haya/kan mga ayam na namimibi/nakakapabuskad ki barahibo/nakakaulakit ki lungsi. He whispers of “halas na rimuranon, malamti/sa hapiyap kan mga bituon.”
This is a startling universe, where dogs pray (and bay), and where fears bloom and paleness afflicts and infects, and serpents are caressed by the stars.





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