HARIBOL SURALISTA

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

Ay ku, mader, dai ka ninda midbid

Posted by Jai Jesus Uy Borlagdan Tuesday, December 22, 2009

"Mas muya ko nang gadanon kan Mayon, kaysa magadan sa gutom (sa evacuation center)"


Sikat ka na naman mader. Dawa gurang na, may nakakatino pa man palan. Asi tanawa sa pamitsan mo, mga nagtatangad saimong mga taga-Manila, bako bakasyunista ha, mga showbis reporters. Dangog ko igwa pang mga forengers. Ano na naman ginibo mo, mader ta sikat-sikat ka naman? Muya mo pang takluban su kaso kan Ampatuan.

Biyong pinawarara kami sa samuyang bukid na ika man sana nagpataba, sa mga pananom ming ika man sana nagpadaba, nagparambong. Makaulok ano? Sinda pa an nagtali-talian, sindang pigsusukol an gayon mo sa harayo kaysa samuyang pirmi kang kadurog.

Nata nadudurat sinda? Garo man su dai ninda aram na arog ka talaga kaan.Para pinahiling mo kun ano an nasa laog mo. Ano pa man an bâgo? Kalayo, gapo, dugi? Kan rinaodas mo su Cagsawa, ikang maimunon na batala, bakong pinahiling mo sana kun sisay an diyos, na ika sana an permanente, na ika sana an dai kayang tanyugon, na an kongreto o lansang na pag-uswag kaya mong buraon na arog sana kaan? Ngonian, na oosnan mo na naman an samuyang kadagaan, kisay sala na iturukdok ninda an saindang mga nagsisirilyab na syudad sa palibot mo? Ika an nakakaaram kan saimong solar, gibuha an saimong muya.

Yaon kami digdi mala saimo, ina mi. Inagda mo kami sa kuna kan saimong katabaan, kaya kami nagrambong na arog kaini. Kan inako kan samuyang kamagurangan an yaman, inako naman ninda an buhi mong libog na daing pigsasanto an orgasmo. Arog ngonian, manunugâ ka kun sisay ka, ibabalangibo mo sa bilog na rona an malatom na bandera kan saimong ubod,kan saimong ugali. Sa saimong pagkikig, sa saimong pag-utnga, sa pagdalnay kan nagraraba-raba mong matris, bânuha an samuyang kadagaan na linaspag kan malipot ming mga aparato, pilaâ an samong banwaan na binuruhang kan mga diyos na tawo.

 

1 comments:

Manven Rakesh January 01, 2010 8:15 PM  

which is this language?

http://www.joke2smile.blogspot.com/

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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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