HARIBOL SURALISTA

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

An Kanta Kan Dai Natutunong Na Uran

Posted by Jai Jesus Uy Borlagdan Wednesday, April 01, 2009 comments (0)


Dai ko masawod an dulum
na hinalean ko.
An huhugpaan ko aram kong
dai ako masasabutan.
Bubukahon ninda an mga burak
na gadan an kolor
sasaluhon an pagbulos ko
kan panas
sa tahaw kaini.
Pero dai na ninda ako makukulugan
dai nang laog an buot ko–
matang nakahiling
taros sa mga bagay.

Sapuyunga ako kun mataram kong dai nang kamugtakan!
Sapuyunga ako kun lumuwas an sa ngimot ko;
Nangingiturugan pa ako.

Disyertong daing sagkudan an paha
an nag-iinom sakuya.
Ako an dai natutunong na uran.
Dai ko masawod an dulum
an gabat sa diklom
na nagsugo sakong paoro-otrong
isapurak ko an sadiri
digdi sa daga.

English:
The Song of the Ceaseless Rain

The shade where I came from
is unspeakable.
I will not be understood
by where I will fall down.
They will open the flowers
of dead color
and with its central spears
catch my flowing.
But they will no longer be able to hurt me
with my feelings empty-
while staring
through things.

Hit me if I say there's no more sense!
Hit me if that'll come out of my mouth;
I am still dreaming.

A desert whose thirst is endless
drinks me.
I am the ceaseless rain.
I cannot utter the shade
the weight of the dim
that ordered me
to scatter myself
again and again
on this earth.


Tagalog:
Ang Awit Ng Di Humuhupang Ulan

Di ko mabigkas ang lilim
na pinagmulan ko.
Ang babagsakan ko alam kong
di ako maiintindihan.
Ibubuka nila ang mga bulaklak
na patay ang kulay
sasaluhin ang aking pagdaloy
ng tulis
sa gitna ng mga ito.
Ngunit di na nila ako masasaktan
wala nang laman ang aking kalooban-
habang nakatingin
tagos sa mga bagay.

Sampalin mo ako kung masabi kong wala nang kabuluhan!
Sampalin mo ako kung lumabas yan sa aking bibig;
Nananaginip pa ako.

Disyertong walang hantungan ang uhaw
ang umiinom sa akin.
Ako ang walang humpay na ulan.
Di ko mabigkas ang lilim
ang bigat ng dilim
na nag-utos sa aking paulit-ulit
na isambulat ko ang aking sarili
dito sa lupa.


 

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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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