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movies
raining down on my creative
moments
still standing still
oh, that my creative powers
alight
from endless flights of wandering
close opening close
maddening acts of artless gaiety
time a-wasting nothing doing
night morning night
interweaving patterns of black
and white
white against black, black
against white
thin feasting thin
i can taste the sweetness coming
fulfilling wishes of the mind’s
eye
hush deafening hush
pushing, shoving adrenaline
rush
bearing down on grapes of leisure
copy inventing copy
...nothing new under the sun...
rearranging, reusing, recycling
why questioning why
groping for that ultimate satisfaction
whetting desires to see some
action
clutch offering clutch
free the innovative prisoner
of thoughts
celebrate endeavors of cerebration
still sitting still
refrain pathetic expressions
of rationale
stop raining down on my creative
moments
23 september 2005
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facebook dude
welcome to my personal website, it's not much but at least it represents what i want people to know about me as an introduction
to my life and works. thanks for visiting!
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YOU'RE...
the lady I adore,
the waves that kiss my shore,
delicious to the very core,
the beauty of my parlor,
the pearl in my harbor,
the brightness of my color,
the skin, I'm the pore,
the life of my galore,
the one I've waited for,
the dance, I am the floor,
the bell, I am the door,
the hole that I bore,
the major, I, the minor,
the jaws of my alligator,
the church, I am the pastor,
the sidewalk, I'm the vendor,
the actress, I'm the actor,
the girl, I am the suitor,
the sound when I snore,
the thunder in my roar,
next when I want more,
the glass when I pour,
the relief when I'm sore,
the "yes" to my favor,
the freshman, I'm the senior,
the folk of my lore,
the highest I can score,
the gold to my detector,
the motherboard to my processor,
the prize, I'm the gladiator,
the nurse, I'm the doctor,
the painting in my bastiador,
the water of my vapor,
the mother of my junior,
the sweetness to my flavor,
the dignity of my labor,
the knick-knack in my aparador,
the decision of my juror,
the wheels to my bapor,
the sabaw in my Knorr,
the town, I'm the mayor
the bill of this senator,
my private distributor,
the pupil, I, the mentor,
the brave imbestigador,
the reflection in my mirror,
the exoticness of my savor,
the estate, I'm the manor,
the grocery in my humble store,
the masterpiece, I'm the creator,
the bala of my tirador,
the correction to my error,
the "x" in my factor,
the field, I am the tractor,
the medal for my valor,
the museum, I, the curator,
the orchestra, I, the conductor,
the gel of my pompadour,
the simplicity to my candor,
the lightness to my stupor,
my cherie amour,
the shade to my visor,
my secret collaborator,
the prongs to my tinidor,
my last will executor,
the graduate, I'm the professor,
the ship, I'm the sailor,
the land, I, the surveyor,
the hue to my pallor,
the laughter to my humor,
the property, I'm the protector,
the sword of this matador,
the calmness to my terror,
the rule to my misbehavior,
my number one alaskador,
the run of my motor,
my telephone operator,
the art, I'm the collector,
the good news, I, the purveyor,
the tsunami to my tremor,
the polish to my armor,
the alto, I'm the tenor,
the load of my kargador,
the dress, I am the tailor,
the compass, I'm the locator,
the earth, I'm the equator,
the film, I'm the director,
the eagle, I'm the condor,
the wind for my burador,
the clemency to my squalor,
one worth dying for,
my only love forevermore...
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Japanese Era Lecture English group
Factors why English was quickly learned and mastered by Filipinos:
1.
The founding of Silliman University by Presbyterian missionaries and the Philippine Normal School (PNS) in 1901 and the University
of the Philippines (U.P.) in 1908 2. establishment
of English newspapers like the Daily Bulletin 1900, The Cablenews 1902, and the Philippines Free Press 1905.
The
first ten years (1900-1910) 1. student publications: a) The Filipino Students’ Magazine first issue, 1905, a short-lived
quarterly published in Berkeley, California, by Filipino pensionados (or government scholars); b) the U.P. College Folio (first issue, 1910); c) The Coconut of the Manila High School (first issue, 1912); d) The Torch of the PNS (first issue, 1913).
2. English professional
writing began in the 1920s a) the founding
of the Philippine Herald in 1920, b) the
Philippine Education Magazine in 1924 (renamed Philippine Magazine in 1928), c) the Manila Tribune, d)
the Graphic, e) Woman’s Outlook f) Woman’s Home Journal.
3. The
publications introduced the reading public to the works of a) Paz Marquez Benitez - authored the first Filipino modern English-language short story, Dead Stars, published
in the Philippine Herald in 1925 b) Jose
Garcia Villa - known to have introduced the "reversed consonance rime scheme" in writing poetry c) Loreto Paras-Sulit - best known for her English-language short stories d) Casiano Calalang - Soft Clay: Selected Stories
4.
Associations established to protect writers and ensure literary production: a) 1921 Free Press started to pay for published contributions and awarded P1,000 for the best stories. b) 1925 the Philippine Writers Association c) 1927 the University of the Philippines National Writers Workshop, d)1939 the Philippine Writers League was put up by politically conscious
writers, intensifying their debate with those in the "art for art’s sake" school of Villa.
5. the
significant publications of this fertile period were: a) Filipino Poetry (1924) by Rodolfo Dato; b) English-German Anthology of Filipino Poets (1934) by Pablo Laslo; c) Jose Garcia Villa’s Many Voices (1939) Poems of Doveglion (1941) Footnote to
Youth: Tales of the Philippines and Others (1933); d)
Poems (1940) by Angela Manalang Gloria; e)
Chorus for America: Six Philippine Poets (1942) by Carlos Bulosan; f) Zoilo Galang’s "A Child of Sorrow" (1921), the first Filipino novel in English, and "Box of
Ashes and Other Stories" (1925), the first collection of stories in book form;"Life and Success" (1921), the first volume
of essays in English; g) "The Wound and
the Scar" (1937) by Arturo Rotor, a collection of stories; h) "Winds of April" (1940) by N. V. M. Gonzalez; "His Native Soil" (1941) by Juan C. Laya; i) Manuel Arguilla’s "How My Brother Leon Brought Home a Wife and
Other Stories" (1941); j) "Literature and
Society" (1940) by Salvador P. Lopez.
Dramatic writing took a backseat due to the popularity of Filipino vaudeville
(bodabil) and Tagalog movies, although it was kept alive by the playwright Wilfrido Ma. Guerrero.
The Japanese
period (1941-1945)
During the Japanese occupation, when Tagalog was favored by the Japanese
military authority, writing in English was consigned to limbo since most of the English writers are forced to write in Tagalog
or joined in the underground and write English stories based on the battles to serve as propaganda pieces in boosting the
morale of the guerrillas. The Japanese haiku
was introduced as a cultural exchange with the Filipinos. A long forgotten form of poetry resurfaced: The Tanaga.
Post-war
Period
English literature picked up after the war with a fervor and drive for excellence that
continue to this day. Stevan Javellana’s
"Without Seeing the Dawn" (1947), the first postwar novel in English, was published in the United States. In 1946, the Barangay Writers Project was founded to help publish books
in English. Against a background marked by
political unrest and government battles with Hukbalahap guerrillas, writers in English in the postwar period honed their sense
of craft and techniques. Among the writers who came into their own during this time were: Nick Joaquin, N. V. M. Gonzalez,
Francisco Arcellana, Carlos Bulosan, F. Sionil José, Ricaredo Demetillo, Kerima Polotan Tuvera, Carlos Angeles, Edilberto
K. Tiempo, among many others. Fresh from studies
in American universities, usually as Fulbright or Rockefeller scholars, a number of these writers introduced New Criticism
to the country and applied its tenets in literature classes and writing workshops. In this way were born the Silliman Writers
Summer Workshop (started in 1962 by Edilberto K. Tiempo and Edith L. Tiempo) and the U.P. Writers Summer Workshop (started
in 1965 by the Department of English at the U.P.). To this day, these workshops help discover writing talents and develop
them in their craft.
Literary awards and competitions
In 1940,
the first Commonwealth Literary Awards were given by President Manuel L. Quezon to Salvador P. Lopez for "Literature and Society"
(essay), Manuel Arguilla for "How My Brother Leon Brought Home a Wife and Other Stories" (short story), R. Zulueta da Costa
for "Like the Molave" (poetry), and Juan C. Laya for "His Native Soil" (novel). Government recognition of literary merit came in the form of the Republic Cultural Heritage Awards
(1960), the Pro Patria Awards for Literature (1961), and the National Artist Awards (1973). Only the last of these three awards
survives today. Writers in English who have received the National Artist award include: Jose Garcia Villa (1973), Nick Joaquin
(1976), Carlos P. Romulo (1982), Francisco Arcellana (1990), N. V. M. Gonzalez, Rolando Tinio (1997), Edith L. Tiempo, (2000),
F. Sionil Jose (2003), and Bienvenido Lumbera (2006). A
select group of local writers have also received the international Magsaysay Award, namely, F. Sionil Jose, Nick Joaquin and
Bienvenido Lumbera.
see the evening fall when the sun goes down among the far-off mountains clouds and colors change
to a reddish hue among the fields of green
will you stay with me til the stars come out above
the field of tulips we will gaze in awe at celestial sparks above the fields of green
let
me touch your hair in the summer winds between the trees so high let's fulfill our love bathing in its
glow between the fields of green
magic fills the air when our gazes meet within
the walls of wonder and your skin feels soft as your lips touch mine within the fields of green
many
moons have passed since i saw you last outside the house we made now i long to be in your arms again outside
the fields of green
we will free our dreams let our love take wings beyond the walls we
knew and forever true is my love for you beyond the fields of green
where's the logic in the english language?
if i say take, took, taken, should it be make, mook , maken?
or sink, sank, sunk, would i say,
think, thank, thunk?
again, sing, sang, sung, why not, bring, brang, brung?
then there's
drive, drove, driven, could it be arrive, arrove, arriven?
so it's fly, flew, flown, might it be try, trew, trown?
see: rise, rose, risen, therefore:
disguise, disgose, disguisen?
another is
see, saw, seen, is it pee, paw, peen?
look: slay, slew, slain, hence: pay, pew, pain?
we say, speak, spoke, spoken, but never leak,
loke, loken
english is never a language, where logic is paid homage
because it
is a melting pot, where motley races mix their lot
from all directions these do come, their words to english join in sum
practice then and memorize english words
and realize
that logic never has a place in languages of the human race
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