HARIBOL SURALISTA

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

RADHA, AN MUYA KO PARA SAIMO

Posted by Jai Jesus Uy Borlagdan Tuesday, April 16, 2013

Radha, sadit man sana kuta an muya ko para saimo. Makadangog sana ki “Krishna,” iyo na. Krishna, Krishna, Krishna. Dangogon mo sana. Iyo man sana. Ngaya mamuyahan mong sa’wodon, dulong magayon. Makataram kang “Krishna” hali sa boot; mataram mo an Ngaran na ini na igwang dawa diit na pagsarig, dawa saro sana, dai na akong mumuyahon pa. Dulo kun mabilog mo an Hare Krishna Hare Krishna Krishna Krishna Hare Hare/ Hare Rama Hare Rama Rama Rama Hare Hare, nata dai? Pagmati ko kaan, an buhay kong ini, haman na. Kun hihilingon, sadiyuton man sana kuta an na hagadon. Dai pa ngani maubos ki saro o duwang minuto. Kun susukulon, halawigon pa ngani an sarong dai sa boot na istorya kan nangyari saimo ngonian na aldaw o sarong nahiling na pelikula. Bako man an dakula kun babaluon.
 
Pero sa totoo, dakula, dulo na sakuya. Sa katunayan, dakula, mala mati kong sugpon an satong kulog. Mala naririraw taka taros sa mamundo mong tu’lang buda laman, kaya dakula. Buda dulo sa gabos, mala padaba taka, kaya dakula. An kina’ban na ini sarong nakangangang ngimot, buda an aldaw ta nauubos pababa sa hararom na halunan na an bituka diklom kan warang pagkaisi na warang nakakaisi. Sa hapin kan ha’dit minatindog kita ki ogmang gibo sa alopoop, sa mga harigeng ini ki aso buda tu’nog isandig ta an bilog tang gabat. Nagrarasay ka na pababa pero huna mo naglalataw ka sa dampog. Ay, aki ko, tugang, amigo, pag-iriba sa ridang ini kan apat na kasakitan—pagkamundag, helang, paggurang buda kagadanan—wara nang ibang paagi, wara nang ibang paagi, wara nang ibang paagi kundi an mag-awit, mag-awit, mag-awit kan mga Ngaran kan Kagurangnan. Ini man sana an muya ko para saimo. Ugaring, sa ibong kaan, dai ko man giraray pighahali an paglaom na mahiling taka sarong aldaw, sa tiripon o magsaro, nakapiyong, nagsasayaw, nag-uulok, nagluluha sa ogma, mantang sa ngabil mo nagbubulos nang kusa, an dugos kan mga Ngaran kan Diyos. Dai ko pigtutungnan an paghalat; nagtutubod ako saimo, padagos.
4/7/2013
Pawa.


 

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Karangahan Online

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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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