Jun 04 2008
catharsis for two things
When cutting a line to form a verse thinking the mundane is subjugated in poetry, when falling for the temptations of serpentine sentences thinking it’s alright in fiction, or when believing the facts can be twisted to add eccentricity thinking it’s forgivable in nonfiction, it's time for one to change his/her mindset as early as possible. Seriously.
I have just been in exile. In literary exile, to be exact, for I and my literary pieces have been subject to analysis, highlighting flaws and stupid mixed metaphors devilishly playing within my woven words. Wait, not in exile in the sense that I am banished from this field but in exile for I have been detached from my ideals that I have considered right and sufficient.
Just months ago when personal-internal crisis jarred my entirety in chaos, creating lines of poetry and paragraphs of fiction out of the ethereal gloominess that shrouded me, I shifted my focus with much effort to the only friend I had at home: the PC. The two of us had been nice to each other; he provided me stuff that loaded my attention bag to its fullest while I bear his glaring monitor. It was through his constant cyber-charity that I found doorways out of the prolonged remorse. These were the writing workshops’ call for submission of entries.
Page upon page in the internet, I immediately chose three prospects: The IYAS in Bacolod, and the national workshops in Dumaguete and Iligan. Since I had been writing “something” during my state of melancholia, I’d better fry my works in the pan of the authorities. The unlucky thing was that Bacolod had already closed its doors so I was left with two options. Without any hesitation, I applied both. I even said to myself, “What if I got into both workshops? My, heavy decision! I’ve got to choose which one I should participate. Feelerette!”
And then the messages came. I received the Dumaguete message first, informing me that I passed. What was more ironic was that I was at Dumsville when I got the tip (happy). Then the day finally arrived that I had to leave the province (happier—at that moment). Back in my hometown, my mother said someone called from Iligan (happiest). I instantly became a writing fellow in the 47th Dumaguete and the 15th Iligan National Writers Workshops, for fiction and poetry respectively. The rest was history.
If statements such as “What use is this piece to me?” and “I need to be rewarded and I don’t get anything from this!” make you fidgety, then these workshops are not your avenue yet. I readied myself for hard-hitting comments since most of my pieces were written for therapeutic purposes, not mainly literary. As much as the nearly-autobiographical concepts sliced through me in the process of writing my fiction and poems with such self-inflicted pain, the realization of mistakes and required developments proposed by the workshop panelists were definitely sharp and piercing.
Now after a month of bashing works into pulp they could make use as jam for morning sandwiches, I basically have to thank the aches of my inner being that I have been able to explore the outer landscapes of existence. This whole thing screams emo but this is the tad fact: those two writing workshops have been the much-needed catharsis to both my sensitivity on certain matters and, of course, my unfurnished love for the letters. To Rowena Tiempo-Torrevillas, Myrna Peña-Reyes, Cesar Ruiz Aquino, Butch Macansantos, Dave Genotiva, Butch Dalisay, Danny Reyes, Susan Lara, Ernesto Superal Yee, Lito Zulueta, Leoncio Deriada, Christine Godinez-Ortega, Rosario Cruz Lucero, Antonio Enriquez, Victor Sugbo, German Gervacio, Steven Fernandez, and Ralph Semino Galan, thank you very much for the insights.
And to my fellow fellows, both from the Katsubong Troupe of Dumaguete and the Hipon Gang of Iligan, your raucous but pleasurable company never fail to spark up even the most dormant energy and brain cells in me. With you, I’ve learned a lot of things other than those which reverberated in the workshop sessions. I love you, bullfrogish feelerettes!
I have just been in exile. In literary exile, to be exact, for I and my literary pieces have been subject to analysis, highlighting flaws and stupid mixed metaphors devilishly playing within my woven words. Wait, not in exile in the sense that I am banished from this field but in exile for I have been detached from my ideals that I have considered right and sufficient.
Just months ago when personal-internal crisis jarred my entirety in chaos, creating lines of poetry and paragraphs of fiction out of the ethereal gloominess that shrouded me, I shifted my focus with much effort to the only friend I had at home: the PC. The two of us had been nice to each other; he provided me stuff that loaded my attention bag to its fullest while I bear his glaring monitor. It was through his constant cyber-charity that I found doorways out of the prolonged remorse. These were the writing workshops’ call for submission of entries.
Page upon page in the internet, I immediately chose three prospects: The IYAS in Bacolod, and the national workshops in Dumaguete and Iligan. Since I had been writing “something” during my state of melancholia, I’d better fry my works in the pan of the authorities. The unlucky thing was that Bacolod had already closed its doors so I was left with two options. Without any hesitation, I applied both. I even said to myself, “What if I got into both workshops? My, heavy decision! I’ve got to choose which one I should participate. Feelerette!”
And then the messages came. I received the Dumaguete message first, informing me that I passed. What was more ironic was that I was at Dumsville when I got the tip (happy). Then the day finally arrived that I had to leave the province (happier—at that moment). Back in my hometown, my mother said someone called from Iligan (happiest). I instantly became a writing fellow in the 47th Dumaguete and the 15th Iligan National Writers Workshops, for fiction and poetry respectively. The rest was history.
If statements such as “What use is this piece to me?” and “I need to be rewarded and I don’t get anything from this!” make you fidgety, then these workshops are not your avenue yet. I readied myself for hard-hitting comments since most of my pieces were written for therapeutic purposes, not mainly literary. As much as the nearly-autobiographical concepts sliced through me in the process of writing my fiction and poems with such self-inflicted pain, the realization of mistakes and required developments proposed by the workshop panelists were definitely sharp and piercing.
Now after a month of bashing works into pulp they could make use as jam for morning sandwiches, I basically have to thank the aches of my inner being that I have been able to explore the outer landscapes of existence. This whole thing screams emo but this is the tad fact: those two writing workshops have been the much-needed catharsis to both my sensitivity on certain matters and, of course, my unfurnished love for the letters. To Rowena Tiempo-Torrevillas, Myrna Peña-Reyes, Cesar Ruiz Aquino, Butch Macansantos, Dave Genotiva, Butch Dalisay, Danny Reyes, Susan Lara, Ernesto Superal Yee, Lito Zulueta, Leoncio Deriada, Christine Godinez-Ortega, Rosario Cruz Lucero, Antonio Enriquez, Victor Sugbo, German Gervacio, Steven Fernandez, and Ralph Semino Galan, thank you very much for the insights.
And to my fellow fellows, both from the Katsubong Troupe of Dumaguete and the Hipon Gang of Iligan, your raucous but pleasurable company never fail to spark up even the most dormant energy and brain cells in me. With you, I’ve learned a lot of things other than those which reverberated in the workshop sessions. I love you, bullfrogish feelerettes!
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