HARIBOL SURALISTA

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

AN TINDERA

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

Ano an nasa mata kan tindera
sa laog kan rehas na iskrin?
Su pigmamawot daw
kan gabos na paratinda—
kwarta. Bako man gayod
saiya an tindahan na ito.
Saka aram niyang pano na
an kaha. Pero kaipuhan
niyang maghalat. Ibahan
an mga panindang dai pwedeng
mawalat. Baka nalaom siya.
Pero kasubago binuksan niya su pinto,
may tinapok sa basurahan.
Naghiling-hiling pa ngani
sa tinampo, nagpahuruhayahay
sa paros kan kaskas
kan mga awtong pasiring sa kun sain.
Huna ko bumalyo siya sa tinampo,
pero uminatras, luminaog giraray
dai nang luwas-luwas.

Dangan, huni na naman siya nakatanaw sa luwas.
Ano man an saiyang pighihiling—
su bakanteng loteng kadlagan
na nagsasabing bawal magtapok ki basura?
Dawa nasa hampang, dai niya naman ini nahihiling.

Kun may parokyanong minahaloy
para sa halipot na huron
ihapot niya pirmi ini kun mapasain.
An iba sa mga harayo maduman.
Gurano karayo, lampas sa arog kaining lugar, mahapot siya.
Lampas pa sa luminampas diyan, masimbag sinda.
Nata, maiba ka?
Rumdumon nindo
ta nag-ulok naman kita ki arog kaini,
kun masimbag siya kan pirmi niyang pigtataram,
dai, tama na ako digdi.

Pirmi sa sarong paaram iwalat an tindera.
An saiyang mata arog an paghagad
kan sarong dai nakakasawod.
Pero aram niya na dai man maitatao,
dai niya man maaako.
Ibayaan siya kairiba
an mga panindang dai puwedeng bayaan.

Sa likod kan pahaling mga nakahuron
nahihiling niya an saiyang buhay—
naglalapag. Pig-aagda siya kaini
pasiring sa mga lugar
na muya niyang maduman—sa lugar
na siya an pigbabantayan, may kantidad;
siya an pighahagadan ki mga istorya
kan mga nabayaan—parayo saiya
muyang mawara.
Agosot 29, 2006. Pawa.

 

0 comments:

Post a Comment

Ako Kalag Omay (2015)

Buhay-Gadan (2014)

Ha'dit sa byahe buda iba pang mga bagahe (2013)

Hamot kan Narumdom (2011)

Suralista: Mga Rawitdawit (2010)

Suralista: Mga Rawitdawit (2010)
Makukua sa: Gabos na Lucky Educ. outlets (Naga, Legazpi, Tabaco, Polangui, Sorsogon); Tabaco: Arden,Imprintados Advertising. Naga: Lucky Educational Supply. O kaya sa 0917 524 2309

Que Lugar Este kan Dayo sa Sadiring Banwa (2009)

Que Lugar Este kan Dayo sa Sadiring Banwa (2009)
"Maunod, magabat. Alagad makamuyahon ta magian basahon, ta makamuyahon saka labas an tanog. Makata, uragon." Gode B. Calleja. Abilable sa gabos na Lucky Educ. Supply Outlets; Kulturang Bikolnon. For inquiries:0917 524 2309

Maynila: Libro ng Pobya (1999)

Maynila: Libro ng Pobya (1999)
Makukua sa gabos na Lucky Educ Supply outlets buda sa Imprintados Ads sa Tabaco City. Para sa mga kahaputan mag-text sa 0917 524 2309

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.





Copyright 2009 - Haribol Suralista

Theme designed by: Raycreations.net, Ray Hosting