HOME OF THE ASHFALL

An Pampango Literature By: John Jack Wigley

MOUNT PINATUBO ERUPTION

 The eruption of Mt. Pinatubo in Zambales in 1991 is one of the most cataclysmic events in recent history.
 The eruption literally changes the landscape of Central Luzon.
 Rivers were rerouted, dams were built, and many Kapampangan people were faced with a hometown that changed literally
overnight.
 Thousands were affected by the eruption and by the flows of lahar which continued for years later.
 The disaster changed the lives of so many people and the context of those affected by the eruption were changed as well

CONTEXT
 Context, as defined by the Merriam Webster dictionary , is the interrelated conditions in which something exists ot occurs.
 Context is what is around us that influences us just as we influence it.
 Writers have used context to create various forms of written work such as poetry, fiction, drama, and essays.
 Where we are born an where we grow up from part of our context, their region also determines their context.

ESSAY
 The essay is simply " a short piece of writing that tells a person's thoughts or opinions about a subject.
 The essay can be pragmatic or it can be more expressive.
 If done in a manner that tries to elevate its form beyond just being " a short piece of writing, then the essay becomes
literary, something that is related to literature or "writings having excellence of form or expression and expressing ideas of
permanent or universal interest."
 The eruption of Mt. Pinatubo and its effects on a particular person's life are the subjects tackled by the essay of John Jack
Wigley.
 He uses a distinctive style and tone to relate his memories to the readers.

PAMPANGO LITERATURE
 Writers like Wigley are very clear about their origins and these origins are easily seen in their works.
 Pampango literature is perhaps a case in point where the writers indeed struggling.
 Kapampangan culture became heavily influenced by Spain and America.
 Some of Pampango literature influence by foreigners were Pasyon Ding Talapagobra by Lino G. Dizon, this is used to
discuss the injustices suffered by the working class farmers;
 crissotan, a poetic joust (Juan Crisostomo Soto), the Kapampangan balagtasan.
 Lourdes Vidal, who discussed Kapampangan literature in Filipino Writings: Philippine Literature From the Regions

STYLE AND TONE

 One way by which writers are able to turn their stories into unique and interesting pieces is by having a unique style.
 In an essay, creating an individual style will mean that the writer would have to use his or her skills in writing and
language to produce a unique effect in the reader.
 Tone, the attitude being conveyed by the language used by the writer , is an essential part of creating a distinctive style;
 the tone in writing is also very important in helping the writer convey meaning to the reader.

HOME OF THE ASHFALL

 Wigley's account of his return to Angeles shortly after the eruption of Mt. Pinatubo highlights his particular style of
writing.
 The essay is written in very simple, almost conversational language. Wigley's tone has clear humor in it, as can be seen,
inthe retelling of his crossing of the river, carried by a cadaver-looking barker, as well as in his description of his mother,
who is happy to see him but is also seemingly unaffected by all the chaos surrounding her

THE ESSAYIST
 John Jack G. Wigley is the director of the UST Publishing House and is also a full-time professor in UST.
 While growing up in Angeles, Pampanga, he had to struggle with the identity of being what has become known as a "G.I
baby" or the child of an American serviceman and a Filipina.
 His memoir, Falling Into the Manhole, is a humorous examination of his experience as someone who was always
"different".
 Wigley is a literary essay, one who is not only concerned with expressing himself but also with examining what he’d
experiences with tongue firmly in cheek and with eyes wide open to the realities that surround him

1|2 1 s t
C e n t u r y L i t e r a t u r e f r o m t h e P h i l i p p i n e s a n d t h e W o r l d
THE ESSAY
 A direct narration of the events in Wigley's essay would have led us to have a very different reading experience from the
one actually had.
 His stylistic interventions - the lighter tone, the use of local dialogue, the presentation of his mother as this unperturbed
individual in the light of overwhelming disaster - all contribute to a unique reading experience.
 He uses humor as a way of defamiliarizing the reader, enabling the reader to see the events in a different, and slightly more
distant, light.

2|2 1 s t
C e n t u r y L i t e r a t u r e f r o m t h e P h i l i p p i n e s a n d t h e W o r l d
 VOICE TAPE an Ilocano literature

An Ilocano Literature By: Ariel Sotelo Tabag

 STORY
 A story, in its simplest definition, is an account or telling of events.
 Thus, a story can be about anything from mundane such as what happened during lunch, to fantastic such as
tales about aswang and tikbalang.
 In fiction, a story is a telling of events that are imagined or are the products of an author's imagination.
 PLOT
 However, a plot is the sequence of events that are found in a story .
 A plot thus requires that the events in the story have a relationship with each other so that the reader can follow
the events without getting lost.
TERMS TO REMEMBER
 Fiction is the term we used to refer to stories that are written about events that are not real.
 Plot is the sequence of events in a story that often have a causal relationship with each other.
 Plot devices are techniques that the writer uses to creatively present the events in the story.
 Narrative is the way by which a story is told.
 Flashback is a plot device where the story moves away from the current events happening in the story to a time in the past.

 Ariel Tabag does not tell the story of the death of his narrator's "Angkel Ato" in chronological order; instead, he uses a plot
device called flashback as a way of fleshing out the characters in his story.

PLOT DEVICE: Flashback

 In this case, flashback allows the writer to begin at a different point in time of the story, enabling the story to start at a
more exciting or interesting point.
 The story then goes backwards in time, revealing events that happened earlier as a way of revealing more to the reader.
 Creative use of flashbacks create a sense of mystery to the readers, since the writer gives some information that happened
in the past, but not all of it.
 The flashbacks in the story also flesh out the setting, which is in rural Cagayan.
 The discussion of some superstitions and beliefs also reinforces the believability of the setting, such as the "ghost" story
the narrator relates and the practices of spreading the blood of chickens on certain occasions.
 The narrator's own family is a farming family, and the fact that Nanang breaks out into a traditional Ilocano mourning
song, a dung-aw, adds more regional color to the story.
 In the case of the story, most of it actually takes place in the past, which leaves us wondering what was in that discovered
voice tape.
 The flashbacks allow us to meet the narrator's family, and thus understand the personalities of the characters better, as well
as the circumstances which lead up to the death of Ato.

PLOT DEVICE: Flashback

 Another plot device used in the story was foreshadowing, which much like flashback, gives clues to events that may
happen in the future.
 In this case, an instance of foreshadowing is that moment when Ato sits at the narrator's yard, silent and still. While still a
mystery, there is that implication that Ato will die, and will die under suspicious circumstances.

THE MORAL OF THE STORY

 Commonly, the messages or themes present in a story are simplified into a moral or a lesson that can be learned.
Sometimes, however, the story does not lend itseld to a simple moral or lesson.
 For instance, in the story we took up, there is no clear moral issue at hand. Can we dismiss Ato's apparent suicide as evil?
Instead, examine a story for the human experiences that it is commenting on.

ABOUT THE STORY

 The story makes a pointed commentary on the very contemporary issue of OFWs and the continuing exodus of Filipinos to
work abroad.
 The story introduces Ato, a character who is made familiar via the extensive flashbacks used by the author to create,
complete with a history and background.
 In the end, Ato and his family could also be our own, and thus, the events in the story could also be our own experiences as
well.
 This allows the story to move beyond simply being a regional story and can be considered a contribution to national
literature.
 It speaks to us as Filipinos who can relate to the issues involved and lead us to consider the issues and how these affect the
country as a whole.
3|2 1 s t
C e n t u r y L i t e r a t u r e f r o m t h e P h i l i p p i n e s a n d t h e W o r l d
THE WRITER
 ARIEL SOTELO TABAG (born August 16, 1978), is an Ilokano fictionist, poet, editor, and translator.
 He has received awards for his Ilokano literary works.
 He is the author of Karapote (collection of Ilokano short stories), Ay, Ni Reberen! (novel in Ilokano), Panangarakup iti
Ipus ti Layap (collection of Ilokano poetry), Kapessat ti Bagis (novel in Ilokano), and Panangsapul iti Puraw a Kabalio
(novel in Ilokano).
 He has also translated in Filipino: Samtoy, an anthology of Ilokano short stories, two dramas of Mena Pecson Crisologo,
and the Ilokano epic Biag ni Lam-ang (The Life of Lam-ang).
 He works as Editorial Staff of Bannawag, the Ilokano literary magazine.

ILOCANO LITERATURE
 His view of the Filipino culture is different, nuanced by his own position as a non-Tagalog speaker: "Kahit pa sabihing
may isang national language, wala namang isang kultura ang mga Filipino.
 O wala namang kulturang Filipino kundi ang meron ay kulturang Ilokano, kulturang Tagalog, kulturang Bisaya na ang
wika ng mga ito ay wikang llocano, wikang Tagalog, at wilkang Bisaya.
 This view that llocano and the llocano culture is a unique and distinet culture from Tagalog and Visayan cultures reveals a
point of view that opens the space for many cultures to coexist in the Philippines.
 Filipino culture, therefore, is a collection of many cultures, determined by various regional languages.

4|2 1 s t
C e n t u r y L i t e r a t u r e f r o m t h e P h i l i p p i n e s a n d t h e W o r l d
Types of Figures of Speech
After looking at these phrases, you may be eager to start using figures of speech in your daily conversation. But for that, you
also need to know which figure of speech to use in which context.

So let’s get into the details of the 15 types of figures of speech with examples so you know exactly when to use each of them.

1. Personification

This type of figure of speech is constructed by attributing certain human characteristics to otherwise inanimate objects. For
example, you may have often heard people saying that the “wind is howling.” Look at these two popular examples to get a
better idea-

 Opportunity knocked at his/her door.

 Time flies when you’re having fun.

2. Metaphor

This type of figure of speech is generally used by talking about two very different kinds of things that have a common link.
Hence, the action, feature, or effect of the unrelated thing can be applied to that of the related thing, and imply a new meaning.
For example- 

 She is the apple of my eye.

 The Sun is a creature of habit.

3. Simile

These phrases are somewhat similar to metaphors but are more direct than implied in their meaning. In similes, the indirectly
implied meaning is replaced with the words “as” or “like.” These words are used to make the connection between the two
different words being used. For example- 

 His response was as cold as ice.

 After taking his medication, he became fit as a fiddle.

4. Alliteration

Be the best in your class by learning these and more!

These types of phrases are figures of speech that have a similar sounding consonant (non-vowel letters) at the beginning of each
word. You can identify them by checking for these similarities in two to three consecutive words. Some alliteration figure of
speech examples are- 

 Claire, close your cluttered closet.

 Go and gather the green leaves on the grass.

5. Onomatopoeia

These are rather simple yet unique figures of speech. Onomatopoeiae are words or phrases that are similar to the sounds they
produce. While they may be an informal and childish way of speaking, these figures of speech can often come in handy when
one is trying to be illustrious. Two popular examples are- 

 “Sometimes a thousand twangling instruments will hum about mine ears, and sometimes voices&” (From
Shakespeare’s “Tempest”)
 
 “Tis some visitor&tapping at my chamber door Only this and nothing more.” (From Edgar Allen Poe’s “The Raven”)

6. Hyperbole

5|2 1 s t
C e n t u r y L i t e r a t u r e f r o m t h e P h i l i p p i n e s a n d t h e W o r l d
These are one of the most common figures of speech in English, and you must have used them at least once, even if you are not
a native English language speaker. These phrases are meant to emphasize the importance of something by using
overexaggerated phrases. Two examples of hyperbole figures of speech are- 

 I have told you a million times not to touch my stuff!

 He has a pea-sized brain.

7. Euphemism

Euphemisms are figures of speech that are used to replace stronger and harsher phrases. These are generally milder or more
acceptable terms that you can use in your conversations to sound more polite and sometimes, politically correct. For example-  

 She has “passed away”, instead of “died.”

 The company has “let him go,” instead of “fired him.”

8. Irony

Figures of speech sometimes also express sarcasm. You can use these phrases to convey a certain meaning by stating the
opposite of it. In common English parlance, such ironic statements or phrases are easily understood. However, here are two
examples that will make it clearer-

 During a thunderstorm, Thomas exclaimed ironically, “What beautiful weather we are having!”
 Gerald proposed a useless idea, to which Thomas responded saying, “That’s genius!”

9. Anaphora

This type of figure of speech is characterized by words, phrases, or clauses that repeat in consecutive sentences. They are
generally used contrastingly in either children’s rhymes or powerful and dramatic speeches. For example- 

 “So let freedom ring from the prodigious hilltops of New Hampshire. Let freedom ring from the mighty mountains of
New York. Let freedom ring from the heightening Alleghenies of Pennsylvania…” (From Martin Luther King’s “I
Have a Dream” speech).
 “In every cry of every Man, In every infant’s cry of fear, In every voice, in every ban, The mind-forg’d manacles I
hear” (in William Blake’s poem “London”).

10. Pun

Puns are also one of the most common figures of speech that you can use in everyday life. They make you sound witty and even
comical in some cases, and can surely be a conversation starter. A couple of examples of pun figures of speech are- 

 Denial is a river in Egypt (referring to The Nile using the word Denial).
 Her cat is near the computer to keep an eye on the mouse.

11. Apostrophe

Apostrophe figures of speech are situations (usually in literary worlds), when a character, author, or speaker addresses an
inanimate object or even a person that does not really exist in the given scenario. While you may not find it in common usage, it
is definitely an interesting figure of speech to learn about. Here are two examples- 

 Oh, rose, how sweet you smell and how bright you look!
 Oh, trees, how majestic you are as you throw down your golden leaves.

12. Paradox

Similar to ironies, these figures of speech highlight something by talking about exactly the opposite of it. However, a paradox is
different because it does not point out the dissimilarity as obviously as an irony. Let’s look at two paradox figures of speech
examples-

6|2 1 s t
C e n t u r y L i t e r a t u r e f r o m t h e P h i l i p p i n e s a n d t h e W o r l d
  “Some of the biggest failures I ever had were successes.” (As said by American actress Pearl Bailey).
 “War is peace. Freedom is slavery. Ignorance is strength.” (As said by English novelist George Orwell).

13. Understatement

An understatement is also a type of figure of speech. It is aimed at inciting a less reactive response to a particular statement.
These can really come in handy during your day-to-day English conversations. For example- 

 That condemned house just needs a coat of paint.

 Sue won the lottery, so she’s a bit excited.

14. Metonymy

Break your learning into small chunks to make it easy for you to grasp everything.

Much like synonyms, these figures of speech refer to words that are used in place of other words (nouns, to be specific). These
replacement words are different from the word replaced but share a common connection. Here are two metonymy figure of
speech examples- 

 “The pen is mightier than the sword.” (here, ‘pen’ has replaced ‘the written word’).
 “If you want I can give you a hand.” (here, ‘hand’ has replaced ‘help’).

15. Oxymoron

Not to be confused with ironies and paradoxes, this figure of speech is used to connect two opposite ideas simultaneously. This
means that, in an oxymoron figure of speech, two contrasting ideas are used within a single sentence to have a jocular effect.
For example- 

 This is another fine mess you have got us into.

 Suddenly the room filled with a deafening silence.

7|2 1 s t
C e n t u r y L i t e r a t u r e f r o m t h e P h i l i p p i n e s a n d t h e W o r l d
NITONG pinakahuling bakasyon ko sa bayan kong Santa Teresita sa
Cagayan, nanariwa ang alaala ko labingwalong taon na ang nakararaan—
iyong taon na may nangyari kay Tito Ato, ang kapatid ni Nanay na
sumunod sa kaniya.

Noong hinahanap namin ni Nanay ang mga sertipiko ng mga awards ko

sa elementarya at hayskul para magamit ko bilang pampakapal
ng credentials ko bilang titser sa Maynila, may ‘ibang bagay’ pa kaming
nahanap.

Sabi ni Nanay, inilagay niya ang mga sertipiko sa lumang envelope

bag na may markang LA na napanalunan niya sa pagkaskas ng balat ng
nasabing brand ng sigarilyo. Nang mahanap at mabuksan namin ang bag,
wala ang mga sertipiko.
 

8|2 1 s t
C e n t u r y L i t e r a t u r e f r o m t h e P h i l i p p i n e s a n d t h e W o r l d
Iyon pala, nakarolyo at nakasilid ito sa isa sa apat na piraso ng buho na pinaglagyan ni Nanay ng aming birth certificate. (Tatlo lang
kaming magkakapatid at hindi na sila sumagad sa apat sa hirap ng buhay.) 
 
Bago nito, nakita namin ang naturang bag sa kailaliman ng isang malaking drawer ng aparador.  Sa kalumaan at nagkagasgas na,
inilagay na sa nag-iisang kuwarto sa ibaba, doon malapit sa kusina, kung saan nakalagay din ang ibang gamit ni Tatay sa pagsasaka.
 
Iba’t iba ang laman ng lumang aparador. Mga lumang bagay din gaya ng mga retrato, papeles, papel at iba pa. Ngayon, ang 'ibang
bagay' na nahanap namin ay ang voice tape na may markang “4 my one & onli lab ATO.” Ayon kay Nanay, nakuha niya sa ilalim ng
unan ni Tito Ato, kinahapunan ng kamatayan nito noong Pebrero 16, 1992.
 
Bagaman nasa tapat lamang ng Pook Tactac kung saan naroon ang aming bahay ang Saint Francis Academy kung saan naman ako
pumapasok ng hayskul bilang ikalawang taon, gaya ng nakagawian ko, noong umagang iyon, hindi pa man ako nakatatawid ng
kalsada nang magsimula na ang flag ceremony. Nagkubli muna ako sa isang Indian tree.
 
Nang bigla na lang may lumagatak sa may kanluran. Parang may nagsuwagang mga torong kalabaw—mas malakas nga lang ang
tunog nang umagang iyon. Maya-maya, nagsisigawan na ang mga estudyante at iba pang mga tao. Dali-dali silang pumunta sa tapat
ng bakante at matubig na lote. Nag-umpukan sila doon sa likuran ng isang bus na Manny Trans.
 
“Nakupo! Nabangga na!” sigaw ng isang babae. 
 
“Patay na! Patay na!”
 
Kinutuban ako. Si Boying kaya na kaibigan ko? Dahil sa kagustuhang maabutan ang flag ceremony at kumaripas nang takbo patawid
sa kalsada? Nakupo!
 
Tumakbo ako hindi patungo sa umpukan kundi pabalik sa bahay namin. Naratnan ko si Nanay na nagbubunot ng sahig.
 
Sa kabila ng aking paghingal dahil sa pagod at takot, sabi ko: “Nanay, may nabangga!”
 
Nagitla si Nanay marahil sa hitsura ko. Hindi na siya nag-usisa. Nakapaa siyang tumakbo patungo sa kalsada.
 
Halos patakbo rin akong sumunod kay Nanay kahit sobrang kaba ko na. Naisip ko tuloy hilingin na ang mga taong kinaiinisan ko na
lang sana ang nabangga. Patawarin ako ng Diyos.
 
Nagulat ako nang matanaw ko na noong makarating si Nanay sa may umpukan, kaagad siyang umiyak ng pasigaw. Inawat ng mga
naroon dahil sa sobra niyang pagpupumiglas. Wala akong ibang naintindihan sa mga isinisigaw niya kundi ang magkakasunod na
“Diyos ko po! Diyos ko po!”.
 
Nanghilakbot at nangalisag ako.
 
Tiyak na hindi ang kaibigan ko ang nabangga. Hindi ganoon ang magiging asta ni Nanay kung kaibigan ko lang. 
 
Si Tatay? Hindi. Nasa bukid pa ito. Tiyak na hindi rin ang mga kapatid ko na nasa may silangan ang paaralang elementarya na
pinapasukan nila sa Grade Six at Grade One.
 
At nanghilakbot ako nang maulinigan ko ang panaghoy ni Nanay: “Kapatid ko! Ato, kapatid ko! Ato!”
 
Kahit noong nailibing na si Tito Ato, madalas akong nahihintakutan kung naaalala ko ang malagim na pag-iyak ni Nanay.
 
MAG-AALAS dos nang pumarada ang karro ng punerarya sa mabatong kalsada ng baranggay sa harapan ng lote ng mag-anak
nina Nanay na nasa gitna ng Pook Palor, ang kamag-anakan ng nanay ni Nanay. 
 
Halo-halong mga iyak ang sumabay sa makislap na puting kabaong ni Tito Ato patungo sa sala ng kanilang bahay. Subalit mas
lumutang na naman ang pag-iyak ni Nanay at inawat pa ni Tatay dahil hinihila na nito ang kabaong. Nag-alala nga ako na baka
maapakan pa ni Nanay ang siga sa harapan ng bakuran ng bahay, sa lilim ng matandang mangga.
 
Agad ding pinatabi muna ni Tito Mulong ang mga nakapalibot sa tatlong mesa na naglalaro ng portiwan at pusoy dos. Wala pa nga
ang bangkay nang magsimula silang maglaro ng baraha. 
 
“Saka na ’yan atupagin ’pag naiayos na!” Medyo mabigat ang tenor ng boses ni Tito Mulong nang ’di kaagad tumabi ang mga
kalalakihang nagsusugal na ’di naman tagaroon sa amin.
 
Hindi ko noon maintindihan na pagkatapos maiakyat ang kabaong, at pagkatapos makipag-usap ang mga taga-punerarya kay  Nanay,
kaagad din nilang binuksan ang kabaong; tinakpan ng puting kumot, saka hinango ang bangkay.
 
“Naku, ’di n’yo man lang inayos!” maktol ni Tatay.  
 
Mga ilang linggo pagkatapos ng libing, ipinaliwanag ni Nanay na nagkamali ang mga taga-punerarya sa ginamit na kabaong.
Nagkakahalagang sampung libo ang makintab na puting kabaong na una nilang pinaglagyan sa bangkay.
 

9|2 1 s t
C e n t u r y L i t e r a t u r e f r o m t h e P h i l i p p i n e s a n d t h e W o r l d
Ano pa’t ipinahiga muna ang bangkay sa sala sa itaas ng bahay, sa inilatag na banig na buli at nasapnan ng puting habing-Iloko na
kumot na regalo raw ni Nanay sa kasal nina Tito.
 
Dahil ang panganay nila na si Tito Alfredo ay nagda-drive ng six by six na pang-logging sa Aurora (hindi ko pa alam noon kung saang
lupalop ng mundo ito), samantalang ang bunso nilang babae ay nasa Ilokos na lugar ng kaniyang napangasawa, at dinukot naman ng
mga NPA ang sinundan ng bunso na si Tito Ceferino, at  “no read no write” naman si Tito Mulong, si Nanay na rin ang nag-abalang
pumunta sa munisipyo para ihabla ang Manny Trans at nagtungo sa Aparri para tumawag sa asawa ni Tito Ato. Nag-arkila sila ng
traysikel dahil siguradong wala na silang masasakyan pag-uwi lalo’t mangilan-ngilan pa lamang noon ang may dyip—Sarao ang
tawag— sa Sta. Teresita.
 
Naroon na rin ang mga kamag-anak ng asawa ng Tito subalit ginawang dahilan ang mga apat na sunod-sunod na mga pinsan ko na
babantayan nila lalo na’t kung maisipan ng isa, sabay-sabay silang mag-iyakan.
 
Dahil ako ang pinakamatanda sa aming magpipinsan, ako ang naatasang magbantay sa bangkay sa sala , kasama ko ang apat na
kandila at mga ilang insektong labas-masok na nagliliparan sa bintana sa tabi ng kinauupuan ko.
 
Naalala ko ngayon kung paano tumigas ang mga panga at binti at hita ko sa panginginig. Hindi ko naman matagalang ibaling ang
aking paningin sa labas, sa mga nagsusugal, sa mga parating at paalis na kamag-anak namin, sa siga, sa matandang mangga na malapit
sa nagsisimula nang mabulok na lumang bahay nina Nanay, sa paglubog ng araw. Natatakot kasi ako na baka hindi ko mamalayan,
nasa likuran ko na ang multo ng Tito at hindi ko alam kung paano ako tatakbo sa hagdanan sa may likuran ko.
 
Kaya’t napilitan akong palaging nakaharap sa nakumutang bangkay. Hindi ko matagalang tingnan ang bandang ulo dahil naalala ko
ang kuwento ni Lolo Martin na manunuli na noong tanghali ng araw na iyon, diumano siya ang dumakot sa kumalat na utak ni Tito at
saka inilagay sa kaltik o ang tabo na plastik na basyo ng langis ng Caltex. At dahil nasabi kong nagbalik na naman lahat sa aking
alaala ang pangyayaring ito, hindi ko talaga maiwasang parang bumabaliktad ang sikmura ko.
 
Kung kaya higit na nakatingin ako sa bandang ibaba ng bangkay. Naalala ko tuloy ang mga kuwento ng mga matatanda tungkol sa ari,
at kung paano palalakihin. Bahagyang nawala ang nerbiyos ko sa naisip ko. Naalala ko na rin ang pagkakataton na noong hindi pa
naikakasal sila Tito, nag-ano sila ng kaniyang nobya sa itaas ng bahay namin. Kagaya nila ang mga napanood ko sa magasin
na Playboy na napabayaan nilang magbabarkada na lumapag sa ilalim ng lamesa nang minsang magkalasingan sila. 
 
Magdidilim na noong dumating sina Nanay. Dumiretso na naman siya sa sala at tumaghoy nang patula:
 
Ay, naku naman, Ato, aya, kapatid kong ubod ng kabaitan
Bakit ka naman pumanaw na hindi man lang nagpaalam
Sino ngayon ang titingin nitong apat mong mga anak?
Asawa mo nama’y ’di makauuwi mulang pinagtatrabahuan
 
“Hindi makauuwi?” Naulinigan ko mula sa ibaba.
 
“Eh, ‘di ba kaaalis lang?” May sumagot na sinundan ng bulungan saka ang hiyawan ng mga nagsusugal sa labas.
 
Naiiyak na ako. Patalilis akong bumaba at hinanap ko si Tito Mulong at nagpabili ako ng sopdrink dahil nasusuka na naman ako.
 
HINDI KAGAYA nina Tito Alfredo at Tito Mulong, hindi ko maalalang binigyan ako ng pera si Tito Ato. Siya nga ang nakahingi sa
akin ng pabor. 
 
Kung hindi ako nagkakamali, dalawang linggo lamang mula nang makaalis papuntang abrod ang kaniyang asawa, minsan, isang
hapon habang nagre-review ako para sa ikalawang periodical exam, sabi niya sa akin sa mababang boses: “Dante, gawa nga tayo ng
sulat para sa tiya mo.”
 
’Tayo’ na ang ibig niyang sabihin, ididikta niya ang isusulat ko. Siguradong napansin ni Nanay ang paglapit sa akin ng kaniyang
kapatid dahil bigla siyang lumitaw sa may pintuan ng kusina na may hawak pang sandok. Tinanguan ako at hindi natuloy ang
pagsimangot ko kasi naman, hindi pa ako tapos mag-aral para sa pagsusulit kinabukasan. 
Napansin kong kagagaling lang sa bukid si Tito Ato dahil bukod sa amoy-pawis at nakasuot pa ng mahabang manggas, nakalambitin
pa sa baywang niya ang kaniyang itak, halukipkip ang salakot at dala sa likod ang kaniyang pasiking.
 
“Sige ho.” Dumaan sa ilong ang sagot ko.
 
Pipilas na sana ko sa notebook kong Aspen na may pabalat na Robin Padilla, pero pinigilan ako. Kimi ang kaniyang mga ngiting
nagbaba ng kaniyang pasiking saka inilabas ang nakasupot na isang ream ng mabangong papel na linen.
 
Wala na nga lang kopya ang kaniyang sulat na puwede ko sanang siyasatin ngayon. Kung ngayon sana ginawa, maaaring naipasok ko
sa kompyuter at nai-save ko. Ang nangyari, kung ano ang draft, siya na ring ipinadala namin dahil bawat pangungusap o parirala na
natatapos namin, ipinapabasa sa akin. At ganito ang maalala kong nilalaman:
 
Dear Mahal,
Kumusta ka na diyan? Hindi ka ba nahilo noong sumakay ka ng bus, saka sa eroplano? Ano, kumusta ang amo mo? Sira ulo ba?
’Wag siyang loloko-loko kung ayaw niya ng gulo.
 

10 | 2 1 s t
C e n t u r y L i t e r a t u r e f r o m t h e P h i l i p p i n e s a n d t h e W o r l d
Kumusta naman ang pagkain mo? Siya, kung ‘di mo kaya ang hirap diyan, umuwi ka na’t magkasama tayong magtitiyagang
makaahon.
 
Alagaan mong mabuti ang sarili mo. ‘Wag mong alalahanin ang mga bata dahil ang tatlong lalaki, kaya na nilang magsaing,
magpastol at mag-ayos ng bahay. Panay ang hiling nina inay na doon muna sa kanila titira si Princess. Pero ‘di ba’t napag-usapan
na natin ’yan noon? Na ako ang magiging ama’t ina nila? Dahil si Princess nga naman ang pumapawi sa pangungulila ko sa ’yo. Sa
bawat araw na lumipas, lalo kitang nakikita sa kaniyang mukha at kilos…
 
…’Wag mo munang alalahanin ang pagpapadala mo dahil sabi naman ng ate na banggitin ko lang sa kanila kung may kailangan
kami.
 
Itong mahal mo na laging nangungulila sa iyo,
 
Ato
 
P.S.
 
Si Dante ang pinasulat ko para mas malinaw mong mabasa.
 
Ang inay na binanggit niya ay ang kaniyang biyenan, at ako ang nagmungkahi ng “P.S.” dahil baka, ’kako, mayroon din akong
pasalubong mula sa asawa niya.
 
Kung hindi ako nagkakamali, may tatlong sulat kaming nagawa. Maiiksi. Kagaya rin ng kaniyang pagsasalita—maiiksi. At matining
ang boses niya. Hindi bagay sa katawan niyang parang si Roland Dantes na walang bigote.  
 
At hindi nakikinig ng salita kung may ayaw. Gaya noong ipaalam niya kina Nanay na ninakaw ang isa sa mag-asawa niyang kalabaw
(hindi pa nakakapag-abrod ang asawa niya noon).
 
“Makapapatay ako!” Basta na lamang niya sinabi.
 
Nagulat sina Tatay at Nanay. Mabuti at sinamahan siya ni Tito Mulong at ito ang nagpaliwanag. Ninakaw nga raw ang isang kalabaw
ni Tito Ato na nakatali sa dulo ng kaniyang bukirin.
 
Pagkatapos ng mahabang sandaling hindi siya nagsalita, tumikhim at saka sabi: “Pautangin n’yo nga ako. Sasaglit lang ako sa Ilokos.”
 
Sa Santo Domingo, Ilocos Sur kung saan naroon ang kanilang kamag-anak ang ibig sabihin ni Tito Ato.
 
Baka sakaling makalimot, sabi ni Nanay kay Tatay noong nag-usap sila isang gabi na marahil, pang-alo kay Tatay dahil ipinautang
ni Nanay ang ipapambili sana ni Tatay ng abono.
 
Subalit mula Ilokos, nagulat na lang kami at dumiretso si Tito Ato sa bahay namin. Inutusan akong isara ang mga bintana at pintuan
samantalang alas tres pa lamang ng hapon. Hindi sumagot nang tinanong ni Nanay kung bakit. Animo’y nagbubungkal ng ginto sa
pananabik habang hinahango ang mga bunga ng malunggay mula sa dala niyang sako. Saka may hinango siyang baril. Kaagad kong
napansin na baril ang hawak niyang mapusyaw na manilaw-nilaw dahil napanood ko na noon sa betamax.
 
“Pambihira ka naman, Ato,” sabi ni Nanay. “Isipin mo naman ang mga anak mo.” Mangiyak-ngiyak na si Nanay.
 
“Babayaran ko ng palay kina pinsan,” sabi niya na ang ibig sabihin ay ang pambayad sa baril. Isinukbit ito sa kaniyang tagiliran saka
walang pasabing tinahak ang pilapil sa likuran ng bahay namin patungo sa pook nila sa may timog.
 
Mabuti naman at wala kaming nabalitaang hinamon niya gamit ang kaniyang baril. Na paltik pala.  Mga ilang buwan kasi pagkatapos
siyang ilibing, nalaman ni Tito Mulong na hindi na pala pumuputok ang lokong baril bukod sa mayroon nang kalawang.
 
Ibang kaso naman ang balita bago pa man ninakaw ang kalabaw ni Tito, na mayroon siyang ’nadisgrasya’. Pero itak imbis na baril.
Kasapi ng ICHDF ang naging biktima niya. Lasenggo ito at basta na lamang nananapak kung may ’di nagustuhang gawi, o may
nagustuhang sampalin.
 
Isa sa mga makailang ulit na sinapak nitong ICHDF si Tito Mulong na lumalaki na ring lasenggo.
 
Minsan, nasobrahan nitong ICHDF ang uminom, mag-isa itong umuwi sa kampo nila na nasa timog na bahagi ng baryo.
Nagkasalubong sila ni Tito Ato sa medyo makipot na daan. Walang nakaalam kung ano at paano ang nangyari. Basta na lamang
kumalat ang balita na namatay sa taga ang ICHDF. Missing in action, sabi na lang daw ng mga kasamahang ICHDF.
 
At ang pangyayaring ito, palihim na inamin ni Tito Ato kay Tito Mulong na nasabi rin naman ng huli kina  Nanay, ilang taon na ang
nakararaan mula nang mamatay si Tito Ato.
 
 
MAAGANG nag-asawa si Tito Ato. Halos kasasapit lamang niya sa edad na labing-walo noong magpaalam kina Nanay.
 
“Mag-aasawa na ako,” sabi raw niya minsan, isang hapon.

11 | 2 1 s t
C e n t u r y L i t e r a t u r e f r o m t h e P h i l i p p i n e s a n d t h e W o r l d
 
“May mapagsisimulan na kayo?” tanong ni Nanay.
 
“Langgam nga, kaya pang mabuhay.”
 
Ang sabi ni Nanay, ayaw lang ni Tito Ato ang maging taga-awat nina Tito Alfredo at Tito Mulong dahil nagsisimula na noong
lumaban si Tito Mulong kay Tito Alfredo na panganay; o kaya, natuto na rin si Tito Mulong na magsigarilyo at maglasing kagaya ng
panganay.
 
Nagtulong-tulong silang magkakapatid at ang mga kamag-anak namin para maisakatuparan ang kasal nina Tito. Masasabi namang
enggrande rin kahit papaano: may sound system na tumugtog ng magdamag sa bisperas at maghapon sa mismong araw ng kasal,
mayroon ding ilang mga ninong at ninang kasama na ang kapitan ng baranggay. Marami rin naman silang natanggap na regalo.
Marami ring naisabit sa kanilang papel de banko. Mayroon ding pulang telon na pinagsabitan ng nagtutukaang kalapati na may
markang “Renato & Magdalena.” Nahagisan din sila ng bigas at barya nang papasok na sila sa  family house nina Nanay pagkagaling
sa simbahan.
 
Pagkaraan lamang ng ilang buwan na pagtira nila sa family house, ipinaalam na ni Tito Ato ang pagtatayo niya ng sariling bahay sa
lote sa may bandang silangan.
 
“’Di magtatagal, bubukod na kami.” Ganyan ipinaalam ni Tito kina Nanay isang hapon.
 
“Siya’ng pinakamatino sa inyo,” biro ni Tatay kay Nanay kinagabihan.
 
Kinaumagahan, maaga kaming nagtungo ni Nanay doon sa pagtatayuan ng bahay. Kasama na ng tatlo kong tiyuhin si Lolo Illo na
karpintero. Nagbungkal sila ng paglalagyan ng pangunahing haligi. Hinagisan ng barya ang hukay, pinatuluan ng hinyebra at dugo ng
manok na puti ang mga paa.
 
“Para maging maginhawa ang buhay nila,” sabi ni Nanay noong nagtanong ako. Ganoon din daw ang ginawa nila noong
ipinatayo ang bahay namin.
 
Umaga nang lumipat sina Tito Ato sa bagong-tayong bahay nila. Parang mas malaki lang ng kaunti sa bahay-kubo na litrato sa aklat
ko sa Grade One. Nakaharap sa silangan ang mga bintana para raw papasok ang grasya. Hindi rin magkatapat ang pintuan sa harap at
pintuan na papasok sa kusina.
 
“Magtatagal,” sabi ni Tatay dahil kamagong, matandang bayugin, at piniling kugon ang ginamit.
 
Unang ipinasok nina Tito Ato ang isang malaking tapayan ng bigas, isang banga ng tubig, tig-isang palayok ng bagoong at asin,
larawan ng Banal na Pamilya na pinilas ni Nanay mula sa luma naming kalendaryo. Ang isang palayok na barya ang ipinahawak sa
akin. Nang maibaba ko, palihim akong kumuha ng isang gintuing piso subalit agad kung ibinalik nang magkakasunod ang tikhim ni
Tito Ato na nasa likuran ko lang pala.
 
Nag-alay sila sa sala. Saka nagpadasal sila kay Lola Balling. Pagkatapos, kinain namin ang suman na tira sa inialay na may kasama
pang kape mula sa sinangag na bigas.
 
 
SUBALIT ano naman ang maaasahan mo sa dalawang elementary graduate lamang lalo na’t papatapos na ang dekada otsenta na
tumataas na rin ang mga kailangang papeles para makapasok ng trabaho?
 
Isang kahig, isang tuka, gaya ng kasabihan. Dahil kutsero naman ang ama nina Nanay at napakaliit naman ang lupang minana ng
nanay nila—dahil nga babae lang— makitid lamang ang lupaing sinaka ni Tito Ato.
 
Oo, at tumanggap siya ng mga sasakahing lupa na may “panginoon.” Pero kakaiba ang kaniyang asawa. Galing nga ito sa tahimik na
nayon ngunit nakarating ang kaartehan sa lungsod. Balita kong namasukan sa Maynila noong dalagita pa. Ang mahirap, hindi naman
niya nagawang maarte rin ang bahay nila.
 
At noon nauso sa baryo namin ang pagpunta sa Abu Dhabi dahil may mag-asawang hindi ko tiyak kung sila ang mismong recruiter o
kaibigan sila ng recruiter sa Maynila.
 
Ang maalala ko, may kadalian ang pagpunta sa nabanggit na lugar. Sunod-sunod ang mga umaalis na kababaryo namin kahit mga
dalawang kalabaw o baka lamang ang naibebenta.
 
Nalaman ko na lamang na nagpapatulong ang Tito kay Nanay na maghanap ng mapagsanlaan sa mumunti niyang sinasaka—
pandagdag sa ibinenta na niyang babaeng kalabaw—iyong asawa ng kalabaw na ninakaw. Mabuti at mayroon na siya noong isang
magbibinatang kalabaw na tinuturuan na niyang mag-araro.
 
At nakarating nga sa abrod ang asawa niya.
 
HANGGANG ngayon, na ipinagpapasalamat ko sa Diyos, hindi na ako nailapit pa sa iba pang nakaburol gaya ng karanasan ko sa
pagkamatay ni Tito Ato.
 

12 | 2 1 s t
C e n t u r y L i t e r a t u r e f r o m t h e P h i l i p p i n e s a n d t h e W o r l d
Noong namatay ang lolo ko na tatay ni Tatay, ang lola ko ang nagbabad sa pagbabantay. Noon namang namatay si Tito Alfredo na
panganay nina Nanay, nataon namang nag-aaral na ako sa National Teachers’ College at dumating na lamang ako noong araw na ng
libing.
 
Mayroon akong mga hindi maipaliwanag na pangyayari sa burol ni Tito Ato. Gaya ng pagbabawal ng mga matatandang babae sa
pagwawalis habang may nakaburol. Magkakaroon daw ng maraming kuto ang sinumang susuway nito.
 
Pero karaniwan sa binatilyo, kung ano ang sinabing masama, parang napakasarap gawin. Lihim na winalis ko ang kusina nina Tito
dahil nandidiri ako sa mga tinik at mumog sa ilalim ng mesa lalo na’t hindi sementado ang sahig nila.
 
Pagkaraan ng dalawang gabi, panay-panay na ang pagkakamot ko ng ulo. “’Wag kang magkamot at masama,” sabi pa ni Nanay.
Talaga namang nagdusa ako sa kati ng aking ulo. Pagkatapos pa ng libing saka ako nakapagsuyod at kay raming kuto nga.
 
At ang pagkamatay ng Tito, iyon pa lang naman ang kaisa-isang pagkakataon na nakaramdam ako ng sinasabi nilang multo. At
napatunayan ko na kakaiba talaga ang paningin at pang-amoy ng aso.
 
Noong kinuha ko ang mga damit namin sa bahay, sarado lahat ang mga bintana at pintuan dahil napakahirap naman ang namatayan na
nga, mananakawan pa.
 
Pero nakadagdag pa iyan sa pagkatakot ko. Saka, nasa loob ng bahay ang aso naming si Samson na ipinangalan sa bida ng sikat na
drama sa radyo. Mabuti at may maliit na butas sa kusina namin kung saan siya dumadaan kung tatae o iihi.
 
Binuksan ko ang isang bintana at pintuan. Subalit nang inaayos ko na ang mga damit sa bag, laking gulat ko nang biglang tumahol
ang aso, na hindi naman nakaharap sa akin bagkus sa dako kung saan umupo noon si Tito Ato noong ginawa namin ang unang sulat
niya.
 
At pinatunayan ni Nanay na tuwing anibersaryo ng kamatayan ni Tito Ato, may naaamoy siyang amoy-kandila, sa dako kung saan
naroroon ang lumang aparador kung saan ko nakuha ang nabanggit na envelope bag.
 
Sinabi tuloy ni Nanay na dalhin ko na lang sa sementeryo ang voice tape. “Sige ho.” Wala sa loob ang sagot ko dahil may nabubuo sa
isipan ko na magpapaliwanag sa akin ng buong pangyayari.
 
 
TALAGANG hindi nakauwi ang asawa ni Tito Ato. Dito unang umusbong ang asar ko sa pag-aabrod. Napakahalaga naman ng
perang ’yan at ‘di man lang umuwi para makita sa huling sandali ang kaniyang asawa?
 
Siyempre, hindi ko naman naintindihan ang hirap ng kalagayan niya dahil nga ilang buwan pa lamang siya sa Abu Dhabi.
 
Noong gabi bago ang libing, napagkasunduan na maninirahan ang dalawa kong pinsan sa aming bahay. At ang dalawa pa, doon
naman sa mga biyenan ng Tito.
 
Ang Tito Mulong naman ang maninirahan muna sa bahay nina Tito Ato.
 
Noong ilalabas na ang kabaong, nauna ang paanan. Noong nahirapan silang ilusot sa bintana dahil hindi naman kalakihan ang bintana,
may sumigaw na ayaw pa raw ng Tito ang umalis.
 
“Talagang gustong hintayin!” Naulinigan ko sa likuran ko.
 
“Pugutan na kasi ang manok!” May sumigaw.
 
Gagawin daw ito para wala nang susunod sa kanya na mamatay sa pamilya.
 
Sige nga po, Diyos ko, hiling ko sa loob-loob ko.
 
Pinugutan ang tandang na talisayin. Tumalsik ang dugo at napatakan ang kabaong at mga damit ng ilan na nagbuhat sa kabaong. Saka
basta na lamang binitawan ang wala nang ulong manok at kung saan-saang dako ito nagtungo saka nangisay.
 
Pero hindi pa rin mailusot ang kabaong. Kahit sa pintuan, masikip. Walang laman ang kabaong noong ipinasok nila kaya malamang
na pinatagilid nila.
 
Wala silang nagawa kundi putulan ang bintana. ’Yon ang unang kagat ng pagkasira sa bahay ni Tito Ato. Dahil noong tumira si Tito
Mulong, hindi naman niya inayos ang bintana. Saka noong dumating ang asawa ni Tito Ato, tumira silang mag-iina sa pamilya nito.
Hanggang sa unti-unti na lang nasira ang munting bahay ni Tito Ato.
 
Pagkatapos maalayan ng misa ang bangkay ng Tito, nakita kong kinausap ng mga biyenan ng Tito ang pari, si Father Ed. Kasapi ng
samahan ng mga debotong babae o apostolada ang tiyahin ng asawa ng Tito at kahit isa akong sakristan, hindi ko gawain ang
nakikialam sa usapan ng ibang tao lalo na’t matatanda sila. Pagkatapos nilang mag-usap, may pahabol na sermon si Father Ed na
ganito ang buod: “Ang hiling ko lamang sa mga may kinauukulan na mas mahirap sa mga bata kung maghihiwa-hiwalay sila. Lalo na
ngayon na ang kanilang tibay ay nakasalalay sa presensiya ng bawat isa sa lahat ng oras.”
 

13 | 2 1 s t
C e n t u r y L i t e r a t u r e f r o m t h e P h i l i p p i n e s a n d t h e W o r l d
Sa madaling sabi, tumira ang mga pinsan ko sa mga biyenan ng Tito.
 
 
PAPATAPOS na noon ang Marso at pakiwari ko, mga limang beses nang nagpabalik-balik si Nanay sa husgado na nag-aayos ng
habla laban sa kompanya ng bus, nabanggit ng isa kong kabarkada ang umiikot na alingasngas sa baryo namin.
 
“Kusang nagpabangga daw ang Tito mo, p’re,” sabi niya.
 
Hindi kaagad ako nakapagsalita. Hindi dahil nagulat ako. Iniisip ko kung sasagot ako o hindi.
Inalala ko ang araw bago nabangga ang Tito. Hapon noon, pumunta siya sa likuran ng bahay namin. Umupo sa nakausling ugat ng
kamatsile at nakatuon ang paningin sa malawak na bukirin kung saan nagsisimula nang matuyo ang mga damo. Maya’t maya na
kinakausap ni Nanay pero hindi sumasagot. Hinayaan na lang din ni Nanay nang lumaon.
 
Maya’t maya rin ay sinisilip ko sa siwang ng dingding ng kusina namin. Akala mo ay estatwa ang Tito na hindi man lamang
gumagalaw. Papalubog na ang araw at nasisilaw pa rin ako sa mga sinag na tumatagos sa mga sanga ng kamatsile, at sa kabuuan ng
Tito at hindi ko na nga maalala ang hitsura niya dahil di ko naman maaninag ang ulo niya.
 
Tahimik ang paligid dahil napakain na noon ni Nanay ang mga baboy. Kahit kaming mga magkakapatid na nasa kusina lang,
napakaingat ng mga kilos namin. Minsang nagtawanan kami nang walang tunog, binigyan kami ng tig-isang malutong na kurot sa
singit. Marahil, inakala ni Nanay na ang Tito ang pinagtatawanan namin. Siyempre, hindi, kundi karaniwang biruan lang ng mga
bata. 
 
Nabasag ang katahimikan ng paligid nang biglang may humuning sulsulbot sa kapok sa kanluran namin.
 
“Putang ina mo!” hiyaw ni Nanay. “Madilim na nga, eh!”
 
Inakala yata ng Tito na siya ang minura ni Nanay at bigla na siyang tumayo saka walang pasabi na naglakad patungo sa timog.
 
“Anong masasabi mo, p’re?” ulit ng kaibigan ko.
 
Hindi ako sumagot.
 
Nagpatuloy sa pagkukuwento. “Maaga daw na nakaupo sa waiting shed ang Tito mo. Sabi ng mga nagtitinda ng pandesal. Nakita
naman daw ng mga estudyante ang pagtalon niya sa harapan ng bus.”
 
Mga ilang buwan pagkatapos mailibing ang Tito, tumayo ako sa lugar kung saan siya nabangga. Nakita ko ang lumalabo nang mantsa
ng dugo sa puting sementadong kalsada. Habang binibilang ko ang hakbang ko—limampu—hanggang sa kinublian kong Indian tree
habang may flag ceremony, iniisip ko na ang madalas na pakay ni Tito Ato kung napapagawi ng hilaga ng baryo namin, pupunta sa
bahay namin. At dumadaan sa mga pilapil ng bukirin na pagitan lamang ng aming pook at ng kanilang pook. At bakit siya tatawid sa
hilaga kung saan naroon ang eskuwela namin gayong nasa timog ng kalsada ang makipot na daan papunta sa bahay namin?
 
Binanggit ko kay Nanay ang sinabi ng kaibigan ko.
 
“Wala na yatang alam na matinong gawain ang mga tao,” sabi ni Nanay na mangiyak-ngiyak, “kundi ang magpakalat ng ‘di wastong
salita.”
 
Parang may idinaang napakalamig na dulo ng kutsilyo sa aking gulugod.
 
“Ba’t ka paapekto kung ‘di totoo?” Kumuha si Tatay ng isang basong tubig para kay Nanay. “Lalo kang pipikunin kung sasagot ka.”
 
Hindi ko na hinintay ang sagot ni Nanay. Pumunta ako sa likuran ng bahay. Humarap ako sa dako ng bahay nina Tito.  Patawarin mo
ako, Tito, sinabi ko habang palihim akong umiyak.
 
 
DUMATING ang asawa ng Tito noong patapos ang Marso ng sumunod na taon, mga ilang linggo pagkatapos makuha nina Nanay ang
biyente mil na pinang-areglo kay Tito.
 
Nagkataon na nasa simbahan ako nang umagang iyon dahil nagsilbi akong sakristan ng misa. Hindi pa noon gaanong nagsisimba si
Nanay at nagkasundo sila ng hipag niya na pumunta sa Aparri.
 
Pag-uwi ko sa hapon, may bagong aparador na mapusyaw na pula ang kulay sa aming sala.
 
Naroon na sina Nanay at ang asawa ng Tito na may suot na bestidang dilaw, at napakaputi. Binesobeso ako at naamoy ko ang
matapang na pabango na marahil, gustong-gusto ng mga Arabo.
 
“Binili namin sa Aparri,” sabi niya patungkol sa aparador. “Dito lang muna dahil bagay sa bahay n’yo.”
 
Saka siya tumawa.
 
 

14 | 2 1 s t
C e n t u r y L i t e r a t u r e f r o m t h e P h i l i p p i n e s a n d t h e W o r l d
BAGO ako bumalik sa Maynila nitong nabanggit ko na huli kong bakasyon, sa halip na pumunta ako sa sementeryo para tuparin ang
utos ni Nanay na isusunod ko na sa puntod ng Tito ang cassette tape, nagpunta ako sa lote ng namayapang si Tito Ato na parang
binisita ko lang si Tito Mulong na nag-asawa na rin at nagpatayo na ng maliit na bahay sa dating kinatatayuan ng kanilang  family
house.
 
Tumayo ako sa lugar kung saan tantiya ko na katapat ng kinauupuan ko noong binantayan ko ang burol ni Tito Ato. Nakatuon ang
paningin ko sa tantiya ko namang katapat ng bangkay niya na nabalot ng puting habing-Iloko. Subalit ang naroon ay kamada ng mga
sanga at kahoy na nasalba sa nakaraang bagyo na pinagkukuhaan ni Tito Mulong ng panggatong.
 
Subalit kinilabutan ako. Bagaman hindi ko inisip na naroon ang espiritu ng Tito. Marahil, gawa lamang ng magkakahalong
damdamin, lalo na ng aking pagkalumbay.
 
Noong iabot ni Nanay ang cassette tape sa akin, naalala niya ang dinatnan namin sa bahay ng Tito na nag-iiyakan ang mga pinsan ko
sa bakuran nila. Napakagulo ng sala. At ‘di pa nailigpit ang hinigaan.
 
Kaya’t umiiyak si Nanay na nagligpit habang inaaliw ko ang mga pinsan ko. Nagpunta kami sa tindahan sa tabi ng kalsada at ibinili
ko sila ng kendi na walang balot at tsitsirya na Zoom-zoom.
 
Sabi ni Nanay na nakita niya ang cassette tape sa ilalim ng unan ng Tito. Nahalata niya raw na ang tatlong unan na magkakapatong
ang hinigaan nito. Nasa kusina naman ang radio cassette na hiniram niya sa amin.
 
Pinakinggan daw nina Nanay at Tatay ang laman ng cassette tape. Ang laman nito, matagal na silang apat lamang ang nakaaalam:
sina Nanay at Tatay, si Tito, siyempre, at ang kaniyang asawa.
 
Hanggang nitong kamakailan, ako na ang panlima. Dahil sabi ni Nanay, may sapat na akong pag-iisip.
 
Mabuti at may lalagyan itong cassette tape. At malinaw ang boses ng asawa ng Tito sa kabila ng kaniyang mga hikbi: “Patawarin mo
ako, Mahal. ‘Di ko ginusto. Papatayin ako kapag lumaban ako. Isipin mo na lang na... na makakamtan na rin natin  ang hinahangad
mong magandang kinabukasan para sa mga anak natin... Matatapos din ang kontrata ko…”

 
(Salin ng may-akda mula sa orihinal na Ilokano na nagkamit ng Ikalawang Gantimpala sa Palanca Awards Kuwentong Ilokano
noong 2010. Kabilang sa “Samtoy, Ang Aming Mga Kuwento,” antolohiya ng mga kuwentong Ilokano na nilathala ng NCCA noong
2011 na finalist sa 2011 National Book Awards. Kabilang ang salin nitong Ingles sa aklat na “Ulirat: Best Contemporary Stories in
Translation from the Philippines” ng Gaudy Boy.) 

Written Close Analysis of Voice Tape

I. View

Voice Tape is a short story made by Ariel Tabag who is a bilingual Ilocano fictionist, poet, editor, translator, and musician. A short
story is a piece of prose fiction that can be read in one sitting. At its most prototypical the short story features a small cast of named
characters, and focuses on a self-contained incident with the intent of evoking a “single effect” or mood. In doing so, short stories
make use of plot, resonance, and other dynamic components to a far greater degree than is typical of an anecdote, yet to a far lesser
degree than a novel.

The setting of the story is in Santa Teresita, Cagayan. Abu Dhabi, which is the capital of United Arab Emirates, is also a setting of the
story.

II. Condense

The story started when Dante had a vacation in Santa Teresita, Cagayan and he had to get certificates and awards for him to be
promoted in his job in Cubao. While he was looking for the things he needed, he found something different. He found a voice tape
that says “4 my one & onli lab ATO.” Dante’s mother found the voice tape the day his sibling named Ato died because he was hit by
a bus. Dante recalled what happened on those days. He thought that his friend was the victim of the accident but he later found out
that the victim was his uncle. Ato’s family couldn’t hardly cry and get lonely. Dante was the oldest among his cousins so he was
assigned to watch over his uncle. He couldn’t look at his uncle’s head for a long time because he remembered how Lilong Martin put
his uncle’s brains using bare hands on a gas container. Dante remembered his moments with his uncle especially when he was asked
to write a letter for his uncle’s wife who was in abroad. Ato was sweet, thoughtful, and loving to his wife. Dante continued narrating
things about his uncle’s life. After the funeral, Dante’s colleague told him that his uncle committed suicide. Dante later on said what
was inside the voice tape. It says, “Forgive me, Love. I did not want this. I will be killed if I will fight. Just think that we will finally
reach our dream to give our children a bright future. My contract will end soon.”

15 | 2 1 s t
C e n t u r y L i t e r a t u r e f r o m t h e P h i l i p p i n e s a n d t h e W o r l d
III. Culture Reflected

One culture that can be reflected from the story is the practice of wakes which are done by Filipinos. The corpse is put inside a coffin
where it will be displayed usually for three to seven days. Filipinos mourn for their loved ones and honor those who die for they
believe that afterlife exists. Most Filipinos believe in superstitions especially during funerals. As stated by Dante, old women
prohibited sweeping during funeral for anyone who disobeys would have a lot of lice. Another superstition is that they should cut the
chicken’s head to avoid deaths from their family. They also practice moving the coffin with the feet of the person at the front. These
are just some of many more superstitions about wakes.

Another culture that can be reflected is the process of job promotion. Every employee or worker wants to be promoted for their
benefit. There are many ways on how someone can be promoted, but here in the Philippines, you can just show your awards,
achievements, and experiences to be promoted.

Another culture that can be reflected is the way of living in Santa Teresita, Cagayan. As stated in the story, there were only few jeeps
and tricycles are mostly used, but now, those vehicles can be seen almost everywhere. The houses during those years were different
from those of today. They had “buho” in their houses which were columns that may contain important things; most houses today do
not have those things anymore. In addition, a number of Filipinos still live in farm areas until now; but people in urban areas mostly
live in condominiums.

Another culture that can be reflected from the story is the presence of Filipinos in other countries to work. They are called Overseas
Filipino Workers (OFW’s). It is very easy for Filipinos to go abroad to work, but separation from their loved ones is so hard. There is
a lot problems that OFW’s face. In the short story, Ato’s wife may be physically or sexually abused/harassed because she said on the
voice tape that she didn’t want what was happening and she would be killed if she would fight. She also said that her contract would
soon be finished. Until now, there are still OFW’s who are not treated well by their employers.

Lastly, a culture that can be reflected is the process of making a letter. Letter making are not just done by Filipinos; it is a common
practice around the world. Letters are made to communicate, especially when two close people are apart. In the story, Ato sent letters
to his wife to show his love. Ato’s wife also sent back something that could be used to communicate which is a voice tape. Voice tape
is rarely used these days, while letter making may soon be used rarely too. The most probable reason why they are not used so much
today is because of advancements in technology. Social media is now the common way to communicate with other people.

IV. Literary Technique

One technique that the author used is the inclusion of quotations. This is probably the most used technique by the authors because
quotations make the readers feel that they are in the actual scene. A story that has no dialogues is not so interesting to read.

One technique that the author used is the combination of different moods. Some parts of the story are tragic; some parts are fluttering;
some parts are intense. A story that has combined moods is more interesting to read because the readers will feel different emotions
and they will be able to relate to the different events.

One technique that the author used is using flashback. A flashback is a transition in a story to an earlier time that interrupts the normal
chronological order of events. Flashback was used in the story when Dante recalled some events that happened to his Uncle starting
from his early life until the day he listened to the voice tape. He was first narrating his stay in Cagayan when suddenly he went back
and recalled his memories.

Another technique that the author used is foreshadowing. Foreshadowing is a literary device in which a writer gives an advance hint
of what is to come later in the story. Foreshadowing often appears at the beginning of a story or a chapter and helps the reader develop
expectations about the coming events in a story. The author said something about the voice tape that would make his readers figure
out what was inside the voice tape. This technique gets readers attached and interested to the story, thus making them finish the story.

V. Deep

As I started reading the story, my attention was caught already. It is because of the phrase “may nahanap kaming ibang bagay,” which
made me want to figure out what those things were. I continued reading and I realized the difference of life before and now. I was
amazed that before, columns served as containers for important documents. When the “ibang bagay” which one is the voice tape was
revealed, I got more hooked to the story. When the climax was reached where there was an accident, I felt like I was sent back to that
time. I think that the inclusion of quotations caused me to feel like I was in Dante’s mind and body. As I continued reading the story, I
just felt like there were too much details about their siblings. I couldn’t absorb every information. Some cultures especially the
practices during the wake made me hooked to the story too because I could relate to those things. I was getting near the end and I was
already wondering what really killed Dante’s uncle. When I finally read the content of the voice tape, I was surprised. I read it again
and again to understand what Ato’s wife wanted to say. The first thing that came to my mind was that she was a prostitute, but after I
read it again, I realized that maybe she was abused because she didn’t want what was happening.

The story shed light on the situation of OFW’s. I realized how hard it is to get separated from our loved ones. I feel proud for the
OFW’s who sacrifice things especially themselves just to give their family the life they want for them.

Overall, the story was interesting. Even though there were some parts where I couldn’t absorb information, the techniques used by the
author caused me to still get hooked up and enjoy my reading. I recommend the text to be read by Filipinos especially the adolescents
for them to be aware of the problems that they might face in life

16 | 2 1 s t
C e n t u r y L i t e r a t u r e f r o m t h e P h i l i p p i n e s a n d t h e W o r l d
The eruption of Mount Pinatubo was recorded as the second largest terrestrial eruption of the 20th century, and the largest eruption
populated area. Ash fall, which formed a weighty, rain‐drenched snow‐like film, affected almost the entire island of Luzon, and even
reached the neighbouring countries of Malaysia and Vietnam. It was further aggravated because of Typhoon Yunya, which brought
with it heavy rains and strong winds. To the Kampampagans and to the people affected by this tragedy, it would serve as a testament
to their irrepressible attribute of rising about their plight and predicament. I was no longer living in Angeles City when Mt. Pinatubo
erupted on June 15, 1991. I was promoted from being a crew member at Pizza Hut Dau to management trainee at Pizza Hut Harrison
Plaza in December 1990. After being a service crew member for more than four years and graduating from college in 1989, I had to
say goodbye to my hometown where I lived for more than two decades. It was my first time to work in manila. I asked the assistance
of Ed Calupitan, a fellow Pizza Hut Dau crew member now based in Manila, to help me find a place to stay. He was living in a two‐
bedroom apartment and gladly offered the other room to me. Weeks before the eruption, I read several news and warnings about Mt.
Piantubo. Frankly, I never knew that there was a volcano in the Zambales mountain range. Nobody among my Kapampangan friends
did. I guess we were all clueless about the impending danger this would cause in our lives. Later on, I realized that the summit of the
volcano was just fourteen kilometres away from the extent of Clark Air Base. I thought

that volcanoes were conspicuous mountains and had fierce‐looking summits like Maycn’s and Haicon’s. But this one was deeply
hidden among the several mountains called the Cabusilan mountains” of Zambales. How a volcano had managed to hide among the
mountains and be covered with a defence forest was something I couldn’t comprehend. If it was bound the erupt, I guess it would be
just like a firecracker. Hell, I thought that if there was a mountain near us which I imagined would erupt anytime, it would be the
Arayat, which was located at the heart of Pampanga, with its open mouth and forbidding countenance. Not this obscure mountain
whose native inhabitants, the Aetas, never even knew about, I paid no more attention to warnings. I had only been in Manila for
barely six months and was enjoying my new‐found independence. I would sometimes go to Angeles City to see Mother during days
off, which usually fell on a weekday, since management people did not have the luxury of the day‐off during weekends because it was
the time when more people would go out and eat. Pizza Hut Harizon Plaza was a high volume unit. That fateful day, after my opening
shift, I went to see a film. I t was “Hihintayin Kita sa Langit”, a film adaction of Bronte’s “Wuthering Heights” directed by Carlitos
Siguion Reyna. The film starred erstwhile lovers played by Richard Gomez and Dawn Zulueta. I was feeling all mushy and

17 | 2 1 s t
C e n t u r y L i t e r a t u r e f r o m t h e P h i l i p p i n e s a n d t h e W o r l d
melodramatic after watching the film when, once outside, I saw parked cars covered with what seemed like a whitish ‐gray blanket.
And so were the streets. Is it finally showing in Manila? I thought, as I felt some of the particles in my hand and smudge my shirt.
When I looked closely and touched them, they were grainy. It was like ash from an ashtray.

I saw farther down the riverbank that people were lining up to cross the river by stepping on coconut trunks and wooden poles
attached from one end to the other. The gaunt shirtless boot who was juggling coins and walking to and fro shouted. “Pesus

I was meaning to say no but I was speechless, still talking everything in. Besides, I wanted to see my family. I nodded my [Link].
Deng bisang lumakad papunta Angeles, keni na kayo bang ali la mabasa deng bitis yu.

You look heavy” the barker smiled fully; revealing he had no teeth. For a moment, I wanted to pull his hair and drown his head in the
river. This impertinent one. I thought. He had to subtly insult my chubby body. But I surmised that he meant well. It was not going to
be easy carrying me to the other side of the river. I just simply agreed. I sat on the chair and put the bag on my lap. The barker clasped
an improvised rope seatbelt from one and to the other. Yeah, like I would experience a terrible accident by forgetting to use this
seatbelt, I thought sarcastically. Just hold the chair’s handles, sir it’s good that you came this early. Potang

For one peso, take this trail and your feet wo’t get wet in the river”. I was about to fall in line but I realized that there as a long queue
of people already as far as the bend, waiting for their turn to get actions the river. It would take me forever to get to other side if I fall
in line, I thought. I talked to the person behind me. “Malalam ya pu ing

daanum. Is the water deep?” “Tabalu. Bala mu, malalam pin. I dont know. It’s deep. I guess,” he immediately rejoined. “Lawen me
itang tau angga ne keng atyan na. Look at the guy crossing. The water’s up to his tummy,” he said, pointing to the man. It was deep, I
contemplated. I didn’t want to take the risk of getting my clothes wet. I was also thinking that perhaps the water that flowed down the
river was contaminated because of the volcanic ash and the sulphuric content of the water. Just I saw about four barkers holding
wooden chairs, inviting people to cross the river on these chairs. They explained that people would be sitting on the chair and thr
barkers themselves would carry the chair to the other side for a fee of ten pesos. Despite the horrible sight before me, I forced a smile
I was thinking about how indestructible humans are. These people were still struggling to live even if catastrophes like typhoons and
volcanic eruptions had truck. Catastrophes constantly plagued their lives. I felt deep admiration for them. One barker thought my
smile was an indication that I wanted to ride in the chair.

“Bisa kang sake. Would you like to take a ride?” he asked.

“Koya, padagdag naku mu keka ne. Kasi lupa kang mabayat. I’ll charge you extra.

gatganapun, ali tana makapunta karin uling malalam ne ing danum. Later in the afternoon, we won’t be able to cross because of the
deep water,” the barker enthusiastically said. As he started lifting the chair, I felt that I was sliding down. The fabric of my pants was
slippery “Sagull, Kala‐kalale. Wait, carefull Mananabu ku! I’m falling,” I cried. The barker haited for a second and adjusted me
weight on his arms. I wiggle momentarily and after a while, I instructed him to carry on. He looked at me and then smiled blissfully.
First, it was my body weight. Then I sensed that he was mocking me because he thought I was a sissy. I turned back to the other
barkers, and they were all carrying passengers, all of whom were women. One was carrying an older woman with cane. I saw the men
and they were braving the river. Oh dear, now all these barkers would regard me as the only man in the Abacan river who did not
want to get his feet wet. Why hadn’t I decided early on to just cross the river? Now,

I felt guilty that I had to subject this cadaver‐looking barker to such pain and suffering by carrying me, the queen all of my 160 ‐pound
royalty for a measly 15pesos. I shook my head of all this guilt away. Well, too bad, I thought I had the money which you hadn’t,
sorry. Even in ancient times, slaves laboriously carried their obese masters. History repeats itself; I tried to reason out in my thoughts.
When we got to the middle of the river, I closed my eyes, not because I was afraid of the water, but because I was worried that the
barker wouldn’t be able to cross it, with me as his burden. The water was already knee ‐deep. He wasn’t even wearing any footwear.
What if he slid done because he stepped on a rock or a hole under the water? But he was very much focused. His steps were showing
but cautious. I wanted to talk to him so that my mind would be distracted from worrying, but I felt that he needed full concentration to
get us through. I just held on the hand rest of the chair. I imagined that poor people have always exhibited their resilience this way.
When calamities happen, they are the first ones to suffer the initial blows. Yet, they survive and eventually thrive. They just need to
go slow and sure. The rich and the middle class are alienated from this kind of survival strategy. That is why much is lost in them
when things go down. But not the poor; they are like fungi. They don’t die. They morph after a catastrophe. We got to the order end
of the river. The barker found a coarse spot where he could put down the chair. He was painting heavily, beads of sweat dripping from
his temples. I thanked him and handed a twenty peso bill. He looked grateful and smiled. I was waiting for him to utter an insulting
remark so I could give him the sermon of the day. But he didn’t. “Dacal a salamat pu koya. Thank you. Pantunan mu naku potang bisa
nakang mibalik keng sumangid. Hatad daka. Just

look for me when you want to cross the river going back. I’ll take you.” He said as he nooded his head approvingly, once again
showing his toothless mouth “Sige pu, salamat mu rin,” I replied. There was hardly any roving jeepney at all when I climbed up the
gully. Tricycles were waiting at the corner, but I chose not to ride in one. I decided to walk. The house was only about five minutes
away anyway. As I was walking, I thought about what the future would hold for this city I loved. Kapampangans are known to be a
proud people. I only wished that they would get past all this soon. I was hoping that I would also see my family complete and in the
best of health. My steps got quicker. I started to run. At the threshold of the house, I saw Mother carrying a bundle of laundry. When
she saw me, she smiled and patted my arm. I was puzzled to see her carrying a load. “Where are you going? I just got here. I was so
worried about you. Where is ate and her family, are they okay?” I asked. Mother placed the bundle on the table and tightened it.
“They’re all okay, thank God. I’m going to Dau to give this to your ate.” “What, are you serious?” I was shocked by Mother’s retort.
“The Abacan bridge has collapsed, didn’t you know? How are you going to get to Dau?” “I know that the Abacan bridge is no more,”
Mother said pensively. “I’ve been to Dau and back twice already. There are still barkers that lift chairs down there in the river, aren’t

18 | 2 1 s t
C e n t u r y L i t e r a t u r e f r o m t h e P h i l i p p i n e s a n d t h e W o r l d
there?” she looked at me. I was aghast to hear this from her. “You mean you want to go down the river? You are not afraid?” “Why
should I be afraid?” Mother interrupted. “Only the old ones are afraid to cross the river. I am not that old. Besides, you’re here to keep
me company, right? I’ll cook your favourite ginataang kamansi.”

I was dumbfounded. Mother was unbelievable. “Hurry up! The river gets deeper in the afternoon,”Mother shouted “Let’s go.”

19 | 2 1 s t
C e n t u r y L i t e r a t u r e f r o m t h e P h i l i p p i n e s a n d t h e W o r l d
Literature

 a body of written works. 

 applied to those imaginative works of poetry and prose distinguished by the intentions of their authors
  perceived aesthetic excellence of their execution.
 Has standards

Revisiting Philippine Literature

a. Pre-colonial era
 Oral literature is the common form of literature during the pre-Spanish period.
 Folk tales: These are made-up stories about life, adventure, love, horror, and humor where one can derive lessons.
 Epics are long narrative poems in which a series of heroic achievements or events, usually of a hero, are dealt with at
length. 
 Folk Songs: These songs mirrored the early forms of culture. Ex. Ang Dalit or Imno, Ang Oyayi or Hele, Diana, Soliraning
andTalindaw.

b. Spanish era (1565-1871)

 Religious Prose and Poetry 
 The teaching of the Christian Doctrine became the basis of religious practices. 
 European legends and traditions brought here become assimilated in our songs, corridos, and moro-moros.
 Folk Songs: Leron-Leron Sinta, Pamulinawen, Dandansoy, Sarong Banggi, and Atin Cu Pung Sing-sing.
 Plays: Cenaculo, Panunuluyan, Salubong, and Zarzuela.

c. Period of enlightenment (1872-1898)

 1872-1896 - Propoganda Movement 
 A movement spearheaded by the Filipino Ilustrados or Intellectual like Jose P. Rizal, Marcelo Del Pilar, Graciano Lopez
Jaena, Anotnio Luna, Mariano Ponce, Jose Ma. Panganiban and Pedro Paterno
 Noli Me Tangere , Mi Ultimo Adios, Sobre La Indolencia Delos Filipinos 
 Kaingat Kayo, Pagibig sa Tinubuang Lupa, and La Hija Del Fraile (The Child of the Friar)

d. American period (1898-1944)

 Linguistically, Americans influenced Filipino writers to write using the English language.

20 | 2 1 s t
C e n t u r y L i t e r a t u r e f r o m t h e P h i l i p p i n e s a n d t h e W o r l d
  Jose Garcia Villa became famous for his free verse.
 The languages used in writing were Spanish and Tagalog and the dialects of the different regions.
 But the writers in Tagalog, continued in their lamentations on the conditions of the country and their attempts to arouse
love for one’s native tongue and the writers in English imitated the themes and methods of the Americans.

e. Japanese period (1941-1945)

 Filipino Poetry during this period

The common theme of most poems during the Japanese occupation was nationalism, country, love, and life in the barrios, faith,
religion, and the arts.

 Three types of poems emerged during this period: 

 Haiku- a poem of free verse that the Japanese like. It was made up of 17 syllables divided into three lines and
 Tanaga – like the Haiku, is short, but it has measure and rhyme.
Karaniwang Anyo (Usual Form)
a. Philippine lit in english (1941-1945)
 Because of the strict prohibitions imposed by the Japanese in the writing and publishing of works in English, Philippine
literature in English experienced a dark period. For the first twenty years, many books were published both in Filipino and
in English.
 In the New Filipino Literature, Philippine literature in Tagalog was revived during this period. Most themes in the
writings dealt with Japanese brutalities, the poverty of life under the Japanese government, and the brave guerilla
exploits.
b. Period of activism (1970-1972)
 According to Pociano Pineda, youth activism in 1970-72 was due to domestic and worldwide causes. Because of the ills
of society, the youth moved to seek reforms.
 The Literary Revolution

The youth became vocal with their sentiments. They demanded a change in the government. It was manifested in the bloody
demonstrations and the sidewalk expressions and also in literature.

c. Period of the new society (1972-1980)

 The period of the New Society started on September 21, 1972. The Carlos Palanca Awards continued to give annual
awards. Poems dealt with patience, regard for native culture, customs, and the beauties of nature and surroundings.
Newspapers donned new forms.
 News on economic progress, discipline, culture, tourism, and the like were favored more than the sensationalized reporting
of killings, rape, and robberies.
 Filipinos before were hooked on reading magazines and comics.
d. Period of the third republic (1981-1985)
 After ten years of military rule and some changes in the life of the Filipino, which started under the New Society, Martial
Rule was at last lifted on January 2, 1981. The Philippines became a new nation, and this, former President Marcos called
“The New Republic of the Philippines.”
 Poems during this period of the Third Republic were romantic and revolutionary.
 Many Filipino songs dealt with themes that were true-to-life like those of grief, poverty, aspirations for freedom, love of
God, of country and fellowmen.
e. POST-EDSA 1 REVOLUTION (1986-1995)
 History took another twist. Once more, the Filipino people regained their independence, which they lost twenty years
ago. In four days from February 21-25, 1986, the so-called People Power (Lakas ng Bayan) prevailed.
 In the short span of the existence of the real Republic of the Philippines, several changes already became evident. It was
noticed in the new Filipino songs, newspapers, speeches, and even in the television programs.
 The now crony newspapers that enjoyed an overnight increase in circulation were THE INQUIRER, MALAYA, and the
PEOPLE’S JOURNAL.

 Philippine Literature
 Philippine literature withstood time and periods and has evolved through generations.
 For every period that passed, different genres appeared, and these literary works rooted from all regions reflecting their
culture, society and lifestyle.

21 | 2 1 s t
C e n t u r y L i t e r a t u r e f r o m t h e P h i l i p p i n e s a n d t h e W o r l d
  21st Century Lit
 All literary works written and published at the latter part of the 21st Century (from 2001 onwards).
 These works are often characterized as gender sensitive, technologically alluding, culturally pluralistics, operates on the
extreme reality or extreme fiction, and questions conventions and supposedly absolute forms.

Poetry

Literary Education

 A study of literature still persists to be a study of timelessness and   contemporaneousness (a preference for intelligible
literary engagements of existing realities.) 
 It is the cultivation of a lifelong practice of reading.

Regional Literature

 Our exploration into Philippine literature will be a decent one, exploring regional writing to see not only how it differs
from what is normally seen in Manila, but also how it contributes to Philippine culture through its unique voice and style
 The Philippines has a unique cultural landscape, one shaped by a myriad of languages and traditions determined by their
geographical and linguistic regions. Filipino culture is not just one linear development, but it is composed of many
developments within specific ethnic traditions that comprise the colorful tapestry we call the Filipino nation..

A Long History of Poetry

Filipinos are no strangers to poetry; it has been part of the Filipino culture ever since pre-colonial times.

 Awit existed in many forms and was used for varied purposes.
 Bugtong (riddle) used talinhaga or metaphor that actually helped convey the answer to the riddle and salawikain (proverb)
was used to express pieces of wisdom or beliefs important to Filipino society.
 Epiko (epic) was long, episodic, chanted poems telling stories, normally about legendary heroes and their adventures.
 Awit was influenced by the European romances of that time.
 Pasyon religious in nature.
 Free verses and New Criticism became buzzwords of poets.
 New themes emerged

What's in a poem?

Meter is the defining characteristic of poetry. Several elements of poetry that need to  be present in a work before it can be called  a
poem properly.
It requires the use of an image or sense impressions which may be visual, auditory, olfactory, gustatory, or tactile.
The present of figurative language such as simile, metaphor,personification, hyperbole, and metonymy should be present.
Poems possess a dramatic situation that calls for the audience to relate the poem emotionally.
It also has irony and paradox that play with the idea of how a truth is presented . And poems possess a theme, a general idea often
about human experience which in the end, it wants to share with the audience.

Poetry

 considered to be the counterpart of prose

 In terms of three assets the first s means structure; poetry is made of lines and senses unlike in prose which is made of
paragraphs and sentences
 Second s means sense; we tend to use a more colorful language making our writing steeper in sense 
 the third s means sound poetry is obviously different from prose in terms of sound thanks to its rhyme rhythm and mirror
 it is usually intended to express emotions although there are poetries made to tell stories

 Elements of Poetry
1. Line 
 Counterpart of sentences in prose
 Most basic element
 It may or may not have an exact amount or number of syllables depending on the type
22 | 2 1 s t
C e n t u r y L i t e r a t u r e f r o m t h e P h i l i p p i n e s a n d t h e W o r l d
 2. Stanza
 Counterpart of paragraph in prose
 a group of lines
 Types of stanza
a. couplet - two lines
b. tercet - three lines
c. terza rima - three stanza of three lines
d. quatrain - four lines 
e. sestet - six lines 
f. octet - eight lines
g. cinquain - five lines  
h. septet - seven lines
3. Meter
 measurement of the poem
 Two ways to identify the meter of a poem
1. Syllable count
2. Stress and Unstressed syllables count
 Types of Meter
a. accentual meter - each line has fixed number of stresses but varies in the total number of syllables
b. Syllabic meter - each line has a fixed number of syllables but varies in the total number of stresses
c. accentual syllabic meter - each line has the same number of stressed and non-stressed syllables in a fixed
order meaning there are fixed (there are fixed number of stresses and fixed number of syllables)
d. Free Verse - lines have irregular patterns of stresses and syllables (easiest one to make)
4. Rhyme 
 one of the most unique features of poetry
 pertains to the likeness of sounds
 if a poem has no rhyme (BLANK VERSE)
 Types of Rhyme
a. Based on Position
1. End rhyme - he most common type of rhyme which can be found at the end of the lines
2. Internal/ Leonine rhyme - the rhyme which can be found in between two or more words in a single
line

b. Based on Syllable Count

1. Masculine rhyme - the rhyme consisting of a single stressed syllable as in “car” and “far”
2. Feminine rhyme - the rhyme consisting of a stressed syllable followed by an unstressed syllable as
in “mother” and “father”
c. Based on Likeness of Sound
1. Perfect Rhyme - the exact match of sounds in a rhyme as in “ask” and “task”
2. Slant rhyme - the imperfect rhyme, also called as the oblique rhyme or off-prime; wherein the
sounds are similar but not exactly the same as in “port” and “heart”
5. Rhythm
 related to the rhymes of the poem
 it pertains the succession and alternation of the singular sounds within the poetry

To identify the rhythm go to the 6th element
6. Rhyme scheme(rhythmic pattern)
 simply pertains to the rhythm of the poem
 done by assigning letters to each set of rhymes within the poem
7. Tone
 overall impression a poetry makes towards its readers
 the emotion the writer is conveying through the poetry 
 it is highly affected by the writer's choice of word “diction”
8. Theme 
 a basic element of any literary type
 the main idea or the general topic of a piece of writing
 Common themes: love, family, revenge, inspiration, and overcoming fears etc.
9. Lesson
 The moral or the value that is inculcated in the words of a poetry

Literary Techniques and Devices

23 | 2 1 s t
C e n t u r y L i t e r a t u r e f r o m t h e P h i l i p p i n e s a n d t h e W o r l d
 Image
 is the use of figurative language to represent objects, events, actions, or ideas in a way that is physically appealing.
 Meter
 Is the basic rhythmic structure of a line in poetry.
 Allusion
 is a figure of speech that refers to another work, event or person in history , leaving the reader to figure out the connection
between the current work and that which is being referred to.

Bikolano Literature

Bikolanos

 A good number of them are multilingual and are normally proficient not only in Bikol but also in English and Filipino.
Prominent writers such as screenwriter Ricky Lee and poet Marne Kilates.

Literature

 Bikol writers have adopted forms of literature for their own enjoyment. The creation and enjoyment of other forms of
entertainment such as the comedia and the zarzuela in the 1800s and 1900s. There works in Bikol during this time as there
were Biko-based publications and so the production of poems and fiction grew.

MAYON by Kristian Sendon Cordero

 Corder', in his mixing of both positive and negative images of the volcano, showcases this idea very handily-in the face of
forces of nature such as Mayon Volcano.
 It would not be correct to term the volcano as either as good or evil because it is neither.
 Cordero showcases that fact by intentionally ignoring either the formulaic description of the sheer destructive nature of the
volcano or the commonly admired beauty of its "perfect cone".
 He simply presents us with images that shift from one extreme to another, allowing us to see both "faces" of the volcano.
 The poem proceeds by using an image of death to imply the possibility of life.
 Images are not only visual ; they present sensory impressions .
 Images are merely descriptive to becoming figurative.
 The images vary widely from having the lips of a young child in the third stanza to having the lava of the volcano look like
excrement or having the same image look like betel nut juice (nganga) in the same stanza.
 There is the impression of beauty and danger, as the final image, that of a beautiful security guard waiting to frisk the viewer of
the volcano, becoming both warning and invitation.

Kristian Sendon Cordero

 He was once described by the poet Marnet Kilates as the "enfant terrible"(unconventional or controversial behavior or ideas
shock, embarrass, or annoy others) of Bikol writing.
 That means a person who's controversial  for being innovative and questioning the establishment.
 He is a well-anthologized poet.
 He is an award-winning literary writer in poetry, fiction, and essays of Palanca.
 He is an educator (ADNU), a writer (Bicol Mail), and an advocate (Bikol lit.).

Bikol Literature

 The writings of Cordero (poetics and articles) point to a turn of development of Bikol literature.
 Bikol lit is traditionally stymied under the Spanish crown as can be seen in Bikol writer Mariano Perfecto's Ang Pagguiao
kan mga Pastores can Pagcamondag ni Jesus duman sa Portal sa Belen.
 Typical of the Bikol writer, the critical attitude manifested itself in the writing of protest comedias.
 Poems such as rawitdawit are written to showcase Bicolano 's penchant for examining and criticizing society.
 Today, Bikolano writers continue this critical attitude and Cordero takes a step forward by fixing a critical eye on Bikol
itself.
 Recently, Cordero traced the movements of Bikol lit via translation, he claimed translation has become a key part of the
Bikol literature.

24 | 2 1 s t
C e n t u r y L i t e r a t u r e f r o m t h e P h i l i p p i n e s a n d t h e W o r l d
 THIRD WORLD GEOGRAPHY by Cirilo F. Bautista

 Oppression
 A familiar word in the Filipino Vocabulary. It describes the depression of gender by a patriarchal society; of the less
privileged by the elite.
 Filipinos have always had to face oppression in some form or another, beginning with our history of colonization.
 and the struggle against it are common themes in Philippine Literature Jose Rizal's classic Noli Me Tangere and El
Filibusterismo; Hermenigildo's Flores's "Hibik ng Pilipinas".

 September 22, 1972 - declaration of martial law

 The Marcos Dictatorship(OPPRESSION DURING MARCOS REGIME)

 Oppression: unjust or cruel exercise of authority or power.
 Oppression has been seen in many instances in our history, and it is natural that our literature reflects our engagement with
this reality.
 The Marcos era was seen to be one of the most oppressive periods in Philippine history, and yet, a quick glance at the
internet reveals a number of claims that this was supposedly the best time in Philippine history.

 Third World Geography

 Poems present these dramatic situations via a speaker in the poem or a persona. The persona in the poem is usually not the
poet but is rather a character or a mask that the poet who is involved in the dramatic situation.
 In particular, our poets have used the subject of oppression as a starting point, creating dramatic situations that lead us to a
greater understanding of the issues at hand and how these affect our lives
 Cirilo F. Bautista's poem presents us with a situation that is allegorical or not literal but rather representative of other ideas
or personalities.
 He also uses personification, a figure of speech that gives some non-human objects human qualities.
 It showcases both his skill as a writer and the relevance that has led him to be hailed as a National Artist.

 Third World
 In this selection, the national artist also depicts the condition of the country as a "Third World" nation
 This categorization broadly assigned countries to groups based on their social, political, and economic status. Being
labeled a "Third World Country'' means poverty and economic lack.
 As a dated term, "Third World" was used to refer to countries not aligned with the North Atlantic Treaty Organization
(NATO) and the Communist Bloc during the Cold War of the mid-1970s
 This term has been replaced by other "politically correct" terms like "least developed countries, "emerging economies", or
even the "Global South".

 Cirilo F. Bautista 
 One of the Philippine's most awarded and most respected writers and critics 
 He received a fellowship to attend the International Writing Program at the University of Iowa.

 National Artists

25 | 2 1 s t
C e n t u r y L i t e r a t u r e f r o m t h e P h i l i p p i n e s a n d t h e W o r l d
  The National Commission for Culture and the Arts(NCCA) describes National Artists as "Filipino citizens who have
been given the rank and title of National Artist, in recognition of their Philippine Arts and Letters."
 Before one becomes a National Artist, one must undergo scrutiny by a committee which will recommend rightful
candidates to the Philippine president.
 Canon & Representative Writers
 This collection of works called canon is determined by various institutions seen as capable of deciding which works carry
value or not.
 Canon refers to the collection of works determined by a society to have significant and importance.
 The works of Bautista are recognized as important, and thus are seen as canonical, or belonging to a collection of works
considered to be valuable to Philippine society.
 Marco's arrest of writers and intellectuals during the Martial Law was a recognition of their importance in shaping how a
country thinks.
 Marcos tried to skew or twist the canon to favor him and his views by controlling these institutions and the people in them.

HOME OF THE ASHFALL by John Jack Wigley (Pampango Literature)

 Mt. Pinatubo Eruption

 The eruption of Mt. Pinatubo in Zambales(1991) is one of the most cataclysmic event in the recent history, second most
destructive eruption
 The eruption literally changes the landscape of Central Luzon.
 Rivers were rerouted, dams were built, and many Kapampangan people were faced with a hometown that changed literally
overnight.
 Context
 the interrelated conditions in which something exists or occurs.
 It is what is around us that influences us just as we influence it.
 Writers have used context to create various forms of written work such as poetry, fiction, drama, and essays.
 Essay
 simply " a short piece of writing that tells a person's thoughts or opinions about a subject.
 can be pragmatic or it can be more expressive
 If done in a manner that tries to elevate its form beyond just being " a short piece of writing, then the essay becomes
literary, something that is related to literature or
 "writings having excellence of form or expression and expressing ideas of permanent or universal interest."
 The eruption of Mt. Pinatubo and its effects on a particular person's life are the subjects tackled by the essay of John Jack
Wigley.

26 | 2 1 s t
C e n t u r y L i t e r a t u r e f r o m t h e P h i l i p p i n e s a n d t h e W o r l d
  He uses a distinctive style and tone to relate his memories to the readers.

 Pampango Literature
 Writers like Wigley are very clear about their origins and these origins are easily seen in their works.
 Pampango literature is perhaps a case in point where the writers are indeed struggling.
 Kapampangan culture became heavily influenced by Spain and America.
 Some of Pampango literature influence by foreigners were Pasyon Ding Talapagobra by Lino G. Dizon, this is used to
discuss the injustices suffered by the working class farmers;
 crissotan, a poetic joust (Juan Crisostomo Soto), the Kapampangan balagtasan.
 Lourdes Vidal, who discussed Kapampangan literature in Filipino Writings: Philippine Literature From the Regions

 Style & Tone

 One way by which writers are able to turn their stories into unique and interesting pieces is by having a unique
style. 
 In an essay, creating an individual style will mean that the writer would have to use his or her skills in writing
and language to produce a unique effect on the reader.
 Tone, attitude being conveyed by the language used by the writer , is an essential part of creating a distinctive
style;
 The tone in writing is also very important in helping the writer convey meaning to the reader.
 The essay is written in very simple, almost conversational language. 
 Wigley's tone has clear humor in it, as can be seen in his retelling of his crossing of the river, carried by a cadaver-
looking barker, as well as in his description of his mother, who is happy to see him but is also seemingly unaffected by
all the chaos surrounding her.
 As a way of creating his definite style as a writer, Wigley interspersed Kapampangan
 the language of the residents of Pampanga in the dialogue that he uses in fleshing out the scenes in his essay, making the
language more authentic. The alien sounds of the language make for a richer environment, enriching what would have
been rather mundane conversations.
 Wigley's essay makes use of scenes, which are divisions in written works where an action takes place without a break or
separation in time. 
 These stories run the range of emotions, from terror to hilarity, and often they have elements of different emotions running
through them.
 Wigley's essay is an examination not only of his memories of the event but also of his reflections on what he saw.
 His anxiety at being mocked for being a sissy, his observations that perhaps the rich do not do as well in disasters
because they have more to lose
 The Essayist
 John Jack G. Wigley is the director of the UST Publishing House and is also a full-time professor in UST. 
 While growing up in Angeles, Pampanga, he had to struggle with the identity of being what has become known as a " G.I.
baby" or the child of an American serviceman and a Filipina.
 His memoir, Falling Into the Manhole, is a humorous examination of his experience as someone who was always
"different". 
 Wigley is a literary essay, one who is not only concerned with expressing himself, but also with examining what he
experiences with tongue firmly in cheek and with eyes wide open to the realities that surround him.
 The Essay
 A direct narration of the events in Wigley's essay would have led us to have a very different reading experience from the
one actually had.
 His stylistic interventions - the lighter tone, the use of local dialogue, the presentation of his mother as this unperturbed
individual in the light of overwhelming disaster - all contribute to a unique reading experience.
 He uses humor as a way of defamiliarizing the reader, enabling the reader to see the events in a different, and slightly more
distant, light.

27 | 2 1 s t
C e n t u r y L i t e r a t u r e f r o m t h e P h i l i p p i n e s a n d t h e W o r l d
 end

28 | 2 1 s t
C e n t u r y L i t e r a t u r e f r o m t h e P h i l i p p i n e s a n d t h e W o r l d
29 | 2 1 s t
C e n t u r y L i t e r a t u r e f r o m t h e P h i l i p p i n e s a n d t h e W o r l d