Songs of the self

"…words have been all my life, all my life--this need is like the Spider's need who carries before her a huge Burden of Silk which she must spin out--the silk is her life, her home, her safety--her food and drink too--and if it is attacked or pulled down, why, what can she do but make more, spin afresh, design anew…." 
— A.S. Byatt, Possession


This morning, not by chance, at all, I unearthed my old copy of Songs of Ourselves: Writings by Filipino Women in English (edited by Edna Zapanta Manlapaz) and spent a good hour and a half browsing through its pages. On the upper left hand of the flyleaf, I had, with a red pen, written my name and, in blue ink, "1998". Whew, such a long time ago. I was 18, then, just beginning to adjust to life far, far from home, and to English Major-hood in the UP. I had bought the book at the Katips branch of National, hell-bent on making up for the time I had lost in Grade School and High School, being confined to reading Edgar Allan Poe and Emily Dickinson, stuck in the time and literature of Shakespeare and Keats, thinking that Robert Burns's "A Red Red Rose" was the end-all and be-all of poetry. I seethed, a little angry at my former English teachers for keeping Angela Manalang Gloria, et al, from my sphere of consciousness. Oh, that there were lines as beautiful as

They tried in vain 
to understand how one so carved from pride
and glassed in dream could have so flung aside
her graven days
(from "Soledad", Angela Manalang Gloria)


or

she concentrates upon the rosebuds

of the china, hoping, hoping

they would break.

-Merlinda Bobis, "Dinner in Progress"

and that Ophelia Alcantara Dimalanta and Gilda Cordero Fernando had been, and still were, churning out wonderful works of poetry and fiction--I tried to devour as much of their, and other Filipino writers', works, as I can. I was hungry and eager and greedy for understanding, and the book's pages bore the marks: underlined passages, marginal notes written in pencil, my alacrity showing in the slits of what should have been O's, the pointy L's, the exclamation points after the comments. Some examples:

as if by burning the clothes, she could also burn/ kill the memory of Pedro's dead wife ("The Small Key", Paz Latorena)

the controversial poem, Commonwealth Awards ("Revolt From Hymen", Angela Manalang Gloria)

work of a genius, as expected ("Paradox", Angela Manalang Gloria)

love this! so amazing! ("Speck of Rain Roaring", Edith Tiempo)

the failure/ inability to grieve; to acknowledge the loss as such ("Behind the Fern", Rowena Tiempo-Torrevillas)

this is foreshadowed by the preceding stanzas; still, it is jolting enough./ suspicion; stirrings of rebellion/ protest --very mild; still inchoate ("Tribeswoman", Marra Pl. Lanot)

this is so nice! poignant, really, without being glaringly so. very subtle. ("Dinner in Progress", Merlinda Bobis)

Yes, yes, you can tell that literary criticism was not one of my strengths when I was a student (and it still isn't, by the way, and I don't think it will ever be), but coming upon these small, candid lines is a precious experience for me, mainly because these scraps of observation remind me of a time when I was wide-eyed and ardent, bringing back that all too familiar longing to drown myself in lines and whole texts, that itch to fish for words and play with them on blanks and spaces, the incomparable high of being in a roomful of people who understand what it's like to be hungry that way. Instead, I'm stuck in a daily grind of facts and statistical analysis and numerical figures, where people think that Dan Brown and Paulo Coelho write literature.

Still, I keep the faith and continue to make time for cherished moments like this: stolen and swift, and all the more precious because they are so.