HARIBOL SURALISTA

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

AN SAOD KAN TABACO: Sarong Giromdom

Haliputon sana, kaipuhan halaton, an oras na minasilyab, minabulawon, an saudan. An lambang harigeng duwang kugos-tawo kahibog, napupulnas an mga ati buda kurit-kurit, nagiging sarong puon ki banaag. An mga lanob, an mga hurandigan, nakikipuntukan sa arik-arik kan aldaw, nagsusuriyaw an suriaw. Kaya man ibaba kan mga tindahan an luna sa saindang hampang nganing ipansagang sa saindang mga panindang mararaot kan sildang. Mga alas-siyete ini kan aga, an pagputok nanggad kan kasiributan sa saod. Surusaralbod an mga mutaon pang pandok, an mga kamot sa mga bâyong o butas-butas, balag-balag an matang adal sa rugok buda lâbas. Buda an ribok na iniskalamusa arog sa mga bado sa ukayan—dai masabutan kun sain hali. Turutaraluntong an kagrat, sagitsit kan tsinelas sa paril, agrutong buda busina kan awto, ngarakngak kan duwang mag-amigong nagkatuparan gilayon, agrangay kan sarong gurang sa pag-iriba na hararumon na an kwarta, pasuway kan tindero buda parabakal manugnod sa uli, lagapak kan pigdidiskargang mga banyera ki sibubog, ngawngaw kan mûsingon na parot, kurarat kan radyo sa tindahan ki radyo, buda an tamuyaw kan dabyana sa kaha sa bâtugon niyang mga tindera. Tipunon mo ini gabos igwa kang arog sa naghahagong na katoninungan sa laog kan sarong makina, igwa kang sarong lugar na naghihibot-hibot sa kabuhayan buda nagsasagmakan an impersonal na banwa. Sa itaas kaini, pasakat sa hagyanan na dai nagmamara, sarong dangaw an hibog kan nagtagas na labtok, iyo an matrangkilong eskalon kan magulay. Mapulot an paros sa parong kan kuyog buda balaw. Nagbubutungan an hayahay buda bângog kan parong kan gulay buda sirang alang. Yaon man an manatok na lunok buda mamis, mga binûtong, bibingka, balisongsong, ibos buda latik, anas nasa nigo. Sa mga tindahan kiritay-kitay an mga ampaw buda timotimoon, mga adong buda taldis, balikutsa buda delimon kaurubay an mga sopas, turutalinga, may linga buda toasted. Maluway an andar digdi buda dai ki nagsusuriyaw. Ini an katoninungan na minapatahaw sa kuruslaban hali sa makarne sa iraya, buda kuruslaban hali sa masirâ sa ilawod. Kun arin mas maribok dai ki makakataram. Kun arin mas malinig, iyo man. Dugo buda matagas na pandok ki mga hayop na nagadan sa kulog buda takot. Mas dumog buda madugî an masira, mas madugo buda mas marara an tarom sa makarne. Sa masira, naka-atado an mga burarat na gadan sa mga lababong lamesang dai na marumduman kun kasuarin sinda dai naging malangsa. Mga unit-pirak na lamos sa kun ano an minasugpon sa satong hinangos. Sa saindang mga salming na kiskis an malumlom na giromdom kan rarom na hinalean ninda. Dai lamang ki makakabalik sainda para magtaong pataan. Sa makarne an mga unit kan karabaw na nakawandag na garong bado, an mga nakabaldeng dugo, an maan kan daing matang bungo. Yaon man an mga kurtina ki bituka, an lamesa ki laman, an sablayan ki paa. Sa duwa, nagwawasiwas an mga espada kan pisaran, nagngungururahab an halunan kan kaha. Uguton an berdeng ninyo sa pagreparo. Sa lambang duwang kamot kan tawo, kwarta an minataong sugpon, arog sa helang na nakua sa sikretong ginhawa kan dai mo midbid, igibo kamong manungod. Buda an tataramon kan tawo mina-alsa pasiring sa mga sementong sukduhan, naguguong sa mga lapat buda agiw na marambong sa mga tubong garo botas ni Santa Clause. Pasensiyahan nindong saro na sana ining pagrumdom. Muya kong hamanon gilayon an arkitektura kan sarong girumdom. An daguldol kan lansang na rida kan mga karita pig-uusol pasakat sa rampa pigduduno ako kan tanog. An kamot na minahaldok sa nag-aarik-arik na linig kan kiskisan para parungon an hamot, pigduduno ako kan itsura. Pano pigmumukna an...

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Suralista: Mga Rawitdawit (2010)

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Maynila: Libro ng Pobya (1999)

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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.