Sometimes
I want you
to forget
So I’d have
a reason
to hate you
Archive para sa Kategoryang 'Literature'
13
Oct
When I think about it
15
Feb
Para sa iyo
Valentine
Carol Ann Duffy
Not a red rose or a satin heart.
I give you an onion.
It is a moon wrapped in brown paper.
It promises light
like the careful undressing of love.
Here.
It will blind you with tears
like a lover.
It will make your reflection
a wobbling photo of grief.
I am trying to be truthful.
Not a cute card or a kissogram.
I give you an onion.
Its fierce kiss will stay on your lips,
possessive and faithful
as we are,
for as long as we are.
Take it.
Its platinum loops shrink to a wedding-ring,
if you like.
Lethal.
Its scent will cling to your fingers,
cling to your knife.
25
Dec
Meli Mislas
OLI IMPAN
ni Alberto Florentino
ni Alberto Florentino
OLI IMPAN (”Holy Infant”)
A Tagalog translation by the playwright
of his original one-act play in English
(1,478 words)
Saaylenay . . . oolinay . . ./ oliskam . . . olisbray
(Silent night; holy night;/ All is calm; all is bright).”—from “Silent Night,” as sung by Filipino children-carollers
The author’s Tagalog translation of Oli Impan was first published in the National Midweek (June 11-18, 1986), edited by Jose F. Lacaba.
The original play written in English won the Arena Theater Playwriting Contest (Special Award, 1959) and was staged in the “arena-style theater” at the PNC Quadrangle on Taft Avenue under the direction of playwright Severino Montano (recently posthumously declared a National Artist).
Oli Impan (in English) was published in The World Is an Apple (the book, ©1959); in Comment (1959); and produced on Balintataw I (TV, PETA/Ch. 5, 1968).
Recently (Dec. 14, 2001), it was staged in the Philippines: in a school (Marcelli) in Taytay, Rizal, Metro Manila, under the direction of a young teacher, Gia Marcia de la Cruz.
Oli Impan (in Tagalog translation) is being featured in PALH-ezine (Philippine American Literary House), managed by Cecilia M. Brainard, on the 43rd anniversary of the play’s creation on Dec. 20, 2001, 43 years after the squatters written about in the play were evicted 5 days before Christmas of 1958 by Manila Mayor Antonio Villegas and relocated to either Sapang-Palay or Welfareville.
The playwright was influenced by the French film Forbidden Games, directed by Rene Clement, which the playwright saw in the first U.P. Film Festival under UP Film Center Director Virginia Moreno.
* * *
For Franz Arcellana, National Artist for Literature 1990
* * *
Mga Tauhan:
Batang Lalaki (BLalake), 5 taong gulang.
Batang Babae (BBabae), 4 na taong gulang
Panahon:
Kapaskuhan ng 1958 .
Pook:
Sa Binondo, sa isang pook na tinatawag na “Casbah.”
* * *
PAUNAWA:
(English version)
After the liberation of Manila, thousands of squatters lived in the slums of Binondo.
The place was known as the “Casbah” where lived the landless and homeless poor of a city ravaged during World War II and the liberation of Manila in 1944.
On Dec. 20, 1958, 5 days before Christmas, Mayor Villegas evicted the “squatters,” relocated them far from the prime real estate of the city, and dumped them in either Welfareville or Sapang-Palay.
To this day, 43 years later, Welfareville is still home to thousands of second- and third-generation squatters descended from the original families routed from the “Casbah.”
(Notes revised and updated 12/2001)
* * *
THE SCENE:
A slums area close to a building of several storeys.
A low wall cuts across the stage, separating the squatters from the business section of the city.
A 4-year-old girl in tattered dress sits at one end of the low wall. Offstage are heard sounds of commotion of people and the noise of houses being demolished by hired workers and carried away by trucks.
Offstage a mother’s voice is heard berating her son for standing in the way.
The 5-year-old enters the stage pulling a toy car made of empty milk cans linked together and tied to a string.
* * *
The following is the Tagalog version of the play, with stage directions in English
* * *
BatangBabae. (looking around her) Me sunog ba?
BatangLalake. (stops pulling his toy) Ha? Ano ‘kamo?
BBabae. Sabi ko, me sunog ba?
BLalake. (goes on with his playing) Wala! Walang sunog.
BBabae. (looks toward the street) Me sunog siguro.
BLalake. Sabi ko na, wala e! Ang tigas-tigas ng ulo mo!
BBabae. Meron! Meron!
BLalake. Pa’no mo nalaman? Me nakikita ka bang usok? Me naririnig ka bang bumbero? (he runs around, pulling his toy and imitating the noise of firetrucks) EEEEEEE!!!!!!! Ang sarap kung me sunog, ano?
BBabae. (worried) Kung walang sunog, e bakit nilalabas natin ito (points to their belongings)
BLalake. Mangyari pinalalayas tayo.
BBabae. Paano mo nalaman?
BLalake. Sabi ng Nanay ko.
BBabae. At sino’ng nagpapalayas sa atin?
BLalake. Ang gobyerno.
BBabae. Ano ba’ng “gobyerno”?
BLalake. Ewan ko.
BBabae. Ba’t di mo tinanong ang Nanay mo?
BLalake. Nakalimutan ko e.
BBabae. Bakit naman tayo palalayasin ng gobyerno?
BLalake. Mangyari, gobyerno’ng me ari nito. Iyan, ‘yan, at lahat ng ‘yan.
BBabae. Aba, atin ‘to, di ba?
BLalake. ‘Yung mga bahay siguro. Pero ‘yung lupa, di atin.
BBabae. Aba, hindi! Atin din ‘yun!
BLalake. Di atin ang lupa!
BBabae. Atin! Ating lahat ‘to!
BLalake. Hindi sabi e!
BBabae. Atin! Atin!
BLalake. Pa’no naging atin ‘to?
BBabae. Di ba ang tagal na nating nakatira dito?
BLalake. Oo, pero di ibig sabihin atin ‘to.
BBabae. Kung di atin ‘to, alin ang atin? Alin?
BLalake. Wala!
BBabae. Kung palalayasin tayo, saan tayo lilipat?
BLalake. Ewan ko sa inyo.
BBabae. Bakit, kayo, me lilipatan ba kayo?
BLalake. Wala rin. Pero di bale. Me trabaho’ng Nanay ko.
BBabae. S’yanga?
BLalake. Oo!
BBabae. Ano’ng trabaho ng Nanay mo?
BLalake. Manghuhula.
BBabae. Ano’ng manghuhula?
BLalake. Yung humuhula—’yung bumabasa ng kamay ng mga tao.
BBabae. Kamay? Bumabasa ng mga kamay?
BLalake. Oo.
BBabae. Para ano?
BLalake. Para malaman n’ya kung ano’ng mangyayari bukas.
BBabae. Alam n’yang mangyayari? Babasa lang ng kamay?
BLalake. Oo.
BBabae. (shows her hand) ‘Tung kamay ko, mababasa n’ya?
BLalake. Para ano?
BBabae. Para malaman ko kung saan kami titira bukas.
BLalake. Di n’ya mababasa ang kamay mo.
BBabae. Ba’t hindi?
BLalake. Ang liit kasi. At ang dumi pa.
(BBabae wipes her hand on her dress)
BLalake. ‘Tsaka, ang binabasa ng Nanay ko, kamay lang ng mga lalake.
BBabae. Mga lalake lang? Bakit?
BLalake. Sila lang ang nakikita ko e.
BBabae. Bakit nga!
BLalake. Ewan ko. Dahil siguro malaki’ng mga kamay nila. Madaling basahin.
BBabae. Pa’no n’ya nababasa ang kamay? Parang komiks?
BLalake. Siguro.
BBabae. Bakit, di ka ba nanonood?
BLalake. Hindi.
BBabae. Bakit?
BLalake. Ayaw n’ya ako’ng papanoorin. Pinalalabas ako at tinatarangka’ng pinto.
BBabae. Sinasara’ng pinto? Pa’no s’yang nakakabasa sa dilim?
BLalake. Ewan ko. Basta nagagawa n’ya.
BBabae. Di ka sumusilip?
BLalake. Hindi.
BBabae. Bakit?
BLalake. Sasampalin n’ya ko.
(a commotion outside: shouts and curses amidst sounds of demolition)
BBabae. Ano ‘yun? Ano’ng nangyayari?
BLalake. (stands up and looks out) Ewan ko. Di ko makita e. ‘Lika, tingnan natin!
BBabae. ‘Yoko!
BLalake. Ba’t ayaw mo?
BBabae. Sabi ng Tatay ko, huwag akong aalis dito.
BLalake. O sige, ako na lang!
BBabae. (suddenly frightened) H’wag! H’wag mo ‘kong iwanan!
BLalake. Bakit?
BBabae. Natatakot ako e.
BLalake. Sa’n ka natatakot? Kanino?
BBabae. Ewan ko.
BLalake. Paano natin malalaman kung ano’ng nangyayari?
BBabae. H’wag na lang. Dito na lang tayo.
BLalake. Pero gusto kong makita e. (stands up) ‘Timo! ‘Lika! Kitang-kita rito!
BBabae. Ano’ng nakikita mo?
BLalake. Tingnan mo! Ang mga tao—
BBabae. Ano’ng ginagawa nila?
BLalake. Sinisira nila! Sinisira nila—
BBabae. Ang ano?
BLalake. Ang mga bahay natin!
(Sounds of demolition)
BBabae. Sino ‘kamo’ng sumisira?
BLalake. Ang mga tao! Mga mama! Meron silang mga martilyo’t bareta!
BBabae. ‘Alang pumipigil sa kanila?
BLalake. Wala!
BBabae. Bakit? Saan ang mga pulis?
BLalake. Naro’n! Ang dami nga nila!
BBabae. Ano’ng ginagawa ng mga pulis?
BLalake. Wala!
BBabae. Di nila pinipigil . . .?
BLalake. Hindi.
BBabae. Ano’ng ginagawa nila?
BLalake. Nakatayo lang sila.
BBabae. Bakit?
BLalake. Ewan ko.
(A big commotion: shouts, curses, chases)
BBabae. Ano na’ng nangyayari?
BLalake. (excited) Me isang mama! Pinipigil niya ang mga taong sumisira . . . Hayun! Aba! Ang mga pulis! Pinipigil nila ang mama!
(a man screams)
BBabae. (screams) Tatay ko! Tatay ko ‘yun! (covers her ears and cries) Tatay ko ‘yun!
BLalake. (surprised) Tatay mo? Tatay mo ‘yung mama?
BBabae. Oo! Ano na’ng ginagawa nila sa Tatay ko? Sinasaktan . . .?
BLalake. Hindi! Hinuhuli lang! . . . Hayun, nahuli na s’ya! Tinatali ng mga pulis ang kanyang kamay! Tinatali ng bakal . . .
BBabae. Ano’ng ginagawa nila sa Tatay ko?
BLalake. Ayun! Ipinasok sa puliskar!
BBabae. (screams) TATAYYYYYY!!!!! TATAYYYYY!!!!!
BLalake. Tigil na ‘yan! Di ka naman nila maririnig. (she cries)
BLalake. (comes down to the ground) Ba’t ka umiiyak? Tumigil ka na.
BBabae. Sasaktan nila ang Tatay ko.
BLalake. Di nila sasaktan ang Tatay mo.
BBabae. Pa’no mo nalaman?
BLalake. Basta alam ko. ‘Lika, kumanta na lang tayo.
BBabae. Di ako marunong e.
BLalake. Ang dali-dali. Ha’mo, kakanta ako, pakinggan mo ‘ko, ha?
BBabae. O sige. (wipes her tears)
BLalake. (sings) Saaylenay . . . Oolinay . . . Oliskam . . . Olisbray . . . Ranyonberginmaderentsayl . . . Oliimpansotenderenmayl . . . Slipinebenlipis . . . Slipinebenlipis . . .
BBabae. Ganda ng kanta mo.
BLalake. Narinig mo na ‘yan, di ba?
BBabae. Oo, pero di ko alam kantahin. Sino’ng nagturo sa iyo’ng kumanta?
BLalake. . . . di ang Nanay ko.
BBabae. Ano’ng ibig sabihin ng kanta? Di ko maintindihan e.
BLalake. Inglis kasi.
BBabae. Tungkol sa ano ang kanta?
BLalake. Tungkol sa D’yos. ‘Lam mo, sabi ng Nanay ko, ipinanganak daw ang D’yos sa ’sang kwadra.
BBabae. Ano’ng kwadra?
BLalake. ‘Yun bang tirahan ng mga kabayo’t mga hayup.
BBabae. Totoo? E di ang baho doon! Bakit?
BLalake. Bakit ano?
BBabae. Bakit do’n sila ipinanganak?
BLalake. Mangyari wala sila’ng matir’han.
BBabae. Bakit? Mahirap lang siya?
BLalake. Baka.
BBabae. Ang ganda talaga ng kanta mo. Kantahin mo uli, sige na.
BLalake. Kantahin natin . . . tayong dalawa.
BBabae. Pero di ko alam e.
BLalake. Gayahin mo lang ako.
BBabae. ‘Wag mong bibilisan, ha?
BLalake. (sings) Saalenay . . .
BBabae. Saalenay . . .
BLalake. Oolinay . . .
BBabae. Oolinay . . .
BLalake. Oliskam . . .
BBabae. Oliskam . . .
BLalake. Olisbray . . .
BBabae. Olisbray . . .
BLalake. Ranyonberginmaderentsayl . . .
BBabae. Ranyon . . . di ko masasabi ‘yun.
BLalake. H’wag na lang ‘yun. (sings) Oliimpan . . . h’wag na rin ‘yun. (sings) Slipinebenlipis . . .
BBabae. Slipinebenlipis . . .
BLalake. Slipinebenlipis . . .
BBabae. Slipinebenlipis . . . .
(copied verbatim from THIS SITE)
05
Dec
I miss you
I have spent
too many nights with
to suddenly be
without
Jewel Kilcher
22
Nov
You fit into me
You fit into me
like a hook into an eye
A fish hook
An open eye
Margaret Atwood
I ‘d rather
heave half a brick than say
I love you, though I do
I’d rather
crawl in a hole than call you
darling, though you are
I’d rather
wrench off an arm than hug you though
it’s what I long to do
I’d rather
gather a posy of poison ivy than
ask if you love me
so if my
hair doesn’t stand on end it’s because
I never tease it
and if my
heart isn’t in my mouth it’s because
it knows its place
and if I
don’t take a bite of your ear it’s because
gristle gripes my guts
and if you
miss the message better get new
glasses and read it twice
Phyllis Gotlieb
I knelt down on the floor: I was mad to do such a thing: I never even had to do it as a child – my parents never believed in prayer, any more than I do. I hadn’t any idea what to say. Maurice was dead. Extinct. There wasn’t such a thing as a soul. Even the half-happiness I gave him was drained out of him like blood. He would never have the chance to be happy again. With anybody I thought: somebody else could have loved him and made him happier than I could but now he won’t have that chance. I knelt and put my head on the bed and wished I could believe. Dear God, I said – why dear, why dear? – make me believe. I can’t believe. Make me. I said, I’m a bitch and a fake and I hate myself. I can’t do anything of myself. Make me believe. I shut my eyes tight, and I pressed my nails into the palm of my hands until I could feel nothing but the pain, and I said, I will believe. Let him be alive, and I will believe. Give him a chance. Let him have his happiness. Do this and I’ll believe. So I said, I love him and I’ll do anything if you make him alive. I said very slowly, I’ll give him up for ever, only let him be alive with a chance, and I pressed and pressed and I could feel the skin break, and I said, People can love without seeing each other, can’t they, they love You with all their lives without seeing You, and then he came in at the door, and he was alive, and I thought now the agony of being without him starts, and I wished he was safely back dead again under the door.
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