the summer guide to solitude

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Your family is itching to get to the beach. But you're not. You would like some quiet. Some time to sort things out. A relief from the world. And to sleep all day.

They are all raring to run on sand and dive into salty sea water. But you're not. So you embark on a plan to get rid of them all.

Phase One: Feign Interest

On the couch, both your old maid Aunts giggle like high school girls: they plan to “make sulit” the sunblock lotion they bought months ago. Try to smile. They think you're just as excited as they are. Your mother has her grocery notebook out: “What to bring, what to buy, who to leave out, what went wrong the last time we went out,” she mumbles out the categories.

Your right wrist twitches. It remembers the dikya that stuck to it last summer. Your pesky grade school cousins Mark and Connie had run away from you, their assigned yaya. They went into the water with their lunch unfinished and without their salbabida. In pursuit, you tripped on the sand castle that took you hours to smoothen into form. Wading into shallow water, something clung to your wrist.

Your Aunt, the younger one, eyes you suspiciously. “Naku, don't bring up the dikya thing again,” she says. Smiling, you quickly swing your head from side to side and change the subject: “We should put on the sunblock even before we hit the beach, you know. Sunburn is a real...” and you let that trail off. Your Aunts nod in unison, overlooking the fact that you are rubbing your right wrist. Your body and mind remembers your traumatic summer.

Meanwhile, your mother is squinting hard at her notebook, as though it was one of the inventory spreadsheets she took home from work. She assigns yayas to kid clusters, bracketing with her pen who is under whose care, who will account for whom, who will not have fun.

Your father hollers from the kitchen: so-and-so have been notified, they would bring the vans, the same ones you used last year, in front of the house the morning after tomorrow. He yells further that you ladies should travel light, for once. At that aside, your Mother and Aunts team up against your Father. A hollering match ensues.

Everyone seems to remember everything necessary—the kids, the things to bring, the food supply, the transportation arrangements, the contingency funds. You remember your sunburned back, the dehydration and frustration of hunting down your cousins, the fact that no matter how many goggles you bring, everyone will borrow them, leaving you squinting under the water.

Besides, you're afraid of sharks. But you don't tell them that.

Phase Two: Stage Your Play

On the wake-up-and-go morning, when everyone is saying “Tara na, tara na” when the hired vans are honking outside the front gate, show them why you were president of your high school's actors' guild. Your duffel bag—which you told them you had meticulously packed the night before—falls downstairs, ahead of you, as you hold on the rails, one hand on your stomach, your whole being in a grimace: “I don't feel so good. Maybe something I ate,” you say in a painful whisper.

Your Father and your uncles have already stuffed everything into the vans, including your aunts. You can hear eight different kiddie voices shouting just outside the window: alisnatayoalisnatayoalisnatayobilisbilisbilis!

Your mother wavers between worry and excitement. “It's ok, go on without me,” you tell her. Your mother sighs, and makes last minute yaya reassignments on her notebook.

“Pambihira,” your Father says, from the open door. “Ngayon pa.”

Your Mother quickly kisses your forehead and rushes out the door, past your Father, who eyes you with slits. “Call my cell if anything happens,” he says firmly and then walks out.

“I'll be fine,” you say a little louder, waving to them and smiling as they board the vans. As you hear engine sounds fading away, you straighten your posture.

They're all finally gone. A piece of summer all to yourself. You feel deliciously alone.

Phase Three: Enjoy the Peace

Something in the house, something now missing, has suddenly made you feel at home: your family. You love them, of course, and more so from a distance. In time, you say out loud, you will miss them.

Bending down to pick up your duffel bag, you remember that you don't have to. There's no one else in the house. No one will nag. Your back itches. But you suddenly realize you can scratch or not scratch as you so choose.

You savor the moment.

Unseen birds are chirping. Sunlight softened by the window shines on the coffee table. You decide that the first priority is food. You walk straight into the kitchen, destined for the refrigerator. You pick up the remote control on the way.

You wake up on the couch near the kitchen. You have left the TV on. Your coffee has gotten cold. The clock above the refrigerator says noon.

Still in a drifting Saturday morning mood, you assess at leisure what you may want to do, or not do, on this fine day. But then your nose itches. Somebody has to scratch it. You look at the remote on your right hand and the half-eaten pandesal on your left, and think of which to let go, so you can attend to that itch.

Although you're alone at home, you notice, you still have tough decisions to make.

i love them doorknobs :D

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Ruprick

People Iced:Twenty
Car Bombs Planted:Two
Favorite WeaponSack full of doorknobs
Arms Broken:Thirteen
Eyes Gouged:Five
Tongues Cut Off:Seven
Biggest Enemy:Prickly Pear

Get Your HITMAN Name

AWSOME-GAME

the first mover

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Need to think. So cold in the room I have goosebumps on my legs. When my fingers move to type, it feels like they move in a thick fog of cold air. What is Baguio City temperature doing in my bedroom at 8:30 in the morning? Need to think. I have everything I need to revise a client's draft. One big folder filled to the brim with attached documents. Coffee fogging up half my PC monitor with its steam. My eyes wide awake. The windows half open to let in beams of sunlight. The sun doesn't help. I rub my hands on my jogging pants for some heat, too lazy to stand up and stretch, and maybe sweat a little. Ok. Open the folder. Open the documents on your PC. Let's do this. Before that coffee gets cold.

classic

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I have open on my PC desktop two windows. This one, where I'm typing, and another one, where a woman is furiously making her violin weep, and then whisper, and weep again. Herber von Karajan is the author of the graceful arms rising and arcing to woo the entire Berlin Philharmonic Orchestra to his soul. He is old, his scalp is pomaded with white hair that turns silver, under the light, when he twists to stretch his arms and baton out to cajole another part of the orchestra to go tidal on him, stay calm, and sway and rise and wild again. To his side is a violin soloist, the woman, whose eyes seem to siphon the sadness out of her instrument with her fixed gaze. She never lifts her eyes off her violin. I don't know what the conductor's gestures mean, only that an eyesweep of musicians ride his every eye, chin, wrist, arm movement; they weep as he weeps; they pause when he pauses; they roar when he signals them to. Every now and then the entire orchestra ceases, and conductor and soloist speak to each other. His hands must be saying the right things, for her violin is weeping again. The duet stops and the silence vanishes under the roar of dozens of violins. I usually dig classical music, but only to listen to it soothe me. Watching it is a completely other ordeal. I have in me, right now, a renewed sense of wow.

on behalf of me

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"The professed motive of my solitude is to speak to loads of people." -- Edward Hoagland

I'm here because I'm trying to commit to the idea that writing is incremental. Like a pile of bricks that need some muscle and some patience and some spirit to cement together. Someone has to take the time to put one brick on top of the other. Rushing it ruins it. Your mind runs too fast with words you forget the moment you mumble them in your in head. The bricklaying is the way to pace it. Got that idea from Stephen King. Or maybe John Carpenter. I forget. (Writers of scary novels with suspense-thriller plots are disciplined. In that they are scary.) Me? I enjoy too much the fleeting sound of words I find myself mumbling. I pen them on paper and they look different, taste weird, did I really say those things and why.

Place one brick on top of the other, spoon soggy cement over one line of aligned bricks. Structures, plots, they don't work for me. So I worry about them later. The house, the story, will look whatever it will look when it takes form. I can tear it down later and start again later. I just don't want that oppressive idea of needing a plot before you can write a story. I usually have that vaguene idea of what I want tucked in my mind somewhere. Faith is what I have. Faith in a moody recluse in me who writes feverishly about things and images he loves. Nevermind the plot. I will provide the plot, after the moody one is exhausted with laying the bricks.

(But that is not entirely true. He, the moody one, doesn't align bricks like an engineer with a plan and a schedule. He's more like a potter running after a dream in his mind.)

Which brings me to the point. I am not the one really writing. I am just the cleaning lady. I pick up and clean up and dust off and chisel the rough edges. I am again, this morning, as I have years ago, giving up on the idea that I am a singular person, whole and unified, aware and conscious of all that goes down in my head. (I keep coming back to that mentally healthy whole peson idea just to feign 20th century lunacy.) Well, this is the last time. The "I" is a council.

This morning, the one committing to the idea of bricklaying as writing, is just the spokesperson. The others are vastly more poetic, but they are just oh so shy.

from the darkness, part one

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I am trying to get out of bed but I shudder and then freeze, ramrod straight from head to toe; back pains still me, flat on the cushion. Like a cardboard that won't get up, I just can't get up. Dad will holler for me from downstairs anytime now. Even with this week-long eclipse, I can tell, without seeing in the dark, that it's 5:30 am. Cold air and the scent of Mom's pancakes and no glow of sunlight humming from behind the curtains. I miss the sun.

"Clark, the cows won't feed themselves! Let's go!"

"Almost dressed! Coming, Dad!" How to get out of bed. I try to lift one leg up, to swing down and arc me up. Pain jolts me and I give up with the leg raise. I'm still staring at the ceiling. Well, that went well. Haven't felt this sore from farm chores since, since, I've never been this sore. Got an idea. I give it one big twist and fall off the bed.

"Uhmmm...," I moan from the bedroom floor. I can move my legs now. Takes pain to overcome pain. Less back pains now.

"Clark!? Everything all right?"

That's Mom, probably taking off her apron to run upstairs to check on me. I can speed through fields to catch bullets in flight. I can take a head-on collision with a ten-wheeler truck. I do farm chores fit for six men. But I can't get up from the floor. I'm in my shorts. I feel cold. Mommy...

Footfalls on wood. Dad swings my bedroom door open. He must have ran upstairs after my thud off the bed.

"You ok, son?"

"Just withdrawal symptoms. I miss the sun." I'm on all fours now. Have to get dressed, drive to the Luthor mansion greenhouse, and speed back here to do the chores. Crawl, Clark, crawl to the closet.

"I got an idea, son."

"No, Dad, don't help me with my clothes." I'm almost there. Red shirt, blue jacket, plain old jeans. I reach up the drawer, still on the floor, and turn on the lampshade.

"Wouldn't think of it. You've got too much Kent pride in you."

"What's your idea?" Got my shirt on. I lean on a chair for support and stand up, slowly, calf and upper leg muscles on fire. Now where are my jeans?

"I can do a portion, just a portion, not even half, of your chores. How's that?"

I'm pulling my jeans up, bending over a little, grunting a lot. There. Zipped up and buttoned. I'm sweating. Panting.

"No," I whisper, out of breath, and look at Dad through wet bangs. "Too much Kent pride."

We smile the same smile. Dad is sitting on my bed, a tumble of pillows and blankets behind him. He's going to forgive me for the mess my room is in. Just until this eclipse blows over. I wonder what I'd do without my Dad.

"Doesn't Lex suspect that you're in his greenhouse to suck up all that artificial sunlight, that you're not excited about exotic species of roses?"

I stand, feet apart, and twist at my hips, to the left, and then right. Just a little pain. Not too much.

"Well, Dad, I think his exact words were: 'Either you're getting allergic to the Kent farm or you're starting to want a bald older brother.'"

Dad laughs out hard, amused by this. I think I am, too.

"Well, he's a Luthor," Dad says in a sigh. "Got to give him that. Charming and manipulative."

"Don't worry, Dad," I walk towards the door. "I got unrestricted access to the Luthor greenhouse."

"Speaking of friends, you didn't tell me you were friends with another millionaire."

So he came. I was wondering when he'd be back from Asia, back from his training.

"Sorry, Dad. I didn't want you to worry that another rich boy with issues would try to manipulate me--"

Dad holds up a hand. "He's downstairs. He knows about your--"

"--powers, yes, he saw me in Metropolis snag a man in front of a speeding bus--" Now I hold up a hand to interrupt Dad.

"It happened in front of a retirement home. The near-senile old people on the porch saw me, so did the twenty-something attendants. He worked it out to have the attendants paid off and transferred--"

"--You certainly have a way with rich kids--"

"--You can trust him, Dad--"

"--Like you can trust a Luthor! He knows your secret--"

"--He's got secrets, too!"

"--Name one odd thing about him and his thousand dollar suit?"

"--He's got expensive toys in a cave filled with bats!"

Silence. Dad's brows knit and unknit and then he bursts out laughing again, and then stops, turns around. Mom and Bruce are at my bedroom door. My back pains have returned and I lean on the wall.

Mom turns to Bruce. "Bats?"

"Yes, Mrs. Kent." He eyes me and continues. "A zoological wonder I am fond of."

Nice suit. Black sheen. Lex Luthor's suit doesn’t sheen that black. How does he do it?

"Toys?" Now it's Dad asking, his face serious, like he doesn't want his son associating with a fetishist.

"Modified cars, a super computer or two...hobbies."

Bruce sounds like a kid reassuring my parents we did nothing wrong, just safe wholesome fun, all summer long, in our secret tree house. Can't help but smile.

"No offense, Mr. Wayne--"

"--Please, call me Bruce." He wears this eligible bachelor persona with ease. Must be a rich kid thing.

"Ah, all right. Bruce. But your secret, no disrespect meant, is not exactly at par with my son's."

"It is," I butt in, "when you know the purpose of those toys and the--"

"--It's all right, Clark." Bruce looks at me, his eyes tell me it's not my secret to give away. He's right. I have no right.

Bruce's face leans forward slightly, then his voice turns low, raspy, like a complete other person appeared in the room wearing Bruce's suit. His eyes turn into slits and eyes my Dad without facing him. Scary.

"You're probably right, Mr. Kent. And I thank you for welcoming me into your home, but I'm not hundreds of miles from Gotham at the crack of dawn for a social call."

If I still had my x-ray vision, I'd scan his body and find nothing threatening. Normal bone structure. No weapons, just a cellular phone, and an odd belt with compartments. No powers and he scares me. Luthor doesn't scare me. This one does.

"That trailer parked outside," Mom says. "You plan to stay in Smallville for a while."

Bruce loosens up a bit. Mom is perceptive, and protective, and he likes that. He throws me that you-lucky-kid look. His parents died when he was eight.

"Are you," Dad hesitates, "asking my son for a favor, since you've done him one?" Dad pronounced 'asking' as though it was a euphemism for blackmail.

"Uhm, actually," the raspy intimidating tone is gone, "I'm doing your son another favor." Now he sounds like a well-mannered kid afraid of overstaying his welcome. Charming bachelor to brooding killer to awkward rich kid in the span of seconds. Wonder what else he can do.

Dad turns to face me. "Oh no you don't. You're not accepting another gift. I know that trailer is more practical compared to Lex's Ford F150, but you can't--"

"--Jonathan!" Mom shoots Dad that look, that he needs to can that rich man's vices slash poor man's virtues speech.

"The trailer is just a cover."

We all look at Bruce. He steps back, his face recedes from the light but it is as though we could still see his eyes, even though he's blending with the shadows.

"Let him finish, Dad."

"Clark emailed me three days ago about the eclipse. First, his powers faded and he was glad to be normal. At first. But he noticed he couldn't play hero without getting himself hurt and his parents worried. And he lagged behind his farm chores."

Bruce is just about the only guy I know who's glad that darkness has taken double shifts and extended its coverage worldwide.

"What took you so long?" I look at Bruce, I can find his eyes in the darkness.

"I can't speed across continents like some people can."

"Mr. Wayne," Mom says, "oh, I'm sorry, Bruce. You were speaking of the trailer as a cover."

"Artificial sunlight generator inside. I pretend to take a road trip to Kansas to visit a friend. Then, business calls, and I am fetched by a helicopter who flew all the way from Metropolis, and which then flies me back to Gotham. In haste, I leave the trailer behind, in the safe custody of the Kents. That's the press release."

"No idea why this eclipse is taking so long?" I ask.

"Not yet."

"And I thought you were a detective."

"I'll get a few leads in the next five seconds."

A honk from outside the house. In a moment, Lex is knocking on the screen door downstairs, yelling Mr. Kent, Mrs. Kent, Clark, the family roster. He's done it so many times it's like a ritual now.

We all head downstairs. Mom and Dad first. I put my jacket on and I lean on the handrails, taking the stairs one slow step at a time. Bruce doesn't move to lend me a hand. Midway down the stairs now--oops! Bruce is suddenly behind me, grabbing my jacket's collar, steadying me. He moves like a cat. I didn't even hear his foot falls.

"Ah, I see you've made a new friend," Lex says from behind the living room couch, but he's not looking at me, he's looking at someone behind me. I have a distinct feeling I'm in the middle of a crossfire.


...TO BE CONTINUED...

awww

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I've had that moment, when you spin around like a kid and then later stop because you're dizzy. Giggling stupid happy. The ground rising in uneven, tilting lines. Your whole eyesweep a funny blur and your balance shot. Can't even stand up without raising a hand to feel for something to lean on. I slump back on the floor and wait for the world to normalize. It does. And then the giggling stupid happy high is gone.

You can stand up, walk straight, function.

So sad.

a december song that keeps looping in my head and whose lyrics i can't remember so i am making them up while i am too lazy to look them up via google

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Jingle bell, jingle bell, jingle bell rock.
Jingle bell rings while jingle bell sings.
Rowing and prancing and jumping to sing.
That's the jingle bell that i want to ring...

hey. it's my blog.

i forgive thee

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The gray-lit sky outside the windows tells me the sun forgot to shine. I have to wear socks and thick jogging pants just to stop shivering. All this cold air will keep coming after me until I close the windows shut, and even then, the stillness around me will not let up. I love storms. I love them better on weekdays.

I live near a church. Maybe too near. The priest inside that bricked holy dwelling has never heard of subtlety. He is screaming, to anyone within loud speaker radius, to admit his sins and ask for forgiveness, which are two different things. I am reaching out the window, to unhook all the wet laundry hung on this long pole because I can't stand to look at their drooping wet shoulders. They know, and they don't have to tell me, why they are sad.

They're not going to get any sun. I bring them in and forgive them.

how to unstress, for women only

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You know what you need to unwind your brain? A Ferris wheel. No kidding. You sit inside one of those squarish buckets and ask the manong to crank it up to full speed. Disappointingly slow at first, and then weeeeee! The centrifugal force whirls your worries up and around and away from you! You walk away from that experience with a renewed sense of wow. Imagine, no man involved. If your knees are wobbly, it's not because you've been banged inside out. It's because of the Endorphins streaming in your brain and the adrenalin you've pumped during all that whirling. If you throw up after, it's not because you're preggy; it's because the small, hair-like organs in your ears, the ones that can sense balance in your life, have been jolted out of their routine. If you moan, and someone hears you do so, it's ok. Unlike in that alternative, with a man involved. And there's no morning-after awkwardness. Hell, no. Instead, the awkwardness is immediate. "Ma'am, aren't you too old to act like that?" the manong manning the Ferris wheel asks, just before you give him a right hook, one so sincere it would make Manny Pacquiao proud. But then you are still woozy, and you miss the manong's jaw by no less than two feet. You land back-first on the cold pavement. The onlookers crowd around you and wonder why you have that silly smile. You savor the moment and continue to smile. Seriously, who needs a one-night stand when you have a Ferris wheel?

wiki mo mukha mo

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Some blogs of college students I've been to bemoan this problem: their professors have excluded Wikipedia as a source to be used in their term papers. One student went as far as to say that it's not fair to exclude encyclopedia x from sources to be used just because it is community-maintained. "What a hassle!" that student wrote. What a hassle indeed. Imagine, you go online in an Internet cafe or at home. Your instant messenger is on, your various accounts on Friendster-like sites need to be updated, your blog beckons, that anime series you've been following closely is now up on Youtube, you have emails to read and reply to, you have new photos upload to Flickr. So many high priority items, so little time.

Oops, you have a term paper. (Dammit, what a hassle! We have to carefully word our chosen problems, go through previously done studies on it, sort out relevant from pointless data, evaluate the merits of contending positions, critique how the problem was handled, side or not side with an established position, and offer in the end our own position with carefully documented verifiable authoritative sources. I have a life! Hello! Who in his right mind invented the University anyway?)

So. You're online. No need to go through the isles of books in that dusty geek-infested library. You just need to stuff enough paragraphs into those portions called by many names, usually, "introduction/ background of the study," and "review of related literature." Google to the rescue. Wait. Can that thought. Wikipedia it should be. That professor, he doesn't know how much he intrudes into the personal lives of his students. "I'll show him," you mumble with pride, "he'll never know I've paraphrased my paragraphs from Internet sources."

Ok. We get it. We get it. A true and deep-down hassle it is. Pipe down.

Let's jump over into an ideal world for a moment--one far, far away from this one, where miraculously, people can make time to research and separate their thoughts from those of their sources. In that world, maybe those professors are right. Maybe.

When those academics say that Wikipedia cannot be used as an authoritative source of scholarly claims, they actually think (and they are probably insane, you might say) that you actually want to jack up the credibility of your arguments in your term paper. You do this jacking up, of increasing the persuasiveness of your paper, in part, by citing documents written by credentialed scholars who actually took risks by leaving their names on those documents. That means those people are responsible for what they wrote. Silly isn't it? Your professors actually want you to assert in writing that your points are supported by people who stood by what they thought. They are no fun, those professors, even in this ideal world. The Internet, they think is entertainment, entertainment and hearsay, especially collaborative hearsay where hearsay authors are all the more anonymous.

Sources on the Internet per se are not all discredited, the professors add, as there are refereed journals and PDF of books and websites with sensible content. But still, they see collaborative projects like Wikipedia as akin to a public bulletin board where anyone can post anything. Suppose one needs accurate information about sexually transmitted diseases, do we consult a public bulletin board where nonmedical people can post their opinions which may mislead the public? Further, the possible untraceability of authors allowed by such an online collaborative library can dishearten a serious academic who may happen to be your professor. Naturally, for the wide-eyed curious passer by, Wiki is fine. This brings us again to how silly those academics are: they think you are not just a wide-eyed passer by, that you are a serious student. (Hello!)

The classic example of sources acceptable to academics are the entries in the Encyclopedia Britannica, which are authored by credentialed and respected scholars in their respective fields. The thing is, academics expect this to be the yardstick. They impose this expectation, reasonably, to sources, and dismiss those that fail this criterion. A collaborative bulletin board like Wiki the professors see as having content that is amorphous, or editable ad infinitum, and authored by the anonymous public. Had every entry in Wiki been restricted for editing by only a handful of credential-checked individuals, that might change the attitude professors have towards Wiki. Think medical journals online, or the Stanford Encyclopedia of Philosophy. Academic elitism is not compatible with Wiki's democratic leeway for public input, maybe we should remember that.

If one were testing in class how fast one can highlight and copy-paste Googled up entries, then Wikipedia wins, hands down, as the source of something written about mostly everything. But those skills, fine examples they are of hand-eye coordination, are not what are tested in writing a term paper.

But we all know the bottomline: you don't want to write that term paper, neither here nor in that ideal world. All that cognitive effort is such a hassle. It is easier and more convenient and more sincere to whine. So whine. But in whining, you don't even want to stand out. Standing out with your specific witty and memorable whine takes some research and some thought.

And the effort to be original is such a hassle.

man strangled with miniskirt almost survives

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The nightsky fell on October 16. It wobbled a bit as Rony saw his girlfriend of two years having dinner at McDonald's Philcoa at around 7 pm. Police reports were to indicate later that night that the girl in a miniskirt who lives in Project 4 had texted Rony. She was to meet her boss to discuss her promotion at 7 pm, so she cancelled her dinner plans with her boyfriend. The stocky 5'8"" Rony initially took the news as a good thing. Promotion is good. Having dinner by himself for one night couldn't possibly hurt. But it did. He walked towards the McDonald's entrance gripping his cellphone hard. He had only seen the two from afar. From the yosi vendor's stand under the Philcoa overpass, Rony had seen the girl in whose smile he drowns lean towards that bearded son of a bitch, the same one who was about to die. She had smiled to the man across that small table for two. But the nightsky was yet to fall. Rony stopped walking, deliberately. He pocketed his cellphone, which contained Mary Grace's text messages, all lies for all he cared. He took a deep breath and looked up at the nightsky. Maybe it's an obligatory thing, he thought. Flirt to get the boss' attention, get promoted, settle back to her life with me. He stood just outside the entrance. The polluted air, the throngs of passers by, and the indifferent traffic at Philcoa gave no clue that the weirdest crime that was to be recorded at Police Station 9 was about to happen. Rony gave his girlfriend the benefit of the doubt, and stared at them, again, from outside, without being noticed. Her hand traced a wayward strand of hair on her face, slowly placed it behind her ear, smiled coyly, and touched the man's hand, stroking it. Time stopped for Rony. That moment his heart was ice. His eyes lost the capacity to blink. He walked into McDonald's and asked the attendant behind the counter to give him a butterknife.

here's to the birthday boy: me (no, not that dancing orange cat!)

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wallpapers anonymous

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Hi, my name is Ayen. I, ah, change my PC's desktop wallpaper every, ahm, fifteen minutes. It's not an obsessive compulsive disorder, nothing like that, I'm sure. Just that the wallpaper dulls a bit after a while and I just have to reach into my picture folder and try out some new ones. More of to jibe the image with my current mood. Nothing wrong there, right? Ah, good. Now I have thin blades of grass, a close up of them, with the blue sky in a fade from light blue to darker blue from bottom to top, and the blades are caught in a still slant to the right, like the wind shoved them there when the camera shutter closed, only that a digital camera was used. I stole this from flickr, you should steal photos from there, too. Neat collection. One time I stretched on my desktop this carefully framed detail of a zen garden. A rock smaller than a quarter of the PC screen rests of the upper right corner, and the sand around it ripples in concentric circles. Someone raked it into that pristine stillness. I turned it into gray scale and adjusted the contrast. You can do that to images with a lot of image tinkering tools, like Photoshop, or Picasa. Ooops, that's it. I'm bored again. I'm flipping through pictures again, large wallpapers, in my picture folder. There's a closeup of a crab on a sunny beach with the hazy image of a couple in the background. I love this one. I stole it. From flickr. It's been fifteen minutes. And you know my name. How fleeting.

would you look at that

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I've been too busy rummaging all over the Internet for writing gigs that I forgot to kick back and enjoy the grade I got for my PhD subject in the semester that just closed. The subject is Creative Writing 341: Advanced Workshop in Nonfiction Narrative. I've written about the manuscript I turned in in a previous post. The highest grade is a flat 1.0. The lowest, the failing mark, is a 5. Getting a 3 means you passed, by a hair. I got 1.25. (That means a lot of my classmates got a flat 1.) Not bad for someone who's not even in the PhD program.

ronin

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"Overspecialize and you breed in weakness."
- Major Motoko Kusanagi, in the anime film Ghost in the Shell
I'm differentiating between achievements and duties: I'm updating my résumé. I'm sorting through my previous published and ghostwritten work: I'm updating my portfolio. I'm at home taking in odd writing jobs and taking care of my wife: my bundy-clocking days are over.

All my bags are packed.

how to survive a near death experience

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  1. Stay away from the light. People who came out of near-death experiences often cite bright lights, especially a big one above or behind them. This tunnel-like light has been reported to be enticing, as it magnifies the calm that accompanies one's out-of-body time during near-death. Presence of mind at that moment spells either moving on to the hereafter or coming back to the here and now. Decide to stay alive. Resist the overwhelming peace. Close your eyes, look away, float back into your body, remember that you still have unpaid credit card bills. Hmmm. Or you can give in to the peace and float into the light, having examined your options.

  2. Be careful. It pays to be cautious. Look both ways when crossing the street. When drinking medicine from a bottle, read the label to make sure the cross and bones symbol is not there. Chew your food carefully so as not to bite your tongue. When your child tells you there are monsters in her closet, believe her. When your boyfriend or girlfriend has something in his or her hand and is pointing it at you in the dark, say, "It was just a passing fling, baby. You're the one I love in this life."

how to kill your maid

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Admit it. You hate your maid. Not only do you want her out of your house, you want her out of your house without a pulse. If only you could get away with murder. With the following simple steps, you can. Let's go kill that maid.

1. aim and swing

Swing the pipe down on her throat as she sleeps. Wait for her to choke and snap her eyes wide open and bolt up on the bed. Swing the pipe down again, not on her throat this time, but on her head. Adrenalin will make her momentarily strong, unmindful of the pain. If she covers herself with one arm while grasping her throat with the other, move to the other side of the bed. Raise the pipe as you would a baseball bat. Aim for her nape. Breathe in, swing down with your whole body, bring your fury to the base of her skull.


2. roll and hide

Note how much saliva the dead can cop out. Stuff one of the dishtowels in her mouth. Plug her nose with balled up tissue paper. Push her body till it rolls off her bed and thuds on the floor. Grasp her feet with both hands and drag her to the sala. Place her figure, lengthwise, on one end of the old carpet you unrolled earlier. Roll her up.

Take a moment to stand quiety. Stretch your limbs. Regain your normal breathing. Wipe the beads of sweat on your forehead. That bitch was pain. Alive or dead. Note the time on the wall clock: 2:00 am.


3. drag and drop

Drag the body out and lock your front door. The trash collector's cart should be just around the bend. Grab one end of the rolled-up carpet, heft it up like a sack of rice, kneel and let its weight fall on your shoulder. Slowly rise up. Walk towards the bend. Only the streetlamps are witnesses. Listen for sounds anyway. Drop the body on the grassy side of sidewalk, beside the cart. Make some space inside the cart by removing some trash bags. Lift the carpet in a lover's carry position and gently let it settle in the cart, avoiding any loud thuds. Cover your cargo with the removed garbage bags. Step back, away from the garbage scent. Take a deep breath. Stretch a little. Rub your shoulder. Go back to the cart and start pushing.


4. stash and leave

There it is. The garbage truck with a compactor, the one that's parked every Tuesday night infront of an abandoned store. Two streets after another bend is a videoke bar, where the truck's crew are now singing, drunk. Keep pushing the cart till its front touches the truck's bumper. The compactor is open and smells of dried garbage. Stand still, look around for anything strange, like a bystander from behind a post staring at you. Never hurts to check. Remove the garbage bags covering the rolled-up carpet. Haul the carpet up, taking care to look at both ends, just in case the maid's hair or feet juts out. Carry the roll, lover's carry style, to the mouth of the open compactor. Drop the cargo. Go back to the cart. Grab all the garbage bags and stuff them in the compactor till the carpet is covered. Walk back to the cart and return it where you found it earlier.


5. alibi and goodbye

Resist the temptation to look at your hands in the dim lamplight, to sniff yourself, to check if you smell of garbage and of that old carpet. You have time to wash off when you get home. Walk as though you were coming home from work, tired and zoned out. Look straight ahead. Without checking your watch, it should have been, as you have estimated days before, just around three in the morning. Don't zip your eyes left and right. If a subdivision tanod spots you, asking what you're doing away two streets away from your house, tell them you threw away your dead cat in the compactor around the bend. That is why you are perspiring. You had been trying to find a place to throw that thing into, until you remembered that parked truck. Tell the tanod he can inspect the truck if he wants to, which of course he won't. Bid him good morning and walk back to your house.

blood on my fingers

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The second draft of my memoir, a high-stakes, meaning-of-life piece (at least for the author), as Jing Hidalgo called it, survived the second round of the workshop this morning. PhD classes can really make you bleed, but they are worth it. My often long and alliterative sentences, Jing added, remind one of the prose of Henry James. But I have to do something to mix up the sentence structure to vary the rhythm so the reader does not get annoyed. I have described in my memoir the houses I lived in and moved out of, with me as perpetual tag-along to my mother, who was really the one moving in and out of her mother's house, in a search for a permanent home, a unified family, some lasting kind of homely peace and comfort that alludes to Kerima Polotan's "the sounds of Sunday joy." (And that is a very long sentence, like the ones in the first paragraph of my piece.)
When Mother and I pushed the boxes deeper into the back of the truck, a neighbor asked if we were leaving that apartment, the one that looked down on the road, with its second floor roof as pointed and quiet and still as that of a church's. Mother said yes as I carried more boxes piled up on the sidewalk into the truck. Neighborly small talk was rare for us, and Mother wiped her hands on her flowery shapeless duster's sides and chatted, with a wrinkled old man with sideburns, taking a break from moving the contents of our lives into yet another anonymous vehicle. We were used to this. All this moving from house to house, but this house, I never wanted to leave this house, this two-floored oddly-placed dwelling on the elbow of nowhere.
Mother, in the piece, finds her Sunday, but even though the persona of the "I" does not, the piece ends on a note of hope. Eighteen pages of home remembered and described and a plot found and connected through scenes and sometimes, interior monologue. The narrative is told, or at least attempted to be conveyed, through understatement--a technique for which I only have this lifetime to perfect. Kerima Polotan has perfected it. So has her daughter, Kimi, who is my classmate in Jing's class. I also do not have Ricci's arsenal of imagery and mood achieved through metaphors and turns of phrase. I am not a poet like she is. (There is so much work to do. Ricci, by the way, is another classmate, and is already a teacher of creative writing. Compared to most of the people in class, I am an upstart.)

My memoir's narrative style is not straightforward but oblique, and a great deal is simply implied; left for the reader to deduce and intuit. The "episodes" themselves jump from past to present to an earlier past and shifts again to the near-present--something that signals a possible problem, Jing said, just in case the reader cannot follow the shifts in time. The story stands well enough on its own, she said and adds that maybe I should give it a year and look away from it and come back again. It is only after such a sabbatical that one can examine the portions of one's own life on the page, and see the gaps and holes. Right now, the memories and emotions dug up might be fresh. I suppose, this is what Cel went through. A two-category Palanca 2006 winner, her own memoir turned in for workshop wowed the class. Then Jing told us that Cel had been writing about it for a long time, waiting for the tranquility in her to cohere just the right aspects of her experience and come off with a lingering insight. And she did.

Writing about your own life is never easy, especially when you intend for your manuscripts to pass off as literature. Throwing facts on a page together and sequencing them in time is not enough. Facts do not have to make sense, they just are. Something has to drive the narrative. A conflict, a dislocation, a dissatisfaction, a threat. Something has to be done to signify that that conflict has been addressed, discovered to be false, or acknowledged as something one cannot resolve. The persona of autobiographer or memoirist, which functions in the same way as a character in fiction, must somehow change in relation to how the conflict is ended. If I weren't taking my masters, I would not shoulder all these burdens. But then one wants to write. And one wants to write beyond the mere facts, even if one has to bleed.

post it

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Having a blog is like having a diary with its pages open and tacked on a corkboard for everyone to see. Including you. You walk past it now and again and are reminded of how long ago you last tacked a note there. Well, I'm here now. Hello to the world. Work has been keeping me dumbed down and dormant. It is keeping me that way still. But I ran down the hallway just to peek at you, and leave this: I haven't forgotten.

fishing for coffee

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After sending Anne off to work at 3:30 am (she works nightshifts as a call center supervisor), I was left alone on a street where none of the stores were open, except for a burger stand and a fish petshop. I needed some coffee. I ran out of supplies at home. The burger stand had some six different type of iced tea, several kinds of Pepsi, and bottled water of various sizes. But no coffee. The attendant at the fish petshop told me that, on the day fish came to like coffee, they would begin selling some.

And so the waiting begins.

two minutes

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I tug at a string of white metal beads and the sluggish gray afternoon light comes into my corner office, like a visitor waiting outside the front door, who was told, casually, that the boss will see him now. The vertical blinds had swept to one side and let me view the grills visitors sometimes step on, on their way around the museum, and down into the basement where my corner is tucked away safely. I am like those Russian keepsakes, those porcelain or clay vases that twist open to reveal another replica, which in turn twists open, showing a deeper layer, and in that, another, and another, and one more. I see through my window, past the metal grill, banana leaves and plants torn by winds, and past that, an old electric post, the wooden kind; a tree that used to stand firm and brown and proud in a forest in a secluded elsewhere, but now has to just stand still, braced by metal and weighed down by appended wires, catatonic and looking down on a gray parking lot, and up at a sky that does nothing but rain. A "ting!" from behind me. My coffee has now been reheated. I tug at the beads and the blinds slide to cover my ivory basement view, leaving me again in the soft gold circular hum of my desklamp and the swirling scent of recycled coffee. The keyboard, and my boss, becons. I sit and sip and slide words on the keys.

discrepancy

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It rains just when you think you wouldn't need your umbrella on your way home from work. The sun slips behind the puffy cottons of clouds for too long and you think your dripping dry laundry has a chance of making it to the closet, neatly folded, this evening. On both instances you're wrong. So now you're looking at toes wiggling at you asking you when was the last time your feet got to wear a matching pair of socks. Your pants cover them up and you walk and talk briskly, drawing attention to your persona and to your presentation, and not to your unevenly colored socks. But your toes know better. Toes have an aesthetic conscience. It gnaws on you. And you tell them to give you a break because the sun needs a day off and this sudden whim of that shining source of light has thrown the schedule of the rains out the window. A slide comes up the screen and you tell unseen anonymous faces in the darkened room a story about the picture on that slide, and they believe you. The universe all around and through out follows a balance. You have reached in to that law and mastered it and that is why you can persuade. But your toes know better. Good thing your shoes hide them well. You hope, this evening, that it doesn't rain. You wiggle a toe of a prayer and that's all you have. That's all you have.

just moved in

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Yup. We're digging this place up and building almost from scratch. Most of the contents of Boulevard Avenue will be moved here, like old furniture. I've been running back and forth between blogs--old and new--and I've been seeing a lot of my old posts. Like old furniture, some of them could use some tweaking, if I ever plan to display them again. So, while I relearn how to speak html, I will keep writing about life as it shoves me around. Meanwhile, you will please notice some links on the sidepage. A lot of them are busted. Some just link back to where I began. Got a lot of work to do. Anyway, I'm trying to lift an entire section, a whole street of my life if you will, and making it feel at home in a new city. Hope you like this place. Because I do. See you around.

ayen who?

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Word-weaver. On quiet mornings, Ayen's sleepy eyes open and he rushes to the keyboard running after words he faintly heard, if only his 60-word per minute fingers can catch them, before they fade into silence. He likes to think that his MA Creative Writing classes at UP Diliman are either smoothening his prose or jacking up his typing skills.

The domesticated man. To Ayen and his wife, Anne, their six-plus cats are stress-relieving stuffed toys who shed all over the house but just won't fit inside the tubes of the vacuum cleaner. They won't fit because they inspect the contents of the refrigerator everytime it's open, and they eat as though they were refugees who, right after reaching the shore nearly starved to death, heard on the radio that the world will end by lunch time.

Pen for hire. Though he is presently bundy-clocking at the University of the Philippines Diliman Information Office, Ayen also freelances to suit your writing needs. His cat, Bolabola, is always screening his emails, so you'd better address the cat nicely. Send Ayen a note at animnakambing AT yahoo DOT com.

notwithstanding me

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The last person you want to confide in is the guy in the mirror. When you confess, he's not interested; he knows it already, whatever it is. When you confess anyway, he gets bored and shoots you accusing looks: you're being melodramatic. When you close your eyes, he's gone, but he's really there, seeing you for the sham that you are. When you turn the other cheek, you see exactly that cheek, and not the other one. When you so don't care for his approval, he can't even begin to feel sorry for you. When you do feel sorry, he magnifies your self-shame. When you approve of yourself, he grins, because by then only he is approving of you. When you're so into yourself, he mimics every move you make, and then you notice he's faking it. Living with a shadow is better: you at least don't have an image and likeness of you sneering.

replacing the lock with sandwiches, or just how tired i am this morning

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We locked ourselves in this morning. The frontdoor lock died on us. The knob from the inside turned this way and that, but the door wouldn't budge. Dumar toyed with the lock this morning, the silver-finish one that I bought yesterday, because we had foreseen that that lock was giving in, which it did this morning, the moment Dumar touched it. Dumar is our boarder-turned-little-brother, only that he's taller than Anne and I combined. (Last night he couldn't get in and had to give me some missed calls. He was at the front door and his key was useless.) While my wife cleaned the sala, which had a mountain of mess--things we don't really need and things we do need but just not right now--Dumar fixed the lock, removing the old one, which was somewhat embedded in the door's wood, and replaced it with the new one I bought. My hands were so weak I could only hand him the handyman pliers and screwdrivers, and hold the door firmly. I still have cramps on my left leg. We are still recovering from the forced departure of our maid (see previous entry). My head is numb and my dreams are weird, meaning I am really tired. I fixed Anne and I sandwiches for breakfast. Neither of us could cook. That means that the cats will also be eating sandwhiches. The old lock and its keys are in the trash by the way, which I have to dispose of tonight. Oh, the domesticated life.

allergic to maids

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Day six of life after we kicked out the maid. What is it, what is it that my wife and I keep doing recently? Oh chores. Wait. My back is telling me something. Oh, that it hurts. Househelp, I tell you, needs to be replaced, like used-up batteries, every so often. Every three months would be good. Polite and effortful they come to you. Then the weeks go by and their annoying habits and ways of taking over your lives begin to surface. And you want to kill them. They want to squeeze every little thing out of their stay in your house--food, television, salary advances, time off, more food, avoiding chores or doing them late, bad cooking, taking too long in the bathroom, sleeping in the afternoon.

When you tell them, the first time you meet them, that you are willing to pay for their service, you should make it clear you don't want to put up with a moodswinging always pouting Eat Bulaga-zealous person who can't understand your intstructions, despite your sharing the same language, nevermind that you sequence your orders and use simple declarative sentences. Always, you are threatened by the onslaught of domestic wrinkles. Often, you simmer into a rage and when you tame that temper, you are still in a foul mood, and that's inside you own house, which should be your sanctuary from the absurd world. (Insert groan here.)

Haaaay.... at least the maid is gone. And the more we take over the chores and rediscover where all our things are, the more we have control over our domestic lives.

I am actually writing a science fiction story set in the near future when maids are drugged every three months in order to forget the last three months. Their bank accounts of course don't lie and they and their families do get the money sent to them. But the fresh start is there. The chores they have forgotten to be aware of, their bodies still remember, and will remember again. But it's back to the getting-to-know you stage again--and they are all polite and effortful just like the first time. The moment they hint that they want to remember the last three months, or that they wish not to forget the next three months, you fire them, and get a new maid. Or you forcibly inject them with the reboot drug. What? Oh, my wife is calling me. She's done with the laundry. I'm going to hang them all to dry. Tsk. Someone's gotta do it. I'm forgetting something, what is it what is it? Oh, I have to cook rice.

how to apologize to rice

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I've asked my wife to buy another rice cooker, because I've turned to cinders the last two cookings of rice I've tried to perfect. You really shouldn't deal with the assembly of food when you are tired. Food are sensitive. They feel you. Plants wither around depressed people and love birds die when housed in a cage inside a home where a couple does nothing but stab each other with invectives. The same goes for rice. Eventhough you did not intentionally neglect them, all they know is that you have neglected them. And when you say sorry it's too late. They're gone. Cinders. Technology to the rescue.

erwin

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Though his mask hid his face, Erwin's jaw dropped. Above the San Francisco bridge, the Hob Goblin dangled his screaming girlfriend with his right hand, while aiming the other at the traffic below. "Noooo!" Erwin screamed, his voice muffled by the winds. The Goblin let out a sarcastic laugh. He truly was enjoying this. Erwin's muscles tightened. Standing on one of the bridge's thick support wires, he couldn't do a thing, though he was a sprint away. "Take one step and I drop her. Take one step and I rocket the support wires till maybe a dozen cars slide off into the cold waters below." The scenario was similar to what the earlier Goblin nearly pulled off. "I know what you're thinking, hero, but the son outlives the father, the successor outperforms his predecessor." Another long laugh. "Deal with me!" Erwin pleaded. "Let them all go!" "As you say, webhead." The frames of life slowed down. Erwin ran and dived for the girl, his right wrist aimed at the Goblin, the other toward a spot on the bridge. The Goblin fired rockets. Erwin's web splattered on the Goblin's visor. Erwin grabbed his girl while the other webline connected; swinging from that one, he saw that the Goblin had recovered, that the support wires had snapped. The Goblin took to the air, eyeing Erwin. The bridge was groaning. Cement and steel tilted and cars began to slide to one side. Erwin threw his girl toward a support beam and fired webbing to both cushion her impact and keep her there. Gunfire from the maniac above, slicing his webline. Now, Erwin was airborne, in a free fall while the Goblin sped toward him, ignoring the girl. Erwin took out his cellphone, as he saw cars beginning to fall from the bridge. A hero is never alone. "Hello, Clark? Putang-ina tulungan mo ko!"

siege

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Siege woke up with a fork stabbed on his right leg, just above his knee, while the drunken scent and snores of naked Latino men and women hung all around him, on a love bed so large and so soft he felt he would drown. He lifted the dead-weight of an arm of a woman hugging his waist. Where are my pants? he thought. Siege flicked his head and shook it. He ran his hand through his hair. Pizza. He reeks of pizza. How long have I been out? He pulled the fork out of his leg. Some of the skin came off with the fork. The wound healed in front of his eyes. What universe is this? He knelt on the bed. He was at the center. All around him were naked sinewy bodies. To a harem he shall go, he remembered saying and then pressing a button. There! On the carpet. Siege stood and his knees wobbled. Why do I feel so weak? He avoided stepping on one butt and breast after another. He got out of bed. So stoned are thee, he whispered to the crowded bed, the remote beside his right foot. It all made sense. Someone tinkered with his relaxation program. Oh he's going to kill someone in his dorm. Siege pushed the button and the room faded like a TV screen; it went dark and then bluish, the default setting of his immersion program. Siege crawled out of the desensitization tank and saw his roommate at the center of his red bed, with a fork on his leg in a sea of naked sleeping men. I guess, Siege thought, I have to recalibrate the program. The real world keeps butting into his fantasies. A knock on the door. He wrapped a towel around his waist. It was the pizza guy, a long haired Latina girl, the one whose breasts he avoided stepping on. Siege licked his lips and let the towel go. Maybe the program is fine as it is. As the girl was handing him the pizza and her bra, the naked men on his roommate's bed woke up, and walked up to him. To a harem he shall go. He thought of pressing the button again. And decided against it.

unapproved testimonial for a friend

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Teacher Noel's heart skipped a beat when he saw the rows of girls all in skirts. The permutations shocked him. Christmas morning came early.

boots

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Storm's gone. I miss it already. I was forced, yesterday, to use this one umbrella, a really big one, with the signature colors and seal of my alma mater, the kind of memento you keep in boxes that age in your attic. My wife had brought with her one of our umbrellas, and I had ruined my green one last rainy season--never got it fixed--and it was pouring yesterday, what with those hard winds slapping the rain around, hitting me with a carpet of water at each wind's shove. I ran back inside, stepped out of my wet shoes, ran upstairs, and pulled up a chair to step on. The big umbrella was on top of our closet. Tearing the plastic wrapper, I sighed as I stepped back from the window, to give the umbrella room to unfold. It was big after all, and as it openned up, somebody's laundry slammed on the window, and then vanished, caught up in the torrent of wind and rain. I closed the umbrella, went down stairs, put my shoes back on, and openned the door. When the wind shifted and rammed me with rain, I took back my sigh. I had a dome on top of me, big as a beach umbrella, shielding me from hard rain and torn up shreds of plants. If only I had a pair of rain boots to match my umbrella's color.

unbreakable

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Ramirez could barely see through the blood in his eyes. He smelled his own stink, tasted his own blood, everything he ate and drank had gushed out, and when a switch fell down voltage routed his whole being, sending a thousand tiny painful simultaneous stabs to his core, his feet kicking puddles of his own piss and shit; he would scream if he could, but even lifting his eyelids open needed the strength of his entire being. So when he tried to curse them all he did from his barely moving lips on his bluish-red swollen face that hung on a limp neck was mumble.

A hand grabbed the hair on the back of Ramirez's head, pulled it up and settled it on the chair's backrest, leaving his jaw to fall open and saliva to ooze out. "Just tell us what we want to know," said the gentle but persuasive voice.

"Ab jub balaaa," Ramirez tried to say.

"We know, we know. You just balance the books, sign the checks," the voice said in a sing-song mockery, "and keep the money in the bank for your distinguished clients. On and on, you've been repeating that since we hauled you in six hours ago." Mirano's hand let the head go and it fell down and sagged to the right. Had it not been for the restraints, Ramirez would have fallen over.

He won't break, this man, Mirano thought, at least not in the time we've been allowed to tease out the clues from him. Mirano whipped back to his Captain, who nodded. The Captain wants to talk. The door swung close behind them.

A match struck and inflamed both cigarettes. Mirano and his Captain inhaled deeply and then winced. The abandoned factory still smelled of rusted metal. The thick air of the evening was stale, just like the hole they're in.

"They have his family, Sir, that's why he is this--"

"We got something."

Mirano threw his lighted cigar and killed the tiny embers with his heel.

"We can't break the encrypted files in his laptop, but there's a pattern we saw, and it might be a clue..."

The door swung open and a raging Mirano grabbed Ramirez by the head. He screamed in the half-dead man's ears, over and over, the same question, till the Captain managed to tear his grip from Ramirez's face.

Mirano sighed and inhaled the smell of puke and blood and piss and fear in the room. He paced frantically as his Captain spoke to the tortured soul: "Just tell us what we want to know." And the Captain's eyes slid from the pulp on the chair to the pacing man who said, almost under his breath, a question that will get them closer to the heart of things.

"What is the missing pulse?"

testi for my two baliw friends

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Camille
A veiled woman walking down the street caught my eye. So still were her shoulders when she walked. The air around me thickened. A breeze unveiled her face, undressing her long hair and I couldn't breathe or move at the sight of her. "Shoot to kill!" my captain roared from behind me. "She's the infidel we're looking for!"
Abi
She poured a spoonful of the skull-marked bottle and swallowed it. Bitter. Just a slight sting in her stomach. She expected nausea but it didn't come. But then, that's me, she thought. I can take on anything. Except him. Him was the he walking back from the men's room, dodging other restaurant customers, flirting, with his brown eyes, with the waitresses. She took a menu from a waiter passing by and propped it up on her table for two, shading the gestures of her hands. She emptied the bottle on his coffee. "Hi, love," he said and she glared at him, and then she looked away. "I'm sorry. Old habit." After a thick silence, he said, sipping his coffee. "You sure there are no hard feelings?" She put everything she had in that smile.

exile

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After an ear infection that sidelined with me at home, I'm back in the lounge that is my new workplace. I call it that, a lounge. So relaxing. My corner inside its inner room is stuffed with a large box filled with my stuff, one so big I have to sort them out tomorrow. Because I'm a sloth and disorganized, the lounge people did me and themselves a favor: they bundled and shoved together all of my stuff. I think I'm going to write each of them a Friendster testimonial, by way of thank you. I'm still working for my alma mater's PR arm, though I've been relocated, because I am Godforsaken anti-social, and my boss knows writing can be mood-driven, to a quieter place. It was not that silent this afternoon though, when college students excitedly argued their project proposals to my boss, who held the power to veto cash grants to students' artistic endeavors, for which they wanted university funding. I felt relieved to listen to their emotional gestures and spontaneous laughs. I'm not that old, but being around people who are, can make you. So I have to thank my boss for understanding the quirk of a man I am, and for exiling me here, in the lounge, as opposed to the other, tunnel-like office, where I had probably aged 10 years. Feels good to be back. No, this can't possibly be exile.

campus life

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2006. school's in.

catatonia

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2006. flight of stares. promise of rain.

bundy clocking woes

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2006. exile.
2004. in my mind.

the domesticated life

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2006. replacing the lock with sandwiches, or just how tired i am this morning. allergic to maids. how to apologize to rice. boots. regardless.

puta ka!

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"No, Marcus and I are not an item, we just hang out!" I yell to the FX-load of people: the driver, the two passengers seated up front, the four in the midsection, and three with me in the back. Only Judith beside me is the intended audience. But this is how you avoid admitting everything during the cramped ride back home. You keep your voice down until your best friend infuriates you with her prying and you cry out in denial.

"Louder. I don't think the MMDA lady outside heard you," says Judith. I can feel glances, hear random bits of murmurs inside the FX. I am the one nearest the door. Is this bitch daring me?

I pull the doorhandle before any of three passengers near me can protest. The morning rush of sirens and engine roars and bus horns blast inside the FX.

"Manang! Yoohoo! Yes, you! Marcus and I are not a couple!--"

"Puta, Ellie--" Judith interrupts, but I can scream louder.

"--we are just going out! Nothing wrong there, di ba!?"

The FX brakes to a sudden stop. I let Judith reach the door handle across me and pull the door shut. She glares at me.

I glare back: "Happy now?"

"Miss," says the driver,"could you two just text each other about your lovelife instead?" His rearview mirror frames for me his exasperated eyes. He clearly doesn't need this so early in the morning. The FX is still not moving.

"Oo nga, keep your personal lives to your--"

"Opo, Lola,--" Judith fires me that look: let's-just-get-this-over-with, --"my friend and I are sorry."

"We'll be quiet the rest of the way. So sorry po," I add.

The other passengers sigh and resume their bored looks. The driver guns the engine back to life. There's a knock on the driver's window. He rolls it down. It's the MMDA lady. Via the rearview mirror, the driver shoots me that look: nuissance. I shoot him my indignant counter-look: live with it.

"What did I do?" the driver asks the blue-uniformed manang, who tells him to shut his engines off. He does. She glares at him and walks to the back of the FX while waving for other vehicles to pass us by.

"Lagot ka, Ellie," Judith whispers.

"Puta ka," I say under my breath.

The door swings open. The manang to whom I hollered my exasperation a while ago is eyeing each of us in the back. Her eyes settle on me.

"Were you the one who yelled at me?"

I blink. No one says a word. The manang’s eyes roll up and she sighs.

"Just make sure," she begins. I can feel it: everyone in the FX is just as attentive as I am. "Just make sure that Marcus isn't seeing anyone else. Mahirap umasa."

I am stunned. Judith is giggling. The manang looks dead serious. I can hear mumbles of sus maryoseps behind me.

"Partner!" another blue-uniform yells from across the street. "What's going on?"

The manang turns to her and yells back, "It's ok." Then, in her normal voice says, "just a potential accident." She smiles that knowing smile and slowly closes the door. The driver scratches his head. The engines coughs to life and we slide away from the manang and speed up on the road ahead.

Judith is suddenly too busy thumbing on her cellphone to even look at me. Her grin tells me she is already texting the world of what I had just denied, of what had just transpired.

She presses send. I know so, even without looking closely. We have the same cellphone model.

“Good thing you don’t have Marcus’ number,” I mumble, the streets a blur as I look out the window.

“I do now.” At that I scramble to open my bag, but I already know it’s not there.

“Puta ka, Judith!”

sudden fiction in english

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2006. unbreakable. puta ka!

the last time i tried poetry

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a mouse sped by
and i said hi
that's it
writer's block follows

the last time i tried poetry

by | | 0 comments
a mouse sped by
and i said hi
that's it
writer's block follows

regardless

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I am missing, no matter how deep into my ruble of papers I search, a sachet of coffee. I've tilted my desk and it's not among the items that fell over. I've lifted each cat in the bedroom and it's not under them either. Under the bed, the space under cabinets, the nooks where my cats hide my stuff they steal when I'm looking elsewhere. Not there.

Maybe I had consumed it and hadn't noticed. I look in the trash bin. Nothing Maybe I disposed of the wrapper elsewhere. Maybe I never bought that sachet in the first place.

I retrace my steps, rewind the morning as it unfolded. I kicked the blanket down and crawl out of bed. I heard the PC humming to life after I switched it on. My neighbor was playing "Staying Alive," which I could hear when I fixed my first cup of coffee in the kitchen. Got a little irked when I saw the newspaper in disarray; the cats must have been looking for the classified ads. Maybe they want to move out. Then I went back upstairs to write. And then now. No remembrance of where I put that other sachet.

There is a paraphrase of Occam's Razor: the simplest explanation is usually the best one. My cats stole that sachet of coffee. They have stolen and hidden stuff before. They could do it again. Fine, they did it. Or I consumed it without remembering where I disposed of the wrapper. My memory's playback is suspect. Or I must have never bought a sachet in the first place. All of these are plausible. No real evidence for any single one of these hypotheses. So much for science.

A leap of faith, maybe. That might help. Which hypothesis feels most intuitively true? The cat theory. Yeah, that one. Why? If I have to explain that intuition, it's because my cats are cute and they steal stuff from my desk. Paperclips, post-its, receipts. No point in this. I couldn't find any stolen stuff where my cats usually hide them. And no point in defending an intuition. An intuition does not need any defense.

Either way I want my second fix of caffeine.

This a time when neither science nor faith helps you arrive at a decision. My investigation can drag on and on and still I would not find contentment. I just have to make that decision myself, regardless of scientific or religious truth.

I'm going out to buy some coffee. Regardless.

school's in

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I am holding in my hand my Form 5, a document in my University that doubles as my class schedule list and as a formal receipt of tuition fee payment. This is the shortest time I have spent enrolling in several semesters. Maybe because I did it at the earliest time possible, given how much of sloth I can be when school is just about to burst open. I tried to get myself enrolled on every morning I woke up with my mind feeling a surge of purpose. Hey when the surge is gone, it's gone. Might as well.

Morning one: got my Registration Materials and went to the English Department, to get my dossier for my faculty adviser to check; got my adviser's nod--I can take a master's level fiction workshop and a PhD level nonfiction workshop; got enlisted, and cleared of lost /unreturned books at the library, had my forms assessed at the Graduate Studies Office. (Oh gee, look at the time, it's an hour before noon.) Went home. What you can do today, you can do better tomorrow, when you're in the mood.

Morning two: breakfast tastes a little odd when you are high on cough and cold medicine; coffee, thank heavens, is still coffee, and served to balance what could have been a badly begun morning; had my boss sign my study privilege form (my office is paying for my tuition); went to HR, where, amazingly, everyone I needed to sign my form was actually there; went back to the English Department to return my dossier, where a lecture was waiting for me: "You're not supposed to take this home," said a stern woman behind a desk, while tapping my dossier. "Oh," I said. "Won't happen again." Went home. "Procrastination is the thief of time," said one cliché. I say, "Mug me, baby. I'm rich."

Morning three: such a lazy morning; went to this warehouse that calls itself the Office of the University Registrar; really, it's a warehouse, smells like one, too; got my forms assessed, afterward, I walked to Palma Hall, where I paid a dizzying amount of money for my tuition: P66.00, for six units. Wait, that's not for tuition; says on the receipt it's for student funds. But then I'm a student. I'm funding myself? Why am I required to pay, then? (What? It's only 8:40 in the morning?)

Wow. It's over. Just like that. Usually I'm harassed just by thinking of what I have to do just to get enrolled. But now it's really over.

I have to print out this entry. So I can remember, when I read this at the beginning of the next semester, how, in three successive mornings, the universe conspired to go easy on me.

a walker in the city

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When you silently curse your neighbors for the noise they make, normal innocent racket like screaming at a four year old for merely existing, or the full-blast noontime shows they watch, you wonder what you did right when tranquil mornings arrive. Like this one. I wave the bed covers aside and notice tranquility: beams of sunlight light the wooden floor with stripes, filtered by Venetian blinds. Not a child is screaming. Not a single radio in earshot. No television sets are blaring. What could I have done to deserve a moment like this one. I jump out of bed and switch on my PC. Whatever comes to mind, write whatever comes to mind. Lifelike and at the quick.

I am leaning on the ledge of my open window, on the second floor of this suddenly quiet apartment, seeing a portion of a neighbor's rooftop across me that's brown and grey with rust and age and neglect. One part is collecting water, the upturned sheet of galvanized iron and its through is a water pocket, a puddle of rainwater on the roof. I stick my head out further and look for tomcats prowling. I see one. Coming over here. Too far out to be in range of a pellet gun, even if I had one.

These tomcats are as big as my neighbor's little dachshund and they dent roofs when they land on them and they pull down my laundry and scare my domesticated cats into hiding in the closet. But it's too early in the morning to hate them, and I put away the thought of buying a long-ranged pellet gun with which to hurt those four-legged freeloaders. Delayed gratification.

I'm going to add new parts to my memoir, the one due in class in two or three weeks. I am thankful for mornings like this. The quiet ties together memories and thoughts and such, and make my writing easier.

Look, it's taking shape nicely:

"When Mother and I pushed the boxes deeper into the back of the truck, a neighbor asked if we were leaving that apartment, the one that looked down on the road, with its second floor roof as pointed and quiet and still as that of a church's. Mother said yes as I carried more boxes piled on the sidewalk into the lipat-bahay truck. Neighborly small talk was rare for us, and Mother wiped her hands on her shapeless flowery duster's sides and chatted, with a wrinkled old man with sideburns; a break from moving the contents of our lives into yet another anonymous vehicle. We were used to this. All this moving from home to home. Though none of them felt like home. But this house, I never wanted to leave this house, this two-floored oddly-placed dwelling on the elbow of nowhere."

I'm going downstairs to fix me some coffee, and then I'm going to continue writing, while the quiet lasts.

the last bite

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Jeremy saw past the daze in her eyes and stared at her pale and seawater-wrinkled fingers. A day and a half on a sinking lifeboat with Martin and no signs of rescue. At least the night and its endless darkness was over. She hated the dark.

Wonder just where this lazy current is taking them. Her wristwatch said half past three in the afternoon. Nothing to do but endure the boredom and hold out an inverted mineral water bottle, with its bottom knifed out, to catch in raindrops. Seawater dehydrates you more. So she and Martin split the accumulated drinking water evenly, and took turns holding it up. Hunger, dehydration, exhaustion, hopelessness, a shark. Jeremy wondered which would kill her first.

Above them, they sky was cloudy-bright, the kind of sky she looks at from her hammock on her apartment's terrace. She misses home, and her long afternoon siestas. "Tell me again," she wanted to ask Martin, "how your boat leaked to death on the way back to the harbor?" But she didn't Martin felt bad enough as it is. His plan to seduce her on his boat didn't work. And now it's life and death. How romantic.

A shark, Jeremy whispered to her self, to rock her back into reality. A shark would kill them. At least, she wished a shark would come. It if didn't come, at least it's something to think about. Better than the endless nothing she is enduring. Better than the thought of Martin raping her on an already sinking lifeboat.

Soon, night would come. So many things could happen. A shark might attack. Or the lifeboat might give out. Or a shark might come while the boat is collapsing. Or a shark might come while Martin is trying to rape her while the boat is sinking. How convenient, Jeremy thought.

She remembered a paraphrase of Occam's Razor: the simplest explanation is usually the correct one. Right, definitely, I'm sure, a shark would come.

Their lifeboat was a lung slowly deflating, a boat exhaling air; they took turns sticking their fingers into a hole on the boat's side; they kept checking themselves for open wounds that would lure in a shark.

They hardly talked. Martin said they should keep quiet, to conserve their strength, so they could scream and wave at a passing boat or airplane for however long it took to get noticed, to get rescued. But what if Martin got tired of conserving his strength, and wanted to spend it all on her?

The sound of motor in the sky. A plane. Martin screamed, forgot the hole and waved both arms. Jeremy blinked and joined the noise barrage. The hole hissed and hissed. The plane was gone. There was more water inside the lifeboat. The boat had gotten limp. The water bottle was nowhere in sight.

That's the second plane that missed them. Jeremy blinked at the coming darkness. So again, where is that shark, she asked herself.

Something in the water moved. Probably nothing. Probably the hunger and desperation setting in. A fin. Out of the water so suddenly. Twenty feet away. Coming to them, fast. Something surely is hungry. They are not the only desperate creatures at sea.

She pointed to the fin and Martin's voice was almost a silent screech, "We're dead." His throat must hurt from all that screaming.

"I'm not bleeding. Are you bleeding?"

"No," Martin said. "We have a flair gun, with one flair chambered."

"Save it. We can do this."

"Do what?"

"Sharks are sensitive not only to scent but to sound."

The fin swam closer. Fifteen feet.

"We yell it away? Are you nuts, Jeremy?"

"Do you trust me?"

"Just tell me what to do."

Ten feet away.

"Get you fingers out of the hole and pound the boat, open palm, and don't stop screaming."

"You're nuts, we'd hasten the deflation--"

Five feet.

"Do it!"

They do. They scream. The hole hisses air. The fin slows down.

"Don't stop, keep pounding, keep screaming, Martin!"

Martin barely blinked as he screamed. His throat was in pain. The shark turned to circle the lifeboat and Jeremy turned to face it, screaming and pounding. Their voice, in tandem, might just be enough.

The sun setting when the fin turned around and vanished in the silent waters. Jeremy plugged the hole with her fingers. But it was of no use. When the sun had set, more than half of the lifeboat was submerged. Both of them clung to the floating part, exhausted. Their throats hurt.

No sound rippled the sea. The blanket of darkness came. Jeremy hated the dark. No, she was afraid of it. Instead of her phobia killing her, there was another way. She bit her lip until it bled.

mission impossible 3

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My friends and I have a joke about Tom Cruise's recent movie. We dub it Mission Impossible 3, subtitled "This time, it just can't be done." Then, we hum the movie theme happily (duhn duhn duhn duhn duhn, dah duuuuuuhn!) and we have a good laugh. The producers, director, and scriptwriters of this film. Who do they think they were kidding?

Impossible Missions Force (IMF) Agent Ethan Hunt (Cruise) has almost settled down to a life away from the dangers of his job. On the night of his engagement party, he is hauled back into active duty from semi-retirement (IMF agent training) when his former student (Keri Russell) is taken prisoner by a black marketer. Russell dies. Villain kidnaps Hunt's fiancé. He is forced to steal against his agency. The mole surfaces. Hunt kills everyone that matters. End of story.

Why Hunt would retire in the first place was never explained credibly in the film. When he teams up with Ving Raimes, with whom he worked in the first two M:I films, the wind blows through Hunt's hair and he is all smiles: he doesn't look like he has aged at all. A quiet life and that much self-assurance doesn't seem to match. Besides, do you remember a Tom Cruise film wherein Cruise, as the protagonist, actually faced a problem he seemed incapable of solving? Me neither. Cruise can't seem to accept that he can't act. Instead, parts are made for him.

So much for a credible conflict wherein Hunt will face and emerge hurt but triumphant. You sort of get the feeling that Hunt will come out of all this alive, good-looking, smiling, and with his woman. Oh my God, that's exactly how the film ends.

Far fetched scenarios, gadgetry every time, duhn duhn duhn score now and again, a bountiful of explosions, face masks and voice perfectly mimicked, well-coordinated team movements, a villain designed just bad enough but not character-deep so that Hunt remains on top of your waning attention span.

Pretty soon this will be in HBO. Not worth the ticket. If you notice that the pop corn tastes bad during the film, it's not the pop corn, or you, that's a little off. It's the film.

It's just, impossible. (Dah duuuuuuhn!)

x-men 3

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Police officers in the lead car in a convoy of black vehicles see a cloaked figure down the road. The figure facing the convoy does not move. The convoy does not slow down. The old man in the middle of the road raises his hand, points it toward the first car. The car is lifted off the ground. The man clenches his raised open palm. The car is crushed. He flicks his upheld arm toward his right. The floating, crushed car is tossed aside like a broken toy. The second car is disposed of in the same manner. The 10-wheeler behind the two front cars, whose freight car contains prisoners, is now visible. The truck will run the lone figure over in seconds. He flicks his hand upward. The freight car is unhinged from the truck. It will skid on the asphalt road until its momentum runs out. The truck surges ahead. The old man raises his other hand and the truck somersaults toward and above him, as though it tripped on an unseen obstacle. It crashes behind him. There are no survivors. The car behind the convoy and its occupants are crushed just as easily. Magneto, now joined by his henchmen, walks toward the back of the truck where locks and hinges burst away from the thick metal door. At the far end of the truck, Mystique, the Master of Magnetism's right hand, stands waiting, now liberated from her captors.

I would not have been able to describe the above scene as tightly if director Brett Ratner had not assembled the entire film as seamlessly, something I did not expect. The previous film (Xmen 2) had one too many mutants. You can't develop character when almost every mutant is allotted some airtime. The first film seemed too focused on Logan (Wolverine), who Xavier had to tame and who Scott Summers (Cyclops) had to keep away from his willing-to-flirt girlfriend Jean Grey.

To me, the first two films felt obligatory, with characters introduced, even if they had little to do with the story's narrative, and scenes where mutants demonstrated their powers were inserted throughout the films. The action felt stale. You are just glad the film is over.

Understandably, the stage simply had to be set so Xavier (Patrick Stewart) and Eric (Magneto) could trade dramatically delivered dialogue, with Xavier espousing the Uncle Ben principle ("With great powers come great responsibility") and Eric paraphrasing Nietzsche's Superman principle (it is a disservice to themselves for Homo Sapiens Superior to curb their powers according to the dictates of mediocre human leaders).

Xmen 3 has no such obligatory feel. With the primary Xavier-Eric conflict and hate/fear toward mutants already established, the third instalment to the mutant franchise explores two interwoven plots. The first is Xavier's delicate gamble: under his care all along was a class 5 mutant more powerful than Magneto and himself--Jean Grey (What if she goes wild?). The second concerns the consequences when a "cure" is mandated by the US Government to be injected on all mutants. The cure claims to lay permanently dormant the genes responsible for mutants' powers and appearances (Would all mutants want a normal life?).

Director Brett Ratner made me forget I had a tumbler-full of cheesed popcorn, until the movie's end credits rolled up the screen.

In a flashback ten years from the film's present, Xavier and Eric, then friends, is talking a young Jean Grey into studying at Xavier's school.

"Oh, Charles, I like this one," Eric said as both men and Jean sat in the Grey family's living room; jut outside the window, several feet from the ground were all the cars in eyesweep. Jean was showing off. "I doubt it," she arrogantly said when told she was not the only one with powers.

Flashforward. Jean's traumatic near-death experience in Xmen 2, when she sacrificed herself to save the Blackbird (the Xmen's plane), had broken the psychic restraints Xavier had used to shackle Jean's desire-filled other personality, Phoenix. Phoenix killed Scott, nearly seduced Logan, and with Magneto watching and unable to stop her, she lifted Xavier from his wheelchair and disintegrated him.

Thrilled with his potential new weapon, Magneto brings the wayward Jean to his secret camp, where she is wooed into coming with Magneto's recruited army of mutants to Alcatraz Island, where the facilities for producing the mutant cure was found, and to help destroy the forces that aim to make mutantdom as mediocre as everyone else.

I am relieved that this time, Jean's telekinesis (the ability to move objects with one's mind) has been promoted--from being merely able to lift and shove people and objects aside, to dismantling and shredding and disintegrating matter (and people), and lifting the silvery ashes upward, in a grand demonstration of conceit and power.

And then there is Sir Ian McKellen's incarnation of Magneto, who majestically wields his powers and elegantly dodges Xavier's rhetoric on the need for all mutants to be good. I have a soft spot for villains whose words sting and linger and wound, and whose mere intent can kill a multitude.

I will not mind a fourth instalment.

quarantine

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Nothing like cold air pulled in by hard rain to shake my fever-induced headache away. Pulled in. I am inhaling it, with my head half in and half outside the bedroom window. Rain sounds different when they fall on galvanized iron roofs, than when they fall on empty concrete streets. And from the open window, I only see rooftops and hear the tin-can thumping of rain and the now and again distant rumbling of thunder. I thought maybe with all this atmosphere I keep writing about, I am better of as a poet, and not as the freelancer I am now. Deadlines almost always erupt in me as fever. And I have to open the window myself, just so I can breathe.

flight of stares

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At some point, staring at the wet laundry on the clothesline swing from side to side brings me to a boat scene, some twenty-five years ago, when seawater, instead of a midmorning wind, lulled me into catatonia.

To a four-year old, getting lost on a long stretch of shore, with same-looking cottages everywhere, is a twilight zone. When you are dwarfed by your relatives, they being thrice your height, a foreigner trying to help, he four times your size, is a behemoth bending down to devour you. The harsh German accent on his English was probably a clue. Where are my parents? he asked. Tired of crying and walking, I turned and walked away, pretending to be more annoyed than scared. He and I were after the same thing after all: my parents. He asked me to come back, as others did, Bicolano accent in their Tagalog, and I ignored them all. At some point, the shore would end. I would find my parents. My parents would find me. Or hunger would deprive me of power, just as my toy robots stop marching when the batteries run out. But I had no expectations. I kept walking.

I remember riding a small fishing boat, one with frames of bamboo for balance, on both sides; the hum of its motor a distant drone, the voices of an uncle and the boat owner behind me. I squinted at the lazy sun muffled behind a carpet of cottony clouds, and I kept to myself. Maybe it was my reward for wandering back to my family's cottage, after nearly three hours of walking.

The motor is turned off. We began to drift. The sea, when you're so far away from shore, is not as postcard-still as it looks from the cottage. It tilts, like a slow prelude to a tidal wave that never really comes. And our boat is gently shoved and rocked and left alone. Thin beams of sunlight escaped the clouds and struck the sea, like a xylophone, and tiny mirrors bounce off the water like music, and like music they fade, as sunlight is curtained once more by cumulonimbus clouds. I should get lost more often, if this much quiet is the prize.

Now, twenty-five years later, I stare at wet clothes. The Encyclopaedia Britannica on my PC spreads out the entry I am looking for: "Catatonia." To a near-thirty wanderer, there comes a point when the wandering has to stop, something should dampen this imaginative wanderlust. I think it was Socrates who said that to be free of attachments is to see Beauty pure and immortal. If only Beauty could pay my immortal bills, to which I am always attached.

I close the window, silencing the scene of clothes and boat rides, and continue reading. One day I will find a cure for my catatonia, and on that day I will cease to be myself; I will be completely practical, consistently cheerful, with all my anti-social genes replaced by happier ones.

the promise of rain

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The brown-rusted patches of a distant rooftop is getting unevenly brown, just as I sit on a window ledge, rubbing my afternoon sleepy eyes. The gray areas are getting grayer. Then, I hear confirmation: a faint tin can thumping. It's beginning to rain.

I am waiting for the thumping to get louder, and to spread to nearby rooftops, but with the storm having already passed, the wind that shook the acacia and guava trees free of dead leaves has become a weak but cold gale. I miss the storm, and the gray-dark horizon and sluggishness it brings.

Beside me is one of those windows of old childhood. Old wooden frame with small glass panes framed inside, with the whole thing swinging side to side, routinely shoved by the wind, and hanging on old and squeaky hinges. A stagnant Sunday afternoon. The remnant of a storm.

I have to hold out my hand, to stop the window from swinging at me, as a cold moist wind shoves it. The gray rooftop farther away has stopped darkening. Raindrops have stopped coming down. I feel betrayed.

I stare out, past the rooftops, into the grayish horizon, willing darkness to come, holding the wind and sky to a promise of rain.