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Jandel Uy Mar 2017
Ikaw na babaeng sumasayaw sa dilim,
   Ikaw na nakakapit sa patalim:

Di ba nasusugat ang porselanang palad
    Na kasing lambot ng puwit ng sanggol?

Sa matalim na kutsilyong kinakapitan
      Ano mang oras hahatulan ng lipunan?

At sa higpit ng piring mo sa mata,
     Pasasaan pa't mabubulag ka na

Ikaw na babaeng gumigiling-giling,
   Iba't ibang laway ang pinanghihilamos gabi-gabi

Ang sugatan **** puso'y walang gamot
    Ngunit ang kandungan mo'y sagot

Sa mga problema ng mga lalakeng–
      Naghahanap ng panandaliang saya.

Ikaw ba, babaeng hubad,
   Naranasan mo na ba ang lumigaya?

Kumusta na ba ang anak mo sa una **** nobyo?
     Balita ko'y di ka na niya kilala.

Hindi ba't may tatlo ka pa sa probinsiya
   Na pinagkakasiya ang padala **** barya?

Naalala mo ba ang bilin sa 'yo
     Ni Karla na siyang una **** bugaw?

"Huwag **** bigyan ng puwang sa utak mo
      Ang sasabihin ng Inay mo.

Sasampalin ka niya, di ng palad niya,
     Kun'di sakit na dama ng isang Ina.

At iyon ang pinakamasakit
    Sa lahat ng puwedeng sumakit."

Ilang ulit mo na bang tinanong ang sarili
   Kung saan ka nagkamali?

Kung ilang liko ang ginawa
     Para mapunta sa hawlang 'sing dilim ng kuweba

Na pinamamahayan ng mga paniking
     Takot sa liwanag na magpapakita ng mga galos

Na bunga ng mga gabing kinukurot ang sarili,
     Tinatanong, hinihiling na sana'y bangungot lamang

Ang buhay nila sa dilim,
    Pasasaan pa't nasanay na rin.

Ikaw na isang mabahong lihim
   Ng mga mister na may misis na bungangera

Ha'mo na't sa iyo naman sila panatag
     Sa mga suso **** malusog, pinili nilang humimbing.

Ikaw na pantasiya ng karamihan,
   Ano ba ang pakiramdam ng pinagsasalsalan

Ng mga nagbibinatang hindi pa tuli,
      Ng mga lalakeng di kaya ang presiyo mo,

O ng matandang libog na libog sa mabango **** kepyas
      Ngunit nanghihiram ng lakas at tigas sa ******?

Saan ka na ba nakapuwesto ngayon?
    Sa Malate, Morayta, Quiapo, o Aurora?

Ilan na ba ang napuntahan mo?
  Ilan pa ba ang bibiyayaan mo ng iyong alindog?

Sa Makati Ave, Pasay, o sa Parañaque?
      Ha'mo na't langit pa rin naman ang dala mo

Kahit na alam ninyo ng Diyos
    Na nakaukit na ang pangalan mo sa impyerno.

Ikaw na babaeng walang pangalan,
   Ano ba ang itatawag ko sa 'yo?

Ilan na ba ang nahiram mo sa tabloid
  O sa mga artistang iniidolo mo?

Kathryn, Julia, Nadine, Meg, Yen, Anne
    Yna, Katya, Ara, Cristine, Kristine, Maui

Daria, Pepsi, RC, Susan, Gloria, Lorna, Aida, Fe
    Vilma, Sharon, Nora, Maricel, Dina

Ikaw na babaeng 'sing nipis ng balat ng sibuyas ang saplot
   Di ka ba nilalamig sa pag-iisa mo?

Ikaw na babaeng marumi,
  Sadsad na sa lupa ang lipad, saan ka pupunta?

Wala ka nang kawala sa dilim,
     Pasasaan pa't malalagutan ka rin ng hininga
        at  magpapasalamat sa biyaya.

Ikaw na babaeng bukod tangi,
   Ginawa **** lahat pero hindi naging patas ang mundo.

Lunukin mo na lang ang mga hibla ng pagsisisi
    Ipagdadasal kong huwag nang magdilim sa hawla mo.
astroaquanaut Oct 2015
pumasok sa kompartamentong bilang sa lahat
ngunit ipagsiksikan ang sarili, sumuot, at ipilit
dahil ang maiiwan sa españa ay hindi makakarating
makipaglaban, mang-agaw, ang akin ay akin

trenta minutong paghihintay
sa ilalim ng init, tiyaga ang kapiling sa umaga
bakit nga ba ‘di pa makikipag-balyahan?
asal-hayup upang mapuntahan ka lamang

sa pagdating sa istasyon ng sta. mesa
pawis ay naghahalo, amoy ay ‘di mawari
napagitnaan ng dal’**** dalagang nagchi-chismisan
‘di sinasadyang makinig, ako’y ‘di sang-ayon kaya iiling

sa hawakan ay higpitan lalo ang kapit
sasakyan natin ay paparating na sa pandacan
tumitig sa bintana at muli, bigla kang naisip
ngunit sila’y ‘di maibigay ang inaasam na pagtahimik

bakit nga ba ako nagtitiyaga?
sa masikip, magulo, at maingay na paraan
paalis na tayo sa istasyon ng paco
ika’y singtulad ng tren na ito

hindi makahinga sa dami ng taong nilalaman
kailan ba mapapadali ang ruta sa araw-araw?
magrereklamo, magsasawa, sasabihing “ayoko na”
titigil sa istasyon ng san andres

mananatili hanggang makaabot sa vito cruz
pasulong ang andar ngunit ang gana’y wala na
pagod at nagsasawa, hindi magawang iwan
ngayon ka pa ba susuko, eh ang lapit mo na?

nawala ang bigat ng pasahero pagdating sa buendia
nawala na rin panandalian ang sikip na iniinda
ngunit ano namang silbi ng ginhawa,
kung paalis ka na rin at nalalapit na sa paru-roonan

pagod ka na pero tiyagain mo nalang
ikaw at ang sitwasyon ay nariyan na nga
nag-inarte ka pa kung kailan nasa pasay road na
hindi ka pa ba nasanay sa araw-araw?

tumigil ang tren sa istasyong pinakahihintay
pawis, pagod, suot ang damit na gusut-gusot
heto na, sa dami ng nangyari ay narito na
sa edsa magallanes, salubungin mo siya
Pasay's no conversationalist,
   unapologetic.
  
      "Way sapayan, pastilan"

Ravenous snarl of
      the carrier
     The refined grit of
        rusting fulcrum
          The terse hammer
        malingers,
  The pompous talk of
     carburetor
       and the flagrant burst
         of jetwash,

    i am never grateful for these
      subsequent cacophonies:
   a steel orchestra. i could no
   longer take the metaphysical spar of this hunted dialogue.
    darkness weds the synagogue of
      shadow and soon,
    we will all drown in the rain.
Reggine Sumiyama Sep 2018
Here I scatter the ashes of our Wednesdays
and throw dirt on our names because we fell into a stupor of unsaid goodbyes and insincere apologies.

I take my time trying to unclench my fist,
after all, release is only sweet when you feel suffocated.

I always made sure to adjust my grasp to your comfort,
present my entirety as if you owned more than a half of what I used to be.
I remember you in things that have no heartbeat, but a pulse of regret and anger that devours it, and to think you swore you would keep me alive.

In Binondo, you taught me how to eat street foods, walk in the crowded places, sit still on taxi rides,
and feel beautiful even when you kept your eyes off me.
You believed in slow motion, and the magic of lugaw at 12AM,
I watched you in a fascinated haze.
Too unsure of the light.

In Fairview, I told you that I cry during movies and laughed at the way you spun me around in the theater. Hand on my waist for good measure. I showed you claw machines and photobooths,
at least remember me.
I held your hand the first time, bled on
a piece of paper you read on the way to Quiapo, and all the long rides have made me feel empty ever since.

In Ilocos, I gave you a warm kisses on your cheeks when you took me
to church the first time, head spun just at the right angle for when
I walk down the aisle in a dress with you waiting at the end of it,
not knowing that in 4 years, I’d come back at someone
else’s wedding, begging on my knees at silent altars to keep you
even with my faith hanging from my fingertips. You still left.

In Intramuros, I see you in every nook and crevice,
in the holes, in the walls with Lechon Kawali, in quiet places we
claimed are for ourselves. In street vendors, ATM machines,
and pedestrian lanes too dangerous to walk on. Nowadays,
I shut my eyes in the backseat, afraid to see a shadow of who
I thought you were whenever I am near.

In Pasay there are people to see and places to walk
through to cover the tracks of almost lovers, a pair of shoes
to buy, impatience on my throat, and kisses on cheek as a cure
for my silence and satiation for the hunger below your navel.

In EDSA, we locked more than just lips, ate street Palitaw,
knocked three times on wooden doors, even lit candles to be sure,
that we would keep each other for good. Someone must have
knocked harder, the wind must have swept our fire out,
and we were fools to think promises were as simple as padlocks
that rust and break in the rain. How I never told you that I pictured
us in a million other bus rides that night. The road could never
have been shorter than the infinite one you promised.

In Pandacan, you wanted a life with me  
with nights in bed, the sickening kind of happiness harrowing
the peace we always knew we had. You held me close
and by the early hours of the morning you swore you’d meet me
again when the clock strikes twelve on a different year. I think
you left your love for me in that two-bedroom suite, and
wouldn’t it be wise if I left mine right next to yours, folded
and hung before the stain of resentment covered it whole?

In between the hurt and madness, memories of us
unfolding without grace on the table, I loved you.

You knew what you were doing when you let go of me to hold
onto someone else that was never as sure as I was of you,
and I wake up in sweat at 3AM thinking I never really knew.

Now we are in places we’ve never been, and I dry
swallow the hurt that swells even when I no longer touch it.
There are spaces I no longer need to be filled because I got used to being hollow
even when I was next to you
and now that I don’t have to be there anymore
it makes it easier to forget you ever happened, and I will tiptoe my way out of these places until I no longer feel you everywhere.
from the doctor's lightsome bed
   after being examined in the bone
to my side of the lenient road

  we are in the heat
   of assault.
  no dead lampposts
  no macabre of alleys
  harbinger dampened silence.

only this thing of us now
   deconstructed to you
  and i with no relevance
  believing nothing but the
  instantaneous rupture
   of any thrown word
  in the neighborhood of parks.

slam on the dashboard
   and the groan of the engine:
hurtling at speeds faster
   than any ******.
  across the knobby knee tawny
   slivered burgeoning words
  escape compartments ajar

  objects unkempt
    dissipating on the svelte ragamuffin
  linen, faded masquerades of feeling
    trying to destroy the riddle

  lunging with uproarious wordlessness
    like a den of lions set loose
     here speeding 110 kilometers
    in arbitrary roads finding each other
    again, this time
       making furious love.
Ihinabi ko sa bukana ng payong ang ulan.

This is to believe that sheltering may not always be, or simply perhaps an undertaking of weakness. A radical strangeness aspires to be bold. I may not be able to transcend its nakedness.

.

This is to deny the common verity that in the communal of water, shade fails a transliteration. We cannot be forever in hiding. Our smallness reveals our flowers. Our unmentioned stirrings. (A spire of technicolor through the lens of apertures. It starts to rain in *Pasay
.)

.

I see children swift-bodied in the streets. I hear the sublime song of a defunct tractor. Once in its vitality, Earth was its derelict. How did it come to be that when I peer into the openness, light slouches into form, conjuring an image: your face, hiding amongst the crowd?

.

This is to recognize the potential of dwindles. Its vertigo that it tries to protect. Its height that it tries to conquer. Its fall that it tries to eschew. What if bones are just homes to tiny little currents and that the way our body assumes the stance of jackknife, simply a foreboding?

.

Itinabi ko sa sukal ng araw ang payong.

This is to perceive that all light lifts away from the dark, my heart always falling into its hands. Morning opens your face like delicate streets, pulverizing fog into chamomile. Silence is endemic. *Makati *buoys overseer reconnaissance of obvious beatings. Revealing a long line of ligatures -- umbilicus of wires. Serenades of futility. Our useless meanderings.

.

The depth of Sunlight finally turns primeval stone. That is our defeat -- all our darkness put to trial. I am tense with the finality: she will become parasol and I, the weather past moonlight waxing.
You come to me as a goat
among flock of sheep. You
offer words I do not understand.
I neither welcomed you
Nor offered any reply.

Words.

They scare us. I will not offer
Anything except what the  poets,
Juvenile writers of love want.
A forced smile for something
We do not want nor have
Any interest for, an awkward
Conversation where we tell you
“Profound! Profound! Profound!”
And pretend that all this is
Heart felt.

(Paolo Jerome D. Cristobal / December 20, 2012 - Pasay)
A note to my younger self. It's an expression every poet knows, that look from people with "do we have to comment?"
To watch with intent but not desire, his life passed
     him on as he tries to explain which one he
     would take to the afterlife if there is such,
like a convergence at the tip of the horizon or a
     humid evening in Pasay as pyrotechnics scrape
     sky fashioned like acrobats. The breeze he needs
     no longer. And then begins to disquiet the quiet
    with the heavy burden of which he will then forget
    when he starts to move all of a sudden in space,
       capitulating afterlife again if there is such,

 and if everything takes a sojourn into the bleakness, must I remind you that you are all
     variations of the same absence. Remember when
you had your name carved on wood as attendance
    but not for long. You have escaped, locked in the
       arms of a life that you thought was yours but
     still isn't, leashed under the Sun. Bodies pulse
  then fluctuate but not a sign of life. Words function
     more in stillbirth. Never forget, as a dandelion
     hovers and puts a smile on your dreary face,

and a question in search for all available and naked
    answers. Principles undermine caprice. Do not
 adhere. Must I remind you that you are
       someone else apart from who you think you are.
  You have yourself straightened, tucked safely
       like intent, not desire in all its voluminous and
     vehement speeches annotating something unknown
           to the behest of ourselves. If I were a house,
  I am gratified by windows -- your mirage there
       transfixed in a secluded spot, looking out
   brimming with life as curtains oscillate as the
      Earth breathes with you. If I were a house,
   you would ransack everything with a sly mouth
        packed with powerful narrative. How you
   have done over, leaving everything undone,
        moved off-tangent, under impossibly gray skies,
    brindled in prayer. If I were a house,
    
       doors slammed, speculative fabrications sleep
  through evenings and mornings until no difference
   is met -- you meant a word as if it had a lock
       and the key, somewhere cold in the air of
             sleuthing pains making me so, less than
     this and more of a fractured house.
life the grandest stage.
     life, gelid waters – I, the pompous admiral.
life, thorns withholding enigmas,
     clenching the true blood of flowers.
  life, the flimsiest avant-garde.

  our measures
  conceal all our knowledge,
    our fondness of exactitudes
bludgeons us to back to our smallness.

  the heart, like a riot,
  will always scream blood.
  the soul, like a jailbird,
will always carve a song.
  the mind, like a grave,
will turn soundless filled with bones.

  some will beat back to the same old music,
  assaulting the others with a concealed knife
gutting all of us as we lay still – the rest shaking around us.

  when I was young, I was unsure of myself
  and now that I have aged, it is all but the same:

I am a horde of drunkards.
I am the incessant pendulum.
I am the night-watch
and sometimes I am being watched by the night itself.
I am the loutish vandal on the wall.
I am hot, steaming music I am an earful of ***
I am a handful of hollow I am the dandelion whittling away
in the garden of full women seething with woes
I am the catapult of air from the sling of trees I am a somber god
I am an ungodly god I walk over toppled waters past genuflected hills
like maddened horses screaming victory
I am a limbless beast crawling back home
I am young I am old
my blood ravages the sinews of my body – I am a binaural cinematheque
   of slow minutes I am a mausoleum of chiaroscuros
I am all pleasure pleasure pleasure
I am just as ****** as everyone I am sour mash stirred in a wide-mouthed
      glass clinking together with this heavy slither of attendance around me
  somewhere in Pasay
I am love I love I am hate and I hate
I am forever the lion that roars at what life has done to us
    and they will cage me soon when the roses shy away from the deliberate daylight
and when all of this is through
               I have only just     begun.
try to antagonize the not-so-distant
and remember the tonal bent of a father's
rampant voice causing a cataclysm.

in front of the hospital, the moon a blue nun,
parked are the scraps elsewhere but home
under permeable dark. i look into the eyes

of whose visions i own - whose perspectives
borrowed a causation, as in when he clenched
his fist i thought of cigarette stains on my

button-down shirt as we both stumble to
the ground that was our dearth grave. i remember
you in his anger as countenance collective

and my own rebellion. his limping strides to the
automobile approximate the sizable crenelation
of your fingers. now i am brought back to Pasay

where your light is bendable mercy.
this is the face of silence, incited by a meeting
alone, a variegated road unmapped, unnamed.

inadequacy contends what intent commends.
this night demands emesis: the moon no longer
flumine, but xanthous as autumn, or a bell in

leaden cathedrals. the longest journey back
to origin is the first step taken towards a foreign
home punctured by diffident apology.

we were all in waiting for unction, congregated
in the plenary room i have made white with
blunder. our faces pale as backs of moths,

our elegies able to forecast the future,
the climate of the home burdened by tropic,
our keen eye for movement terminal with disgust,

a hand scarred by the Earth we rested upon,
asking heavens, "Why?" Response: rain dividing
cities. i think of then, this film where a man

continuously passes arrondisments, where his
days are measured by softened landmarks pulsing
with blurred faces. it was his case of aberrations.

when it was over, perturbation of vast space
automatic. a relief over the clinch. beatings
sustained over dinner the next evening.

in any other bed, the infantile stance of sleep
a wry mark of confusion. i notice the clock's
stoppage, its arms angular as if death's geometry.

otherwise it was unfeeling of feeling. my mother
forgot the laundry today, now fetid, pressed against
wall torrid upon the afternoon,

left outside to dry together with mutiny of trees.
outside when yourself happens, a conjured image
of bluntness. immutable, fixated, reminiscent

of small statue bought from a surplus in Malolos,
tamed wildeness is sound of a slurred machine
sent to repose as in, gnashing phonemes the

guttural, and the distinguished identity of the
next word draws a line connecting a caricature of
your face, terminally instilled

preserving the imprint including you.
Your reluctance to bark, your canine ogling. How I envy you dog. Because you are innocent.
      Because you dawdle in your
        coil of tonal mane.
Because you weep no deaths.
Because you somersault no beginnings.
Because you do not heed the call of silence — just stupidly beautiful curiosity you cannot word, a scruff grunt or a maniacal burst of motion. Because you only
    find yourself in a ***-lock
and drowse right after.
Because there is nothing in this
     world too immense for your
   smallness. Tottering behind the furniture, sleeping underneath
        the study, wagging your tail vehemently, welcoming with beastly pounces any stranger heralded by the wind passing
     through opened doors,

because you have no daily commute,
     no dread for the inevitable,
  because your fruitions are measured to no better than
  a toss of supplication or simply
gnawing at an old bone.

   Because tomorrow
i will go to Pasay and earn a living
for perhaps, nothing— my works remain unread, my voice
     still dies in its reticence, if not clubbed state.
   Because tomorrow there
will be a long line of people running
     in circles on the head of the
  nail and soon it will rain.

Because you and I share
     the same air yet never
  carry the same iron of crosses
     or surmounts of ineffable
  boulders — i feel more chained
     without a leash while you
   feast in the manna of hours,
chasing a speck of shadow
      or lounging at every time-trickle.
In this silent room
Where I create
Where I travel
Where I retire

I greet silence
With the warmest hug
My fortress is my shield
Pen on paper is my knife

A whistle of the wind
Is all it takes to make me
Be startled and disturbed
As I play the strings on my lap

I explore the whole world
As my earphones be the tour guide
I wrestle , I kick a ball, race and solve puzzles
The work is done by my console and mind

Birds sing, cars honk
I find inspiration, as I step on dung
People hurry through and fro
"Last station, Pasay South", it's time to go

Now I walk, I ride to school
Worker, students, lovers on commute
So is the rapping kid with an envelope
Coins jingle, as the kid rhymes no mute

In school, you have to be creative
Provide unique perspective
As you raise your hand for incentives
"If it doesn't bleed, it doesn't lead"

Pack up, eat, go home
Say hello to your family or your dog
Hit the gyms, go party, hit the screens
Or have a dinner and a kiss with your honey

Meanwhile, I ride back home
Pack up, eat and walk alone
Greet my mom, greet my pops
A high five to sis, a fist pump to bruh

Wash my face, keep my phone on
Listen to music, create some poem
As I travel around the world again
And at last retire, for the day to end
(05 - 12 - 2017)

— The End —