Showing posts with label Novel Writing and Poetry. Show all posts
Showing posts with label Novel Writing and Poetry. Show all posts

The Eclipse and the After-Sex Joke

in an effort to cure the mental blockage...


Writer's block: Grasping the void

I seem to be in some strange sort of mood lately. I cannot write film reviews as before. No, nothing serious like a brain damage or something, but I smell a sense of loss all over me. I ask friends to quantify, analyze and interpret my condition, but I guess I can only say that the best judge of my condition is myself. Yes, I am having one of those severe mental blockages a film writer must have encountered once in while in their writing careers. I was sitting pretty much inside my newly rented condominium half-way between Metro Manila and Quezon City when I realized that it has been months since I wrote nonstop here at my blog. I wonder why this persistence to cinema writing and the intensity of it has gone aloof, adrift towards unknown shores. I blame the many days and nights that have passed without any plans, any schedules. I blame the countless minutes I should have spent writing profusely about my thoughts on the nature of cinema. I blame the emotional distress caused by the three men that walked passed by me. The long sighs that should have been dedicated to finalizing the FILM DECONSTRUCTED series, or finishing my 2010 countdown, the latter overdue for months now. I blame Facebook for consuming my time. I blame my immersions to the local film culture (attending so much of the many, many scheduled film events around the metro is exhausting and exhilarating). I blame the countless nights I slept in motels, the meet-ups with random strangers over coffee or sex, or even the strenuous after-sex talks that went on and on for ages. The significant weight bearing down on my shoulder was alarming, as one reflexologist told me over a session here at my condo, he said: "You carry too much weight on your back sir. Your muscles seems tense and compacted." I replied: "Must have been the months of non-stop exploration of who I am."

It was as if a large wool of sheet was unveiled to me last night when, upon gazing at myself in the mirror, I encountered a sense intolerance to the track I am building myself upon. People say, you are allowed to fuck up at twenty-one: marry a pig, have dozens of kids or something, punch the air in victorious cry to air that you've survived fucking yourself up, I don't know if I'm up to that. Or that this phase is considerable enough at some point, and one must completely stop when in doubt about the circumstances.

You arrive at the moment when you realized, at twenty-one, yes, you are allowed to fuck up and sin, to date and marry pigs, to live in the fast lane, to sing karaoke at 4AM, and to lust at so many well-mannered, well-cultured, bourgeois twenty-one-year-olds that could've been you. I find myself a rebel for months, figuring the many intensity of Manila and its soul, the transitory spaces, the emotional resonance I've been longing for years, above all, the freedom to live on my own, at twenty-one.

Yet at twenty-one, I could've achieve much: to graduate with superlative honors from the university, to be enlisted in an Ivy League school abroad for a Master's Program, to finish and publish many, many film articles for journals, to become the well-mannered, well-culture, bourgeois twenty-one year old man I used to lust at midnight on a browsing spree in the internet.

I realize one thing about self-satisfaction and my effort to stipulate my existence around it. I tell you, its exhausting to build oneself around that goal, and to masturbate at it believing that it will come a point that you'd have the greatest orgasm in your life. In fact, one wastes ones life around it. It spreads discontent like a smack of excrement on your face. It's a severe mindfuck.

Is there a way back to life-writing, to cinema-writing, to novel-writing? Where does one start collecting the pieces?


Frankly, I figure out, to launch myself back into the intensity of writing, I have to re-channel all my efforts to reading. Yes, some say voracious reading can intensify writing. It heals the disjointed focus one has accrue from descent into ordinary life. The question is, am I willing to go back again? Is there a place where I can land my ass and softly work my way up again? This is a question to commitment, to devotion to one's career. What a joke: I have a career. It mingles with fear, expectations and trepidation of the improbable.



I have to fall in love again.

Ciao!
****


Civilization Ends and Nothing Comes Ahead but Love

A short story for the men and women I love
by
Adrian Mendizabal




The fortunate, virtuous and talented Mr. L of 11th Avenue, Grace Park prepared tea and dived into his plans. He knew this day would come, a Monday, when everything comes into orbit, flying around, and yes, he remembered one morning, as he cooked breakfast, a bird perched through the window on top of his sink. A blue jay, the bluest of all he has seen. And he knew, at that moment there was peace, a quiet morning; there was peace at 11th Avenue. Scrapping the tin can to eject the fresh dry leaves of Jasmine, the world bemoaned, hallow, and so he continuously withdraw the leaves, a spoonful, a half a teaspoon, he pour in hot water and simmer it in a black teapot, oriental, one its kind, rare. He got it from Japan. One must cross these things once in awhile, L thought.

On the other of side of the room, there was a man sleeping, snoring. L knew the man by heart. He was 21, fat and he met him on bright midday of December of two thousand eight, and all this time, he knew the man he slept with very seriously for there was, above all, a small bump in his head that reminds him of G. G was short but this man was tall, taller that the rest of the friends he knew. He was mostly intelligent but a bore. He has a sharp eye for details though he was always dull, full of blemishes and abstract thoughts, and he spent a rather long hours inside movie theaters. L was there obviously, sitting with him last Wednesday night to watch Ishmael, a Richard Sommes film. L knew one thing, the man left him for two years for some reasons he did not understand. What was he then? Sixteen, too young to fall in love with everyone. What month is it? Oh, his favorite season, the love season, where couples enjoy strolling around and breathe each others breath ‘till they faint in dark corners of tall buildings. Manila in the dark, who could have thought love can break free in the dark, or in corners of buildings, of streets, of that 7/11 store at Katipunan Avenue, or the parks, the long walks, the shortcomings...

What could go wrong today? Deliveries at nine in the morning, coffee and breakfast with A, a full attention to piano teaching, and a dinner with friends, oh, of course, lunch with A if ever he wakes up at ten in the morning. By then, I would have delivered the shirts that Julie entrusted me. Such a day it is, normal, nothing exciting, though today I will meet with G over dinner with friends from the college, G. Why G of all? I cried over him. But indeed, one must move on, look through life as a passing, compliment to death, I guess. Reasons. I come ahead of this, G must expire for a reason. Yet, the reason for inviting A over was an ending that has been hanging in me for months. Yet, one must survive, yes, G must survive, and as A, and me and all those people who fought and failed must do survive, for there were always reasons for love, or the thing they call ‘love’. But love is indeed a process, and not an impulse but a meditation of fears and yes, repositioning one’s gaze from oneself to another person’s gaze, and liking it, loving it, luxuriating immensely and how it flatters the brain, oh, very good indeed. I must learn ahead and love ahead, though in my arms, I knew nothing but G, some bits of A and all the guys and gals I’ve been with. Love and other devils. Hope Austen would write about me, but that is the fact, the only fact that cannot be written: two men in love.

A is amiable, to say the least, but he has a glitch within him. I never said a word about my feelings for him, or to the man I met a few days ago, what was his name? What was he wearing? But it was an angry, noisy affair of two men in bed, darting each others tongue for the pleasure of none, and to break away from all that, end of civilization, end of the years between us, dearest A, how I hold you last night in bed as you snore yourself to sleep. Glorious, indeed, to wake up each day, to dream about each day, to fall in love and die, like all princess and princesses in a song, in a story of hate and love, without fear, I must say peace, darkly, I must say it: peace.

Wherever there was reason, for L knew nothing about the calmness of A, as he slept with all his arbitrariness, there was reason behind all this. His own fixations, his own attributes, his conditional temper, his amiable self, and he could think of nothing but love now. Can love be planned, negotiated, for you, for him, for this and everything in between? What a question on this sunny day of Monday, must make the tea right before A wakes up, and yes, for most days I cannot think of life as bright and sunny as today, a Monday of February the 14th. What can I know, really about my mistakes, of that boy who said I look like a star, a handsome prince, yes, but I do not understand why all this must go on, without me, or without A or to think that the light beaming from the window is eternal, why is love not eternal, nor exposed, nor organic? It is when one leaves behind the life one is willing to pursue and give in to the pleasure and displeasure of love. Who can love one like that?

But it is here, inside this small room that A promised to love me, as I was, at that time, sleeping, three months ago, and I never said a word because of shock. Who could, with great still eyes, spoke the words so brilliantly, and nothing much, nothing so simple as that, breaking the waves, with winds carrying light in the billowing tunnel of hate. Strangely, I woke up as he was kissing my nape, my old self, oh, how long will I wait, until it expires continuously. Love do expires.

Stately, plump. I did read some excerpts from Ulysses, the book A was carrying around for two months. A always say: James Joyce! Ahoy! James Joyce! And I remember the passages correctly so, history is a nightmare from which I am trying to awake and first I put my arms around him yes and drew him down to me so he could feel my breasts all perfumed they are coming, waves. How beautiful such a writer must be! But I didn't read the book all and all, all of its great passages. A said it was about the Odyssey. Full mouthed ODYSSEY! Odysseus and Penelope. Long gone. Long gone are the days when love is eternal and when one romped around, in streets, in mall windows, look at love, everyone, look at love at window shop, all bloody red and death, so to speak.

I must schedule a meeting tomorrow. He. She. Be it. Yes, this L. Are you available tomorrow by 12PM yes uh what are your plans for tomorrow or we can schedule it days ahead on monday sunday you prefer sunday oh wait a minute I am making tea so yes you not tomorrow but Sunday 10AM the earliest got it thank you so much mr. vergara I hope we make a good deal out my violin okay then bye.

L dropped the phone.

He took a bath.

A woke up and L was gone and all things were gone. What else is not gone but the broken heart. L, I left him for good on an April month, 2008, darkness lives without the immensities... One goes on forgiving, forgetting, going through this and that, getting busy, getting up, getting ready for the day. And of all days, I spend my night here, with him. How darkly! And yet, a few days ago, I was crying. Too bad it was a short cry, too short to be noticed by my roommate who was, at that time, sleeping, but I did remember it well. I was crying hard in the pillows. On my bed was a cloud of dreams drenched in tears. On my bed was my phone and in that phone a text message from L: I think you know it what I'm saying. It's over. The long days are over but I must give back. The frivolous heart deserves to sleep once in awhile. Longer, linger are the days that shout back at us, that mock us all, are we once great survivors of tragedies?

And yes, I do like the sound of the door bell ringing, he must be getting back. I must sleep back again, and let the sheets encapsulate me and my dreariness, my dreams last night were blank islands, for there was indeed island of thoughts floating in our reveries. Look at the ceiling, the sky, the window by the kitchen and suspended air that pulsates with the streak of sunlight, such a beautiful morning! In dreams, in weighted dream I am awake finally, I am. And he must be going back shortly, momentarily and I must escape. Escape with the winter's song and ranging rivers, the streams in which old Joyce called life. The English-colored wooden panels stood alone, and he was, too, a stand alone in a crowd when L had a party to go to, and I was with him, alone in the crowd. Order of day, the order of day.

A was sleeping when L came back. He placed his body beside A and carefully, peacefully he encircled his arms to his chest, so that he could not wake up the sleeping giant, just to feel the warmth hissing from the body. Take me A, take me away in your dreams and your soliloquies, you look so distant, yet I am here, waiting, in the woods, in the darkness, take me away with the waves of your loneliness. Greatly, one hid oneself in pictures, in videos, yet, all this was true, A, with me, in my arms, in my loving arms I cuddle him in this orange-colored day, Monday of all days. How long love will push me through, but I never said the magic words to him. So special, so pure, deeply soothing to hear, and yet, when A says it, it deflowers my conscience, my race, my history. In the aspect of saying yes, yes to love that is, one forgives oneself from the bitterness and pastiche everyone remembers once in awhile, like what A described to me once as my most hurting words to him. it was never hurting, it was honest. Of not liking him at first because the feeling is not mutual. I am just afraid of hurting him too bad he would run away again. How calm this moment can be! An embrace of two different souls in a bed so thin a line, so thin a space between our hearts, so thin a space between you and I. Yet, I could never give in. I have to tell him one day that we're friends only.

Only friends, that is.

And yet the feeling of being loved, of A saying sweets words of encouragement to me, and all those kisses, all those embraces, those loving words, I seek nothing but love. But I can never give in to it, I can't. I just can't right now. The world seems bright and brimming yet cold and dejected, conflict after conflict, nothing comes out alive. What forces me to believe that love is only said when one feels the settled: two hearts in mutual harmony, singing in great and swelling voices, up and down, scale to the tempo, two hearts beating, hunting for each others. And yet, for some reason, A had just loved me too much and I can't contain it. He gives me this complex glance, whenever I wake up to find him sitting beside the bed plunging himself on his laptop, I see him looking at me incandescently happy. And that is love for sure, in his face. Yet, this embrace will unfold so many histories between us, to just say to him I love him will mark a new beginning in our lives.

Yet, only friends that is and it can never be more than that.

A woke up. Drank the tea L prepared. Took a bath and packed his bag. He left L, smiling. L knew this day would come.

And yes, they never met again.

- End of story

For L.

:)

Movement 1




THE PIANIST
by ADRIAN MENDIZABAL


Your hair is twisted.
Twixt. Bloody eye shut.
bloody hell.

Your hands are slender.
Tight. Loose. Muddy.

I know you not.
I couldn't care less.

I see you in a passing.
Is this real, what it is?

You and me, lying on a bed.
Lying like a twisted rose
Under the night sky.

Forever I will hold you.
In my dreams.
Forever and ever.
That this, you and I,
Will be.
Best out of best.

Linger jazz, linger.
I'm sorry. Why me.
Two years without.

Why still me?
Germinal.

I fell like a lamb.
Tenderly swift. Fixated.
Unrestrained.

I loved you.
Take me away.

Like a sleeping tomb, you said:
"I care for you."
And now I am loved.
But abandoned.
Joy.
But pain.

I breaks me away.
I'm sorry.

Goodbye.






Ciao!
****

BLACKSOUP | Performance Poetry Party

...poems for January the twentieth...

One word: William Friedkin stuff.

"Inny mini mini moe."

The menu for pasta says "You Won't be Single for Long"

"...As I say, tomorrow is a new beginning."

Damn! It's a cold Friday morning out here at Manila. The wind freakin' slices you into half.

But anyway, two days ago, a Wednesday of all days, amidst org meetings and invitations for John Torres's film Todo Todo Terros (2006) at the UPFI, I went to a Performance Poetry party with a friend of mine. So I went there, rode a trike to 154 Maginhawa St., Sikatuna Village. Stopped in front of a restaurant complex, saw people building up at Blacksoup + Artspace.

Entered, and stood like a lamb.

The restaurant was itself unforgettable in a decorative sense. The clock hanged on the wall was reminiscent of postmodernism. See below:

The clock that I love.

The concept blends with the nature of people performing, and sometimes, as it was for Hilda who performed a rather staggering poem, people disappeared into thin air. A phenomenological occurrence, with meta-narratives here and there, performance poetry is highly dependent on subject positioning: oneself as media of art, much like acting. It allows the poet to become the poem, and poem to become the poet. The immediacy of the act is totally confined in a space and time, 'theatery' but not like theater. An individual act of freedom.

Maam Ginny Mata with her friend --- organizers.

Great, great stuff!

***

"The writer...

...who believes in life dies at his own hands. It must be experimental, in a way, to look life as it is, as it normally blends in, or as it becomes distinguished from the stream in which it flows. The whole of it is a premium whole, a totality to drive a universe in full, swinging motion, the pristine concept of death, the stop of it all. Look at Hemingway, Woolf and the memories of Proust, the melancholia of this world shall never end, like a stream, it will envelop nations and set in motion the whole of writers who love life but hate his own."
---- me, writing it on a piece of paper at Starbucks.

When I wrote this I was thinking about my two main characters, Leonard and Marcus, the space in which they occupy and the issues that Mark, a friend of mine, have raised about situating them in the spirit of time in which they belong. Perhaps, I am a classicist. I am a hard-boiled admirer of the syntax of Woolf, Proust and Joyce and the spirit of time in which my characters move is the culture of the past, the 1920s and their ideologies are partly Marxist and existentialist. What happens today? How, a writer, whose vision of today's spirit of time is lost? Am I lost? Lost in dreams, fantasies? Am I in doubt? And I wanted it all:

"Ineluctable modality of the visible: at least that if no more, thought through my eyes. Signatures of all things I am here to read, seaspawn and seawrack, the nearing time, that rusty boots. Snotgreen, bluesilver, rust: coloured signs. Limits of the diaphane. But he adds: in bodies. Then he was aware of them bodies before of them coloured. How? By knocking his scone against them, sure. Go easy. Bald he was and a millionaire, maestro de color de sanno. Limit of the diaphane in. Why in? Diaphane, adiaphane. If you can put your five finger through it it is a gate, if not a door. Shut your eyes and see."

---- Telemachus, first part, ULYSSES (1921, James Joyce)
And I moaned a little while because inside i know i must write in the spirit of time, but where is it, the spirit, time?


Ciao!
***

BUSY, READING ULYSSES

just a peek


ULYSSES and the Sirens


Just to let you know that I'm alive and breathing. Yes. I am busy, very busy reading "the greatest novel of the century", ULYSSES, by James Joyce. I have set aside film studies to key in to one of the greatest works in modern literature, to appreciate it eternally and to understand how one can create such a life-force. One can learn a lot from Joyce as a writer and as a reader. When one reads ULYSSES, one has welcome a great challenge. He welcomes Joyce's manifestation as a writer, as the artist of the soul, and should consider Ulysses not a book but a work of art. Ulysses is, i have to admit this, practically an easy read.

Though famous for keeping critics and literary scholars busy for the next three hundred years because of its style and literary puns and allusions, this is not central to ULYSSES. What is central to ULYSSES is life. Life as it is in Dublin, or anywhere else, and through this stream of life in which the main characters (Bloom, Molly, and Stephen) dwell, creates an almost universal moment (the whole of the 673 pages is shot in a single day, June 16, 1904) so powerful it reaches into us, as readers, and changes our own dispositions, sense of being, and perhaps our own lives.

It immortalizes the ordinary modern man.

I'm on Episode (Chapter) 11, Sirens.

Ciao!

-----
PERSONAL NOTES:

Will resume film studies after reading ULYSSES.

I'm preparing also for a camping activity this coming Saturday at Mt. Makiling, wish me luck. May God provide us the best way through the challenges that awaits us there.

Go Team Harot!
****

100 BEST NOVELS OF THE 20th Century

on literature
[source]



Books.

This is polled by the Modern Library Editorial Board.

From their website:

"The editors of the Modern Library are privileged to have the assistance of a distinguished Board made up of celebrated authors, historians, critics, and publishing luminaries. The members of the Board, listed below, play an integral role in contributing suggestions and advice throughout the year. In 1998 and 1999, members of the Modern Library Board participated in the "100 Best" project, voting on the 100 Best Novels and 100 Best Non-fiction works, respectively."

BOARD'S LIST:

  1. ULYSSES by James Joyce (reading)
  2. THE GREAT GATSBY by F. Scott Fitzgerald (have read)
  3. A PORTRAIT OF THE ARTIST AS A YOUNG MAN by James Joyce (will read)
  4. LOLITA by Vladimir Nabokov
  5. BRAVE NEW WORLD by Aldous Huxley
  6. THE SOUND AND THE FURY by William Faulkner (will read)
  7. CATCH-22
  8. DARKNESS AT NOON by Arthur Koestler
  9. SONS AND LOVERS by D.H. Lawrence
  10. THE GRAPES OF WRATH by John Steinbeck
  11. UNDER THE VOLCANO by Malcolm Lowry
  12. THE WAY OF ALL FLESH by Samuel Butler
  13. 1984 by George Orwell
  14. I, CLAUDIUS by Robert Graves
  15. TO THE LIGHTHOUSE by Virginia Woolf (have read)
  16. AN AMERICAN TRAGEDY by Theodore Dreiser
  17. THE HEART IS A LONELY HUNTER by Carson McCullers
  18. SLAUGHTERHOUSE-FIVE by Kurt Vonnegut
  19. INVISIBLE MAN by Ralph Ellison
  20. NATIVE SON by Richard Wright
  21. HENDERSON THE RAIN KING by Saul Bellow
  22. APPOINTMENT IN SAMARRA by John O'Hara
  23. U.S.A. (trilogy) by John Dos Passos
  24. WINESBURG, OHIO by Sherwood Anderson
  25. A PASSAGE TO INDIA by E.M. Forster
  26. THE WINGS OF THE DOVE by Henry James
  27. THE AMBASSADORS by Henry James
  28. TENDER IS THE NIGHT by F. Scott Fitzgerald
  29. THE STUDS LONIGAN TRILOGY by James T. Farrell
  30. THE GOOD SOLDIER by Ford Madox Ford
  31. ANIMAL FARM by George Orwell
  32. THE GOLDEN BOWL by Henry James
  33. SISTER CARRIE by Theodore Dreiser
  34. A HANDFUL OF DUST by Evelyn Waugh
  35. AS I LAY DYING by William Faulkner
  36. ALL THE KING'S MEN by Robert Penn Warren
  37. THE BRIDGE OF SAN LUIS REY by Thornton Wilder
  38. HOWARDS END by E.M. Forster
  39. GO TELL IT ON THE MOUNTAIN by James Baldwin
  40. THE HEART OF THE MATTER by Graham Greene
  41. LORD OF THE FLIES by William Golding (have read)
  42. DELIVERANCE by James Dickey
  43. A DANCE TO THE MUSIC OF TIME (series) by Anthony Powell
  44. POINT COUNTER POINT by Aldous Huxley
  45. THE SUN ALSO RISES by Ernest Hemingway
  46. THE SECRET AGENT by Joseph Conrad
  47. NOSTROMO by Joseph Conrad
  48. THE RAINBOW by D.H. Lawrence
  49. WOMEN IN LOVE by D.H. Lawrence
  50. TROPIC OF CANCER by Henry Miller
  51. THE NAKED AND THE DEAD by Norman Mailer
  52. PORTNOY'S COMPLAINT by Philip Roth (have read)
  53. PALE FIRE by Vladimir Nabokov
  54. LIGHT IN AUGUST by William Faulkner
  55. ON THE ROAD by Jack Kerouac
  56. THE MALTESE FALCON by Dashiell Hammett
  57. PARADE'S END by Ford Madox Ford
  58. THE AGE OF INNOCENCE by Edith Wharton
  59. ZULEIKA DOBSON by Max Beerbohm
  60. THE MOVIEGOER by Walker Percy
  61. DEATH COMES FOR THE ARCHBISHOP by Willa Cather
  62. FROM HERE TO ETERNITY by James Jones
  63. THE WAPSHOT CHRONICLES by John Cheever
  64. THE CATCHER IN THE RYE by J.D. Salinger (have read)
  65. A CLOCKWORK ORANGE by Anthony Burgess
  66. OF HUMAN BONDAGE by W. Somerset Maugham
  67. HEART OF DARKNESS by Joseph Conrad
  68. MAIN STREET by Sinclair Lewis
  69. THE HOUSE OF MIRTH by Edith Wharton
  70. THE ALEXANDRIA QUARTET by Lawrence Durell
  71. A HIGH WIND IN JAMAICA by Richard Hughes
  72. A HOUSE FOR MR BISWAS by V.S. Naipaul
  73. THE DAY OF THE LOCUST by Nathanael West
  74. A FAREWELL TO ARMS by Ernest Hemingway
  75. SCOOP by Evelyn Waugh
  76. THE PRIME OF MISS JEAN BRODIE by Muriel Spark
  77. FINNEGANS WAKE by James Joyce
  78. KIM by Rudyard Kipling
  79. A ROOM WITH A VIEW by E.M. Forster
  80. BRIDESHEAD REVISITED by Evelyn Waugh
  81. THE ADVENTURES OF AUGIE MARCH by Saul Bellow
  82. ANGLE OF REPOSE by Wallace Stegner
  83. A BEND IN THE RIVER by V.S. Naipaul
  84. THE DEATH OF THE HEART by Elizabeth Bowen
  85. LORD JIM by Joseph Conrad
  86. RAGTIME by E.L. Doctorow
  87. THE OLD WIVES' TALE by Arnold Bennett
  88. THE CALL OF THE WILD by Jack London (have read)
  89. LOVING by Henry Green
  90. MIDNIGHT'S CHILDREN by Salman Rushdie
  91. TOBACCO ROAD by Erskine Caldwell
  92. IRONWEED by William Kennedy
  93. THE MAGUS by John Fowles
  94. WIDE SARGASSO SEA by Jean Rhys
  95. UNDER THE NET by Iris Murdoch
  96. SOPHIE'S CHOICE by William Styron
  97. THE SHELTERING SKY by Paul Bowles
  98. THE POSTMAN ALWAYS RINGS TWICE by James M. Cain
  99. THE GINGER MAN by J.P. Donleavy
  100. THE MAGNIFICENT AMBERSONS by Booth Tarkington

The READER'S LIST:


  1. ATLAS SHRUGGED by Ayn Rand (have read)
  2. THE FOUNTAINHEAD by Ayn Rand
  3. BATTLEFIELD EARTH by L. Ron Hubbard
  4. THE LORD OF THE RINGS by J.R.R. Tolkien (have read)
  5. TO KILL A MOCKINGBIRD by Harper Lee
  6. 1984 by George Orwell
  7. ANTHEM by Ayn Rand
  8. WE THE LIVING by Ayn Rand
  9. MISSION EARTH by L. Ron Hubbard
  10. FEAR by L. Ron Hubbard
  11. ULYSSES by James Joyce
  12. CATCH-22 by Joseph Heller
  13. THE GREAT GATSBY by F. Scott Fitzgerald
  14. DUNE by Frank Herbert
  15. THE MOON IS A HARSH MISTRESS by Robert Heinlein
  16. STRANGER IN A STRANGE LAND by Robert Heinlein
  17. A TOWN LIKE ALICE by Nevil Shute
  18. BRAVE NEW WORLD by Aldous Huxley
  19. THE CATCHER IN THE RYE by J.D. Salinger
  20. ANIMAL FARM by George Orwell
  21. GRAVITY'S RAINBOW by Thomas Pynchon
  22. THE GRAPES OF WRATH by John Steinbeck (have read)
  23. SLAUGHTERHOUSE FIVE by Kurt Vonnegut
  24. GONE WITH THE WIND by Margaret Mitchell
  25. LORD OF THE FLIES by William Golding
  26. SHANE by Jack Schaefer
  27. TRUSTEE FROM THE TOOLROOM by Nevil Shute
  28. A PRAYER FOR OWEN MEANY by John Irving
  29. THE STAND by Stephen King
  30. THE FRENCH LIEUTENANT'S WOMAN by John Fowles
  31. BELOVED by Toni Morrison (have read)
  32. THE WORM OUROBOROS by E.R. Eddison
  33. THE SOUND AND THE FURY by William Faulkner
  34. LOLITA by Vladimir Nabokov
  35. MOONHEART by Charles de Lint
  36. ABSALOM, ABSALOM! by William Faulkner
  37. OF HUMAN BONDAGE by W. Somerset Maugham
  38. WISE BLOOD by Flannery O'Connor
  39. UNDER THE VOLCANO by Malcolm Lowry
  40. FIFTH BUSINESS by Robertson Davies
  41. SOMEPLACE TO BE FLYING by Charles de Lint
  42. ON THE ROAD by Jack Kerouac
  43. HEART OF DARKNESS by Joseph Conrad
  44. YARROW by Charles de Lint
  45. AT THE MOUNTAINS OF MADNESS by H.P. Lovecraft
  46. ONE LONELY NIGHT by Mickey Spillane
  47. MEMORY AND DREAM by Charles de Lint
  48. TO THE LIGHTHOUSE by Virginia Woolf
  49. THE MOVIEGOER by Walker Percy
  50. TRADER by Charles de Lint
  51. THE HITCHHIKER'S GUIDE TO THE GALAXY by Douglas Adams
  52. THE HEART IS A LONELY HUNTER by Carson McCullers
  53. THE HANDMAID'S TALE by Margaret Atwood
  54. BLOOD MERIDIAN by Cormac McCarthy
  55. A CLOCKWORK ORANGE by Anthony Burgess
  56. ON THE BEACH by Nevil Shute
  57. A PORTRAIT OF THE ARTIST AS A YOUNG MAN by James Joyce
  58. GREENMANTLE by Charles de Lint
  59. ENDER'S GAME by Orson Scott Card
  60. THE LITTLE COUNTRY by Charles de Lint
  61. THE RECOGNITIONS by William Gaddis
  62. STARSHIP TROOPERS by Robert Heinlein
  63. THE SUN ALSO RISES by Ernest Hemingway
  64. THE WORLD ACCORDING TO GARP by John Irving
  65. SOMETHING WICKED THIS WAY COMES by Ray Bradbury
  66. THE HAUNTING OF HILL HOUSE by Shirley Jackson
  67. AS I LAY DYING by William Faulkner
  68. TROPIC OF CANCER by Henry Miller
  69. INVISIBLE MAN by Ralph Ellison
  70. THE WOOD WIFE by Terri Windling
  71. THE MAGUS by John Fowles
  72. THE DOOR INTO SUMMER by Robert Heinlein
  73. ZEN AND THE ART OF MOTORCYCLE MAINTENANCE by Robert Pirsig
  74. I, CLAUDIUS by Robert Graves
  75. THE CALL OF THE WILD by Jack London
  76. AT SWIM-TWO-BIRDS by Flann O'Brien
  77. FARENHEIT 451 by Ray Bradbury
  78. ARROWSMITH by Sinclair Lewis
  79. WATERSHIP DOWN by Richard Adams
  80. NAKED LUNCH by William S. Burroughs
  81. THE HUNT FOR RED OCTOBER by Tom Clancy
  82. GUILTY PLEASURES by Laurell K. Hamilton
  83. THE PUPPET MASTERS by Robert Heinlein
  84. IT by Stephen King
  85. V. by Thomas Pynchon
  86. DOUBLE STAR by Robert Heinlein
  87. CITIZEN OF THE GALAXY by Robert Heinlein
  88. BRIDESHEAD REVISITED by Evelyn Waugh
  89. LIGHT IN AUGUST by William Faulkner
  90. ONE FLEW OVER THE CUCKOO'S NEST by Ken Kesey
  91. A FAREWELL TO ARMS by Ernest Hemingway
  92. THE SHELTERING SKY by Paul Bowles
  93. SOMETIMES A GREAT NOTION by Ken Kesey
  94. MY ANTONIA by Willa Cather
  95. MULENGRO by Charles de Lint
  96. SUTTREE by Cormac McCarthy
  97. MYTHAGO WOOD by Robert Holdstock
  98. ILLUSIONS by Richard Bach
  99. THE CUNNING MAN by Robertson Davies
  100. THE SATANIC VERSES by Salman Rushdie
ULYSSES, the book that i have been reading lately ranked number one. This is an affirmation of Anthony Bugress', author of Clockwork Orange which was a Kubrick classic, quoted appraisal of the book: "The greatest novel of the century."

Will go swimming today! Wee! Bye for now!

*****


Literary Gems!

...links links

VIVA LA VIDA, a Christmas Poem

The GREAT FLOOD OF MANILA, a memoir of the storm

FIRST, SECOND, THIRD, a short story

The Breaking of the Waves, an existential poem

Cinema 21: Love, A Photographic poem

To Live Away, To Love, a love poem

Absence, a poem

Freewriting #1, free written piece

Famine, a short story

A Good Life, a short story

Everything Sexy, experimental writing

LIFE: To the Lighthouse

an extract from a book



"Only she thought life --- and a little strip of time presented itself to her eyes --- her fifty years. There it was before her --- life. Life, she thought --- but she did not finish her thought. She took a look at life, for she had a clear sense of it there, something real, something private, which she shared neither with her children nor with her husband. A sort of transaction went on between them, in which she was on one side, and life was on another, and she always trying to get the better of it, as it was of her; and sometimes they parleyed (when she sat alone); there were, she remembered, great reconciliation scenes; but for the most part, oddly enough, she must admit that she felt this thing that she called life terrible, hostile, and quick to pounce on you if you gave it a chance. There were the eternal problems: suffering; death; the poor. There was always a woman dying of cancer even here. And yet she had said to all these children, You shall go through it all. To eight people she had said relentlessly that (and the bill for the greenhouse would be fifty pounds). For that reason, knowing what was before them --- love and ambition and being wretched alone in dreary places --- she had often the feeling, Why must they grow up and lose it all? And then she said to herself, brandishing her sword at life, Nonsense. They will be perfectly happy. And here she was, she reflected, feeling life rather sinister again, making Minta marry Paul Rayley; because whatever she might feel about her own transaction, she had had experiences which need not happen to everyone (she did not name them to herself); she was driven on, too quickly she knew, almost as if it were an escape for her too, to say that people must marry; people must have children." (Woolf 60)

- an excerpt from To the Lighthouse by Virginia Woolf.


This is the most unforgettable lines i have ever read in my life. It is a wonderful excerpt about Life in the eyes of the book's main character Mrs. Ramsay. I dropped the book after reading it and sent a text message to both my parent to know if they are okay. I also sent a text message to my friend Keith who is still suffering Chicken Pox to know if he was okay.

Reading To the Lighthouse by Virginia Woolf is life changing. Although I am still at page 65 anticipating chapter 12, I consider it as one of the most unforgettable experiences I have ever had. The book is so absorbing you can feel it eating you word by word. It has a power to transform you, to pierce into you with its clarity and clairvoyant depiction of the characters.

It has been four years since I attempted to read one of Mrs. Woolf's novel, Mrs. Dalloway. At first it was hard. Very hard, really to read a stream of consciousness. Maybe because i am used to reading fully defined plots, especially those Russian plots of Tolstoy and Dostoevsky that i certainly love and adored. Anna Karenina, that voluminous piece of writing by Leo Tolstoy is breakaway. It connects the realist mode of writing to that of Woolf's stream of consciousness. It's an essential book to read, and should be read first, before attempting to read that of Woolf's or Joyce's or Faulker's perhaps. It is reading to highest of all levels.

How should one read To the Lighthouse?

Well take my advice and loose yourself, free yourself to be absorbed into the thoughts of characters. Be a willing participant. You have to read as if you are swimming into a deep wide lake. You have all the oxygen but you need a full concentration when you plunge into it. It seeks into the deepest of your emotions, it breaks you away from the world, it gobbles you up. I certainly cannot measure how deeply it affected me, reading is a leisure but Virginia Woolf took it as an introspection, an investigation of ones soul, very much like meditation.

It is a beautiful, beautiful book!




ULYSSES

a reminiscence



The female 'Yes'

Yes, I remember quite well how i started to love writing. I wanted to write his words, his sentences, i thirst every punctuation there is of what some considered as one of greatest novels of all time, his greatest work, ULYSSES.

Yes, this would be a better comeback post, I figure. This is a new beginning. I shed away my body and have awoken from my reveries. I wanted a fresh eye to scope not only the beauty of films but the beauty of literature. So i started: I opened the books of James Joyce and the fruitful Virginia Woolf to imagine a new life.

A few days ago, I realized: is this what makes a life? To be crossed upon by mishaps and tribulations, or to be reminded by the arrival of one's extinction, to be pleased by death, death as we know it for what it is, for how it will be, to be visited by splitting atom of the mind, to be restrained from the daily life you always live: to be sick. How calm this morning! When i woke up, when i started my own ritual to open a book and read a line or two and shut it up, and i heard the morning breeze banging through my window shaking my own life, waking me up, lifting me up, up towards that fine old morning beside the sea. I jumped. I plunged into my day, into the hours that i counted, and sighed, and blushed, and fled, and hopped. There is this sense of possibility, the breaking of the waves, the toiling of my reveries, and all i wanted to do is write, write up there on the wooded branch, on the concrete bay window, on the sea with the waters rushing towards you, and you could hear immensely the beating of my heart, the waves as you know it, the floating and singing jellyfish flying through the shoals, the wind, my heart and you together.

I would love to continue this stream of consciousness, but i have to break it. I used to write good ones when i was young at heart. Now i couldn't. I don't have the power to write beautiful, free flowing thoughts, to flesh out characters and stories. Four years ago I started this large project, a novel that, according to my diary last March 2005, would be 'one of the greatest of all time equivalent to that of Ulysses.' It is shaped and structured by thoughts from character to character. I never imagined myself writing that. But i did. I am still at Chapter five.

Anyway, im still in remission from the Sickness which ate up a week of my life.

The clip above is from the film Bloom (2005). It is a soliloquy by Molly Bloom and it marked the the ending of Ulysses. I quote from Joyce:

"...and then he asked me would I yes to say yes my mountain flower and first I put my arms around him yes and drew him down to me so he could feel my breasts all perfume yes and his heart was going like mad and yes I said yes I will Yes"
xxxxxxxxxxxxx

A Note on Serious Writing

a short commentary




A clip from 'The Hours' depicting the power of writing.


I submitted myself to critique a short animated film, Drux Flux (2008) by Theordore Ushev. This is, ladies and gentlemen, my first attempt to criticize a film by heart, though my first criticism was submitted to my English teacher last January as a reaction paper requirement. It's been days now since i started talking about postmodernism and the avant-gardism in my critique, and now, after reading the article "Film and Postmodernism" by John Jill, I started to think that my arguments failed.

Mainly because i committed the most stupid mistake of all: CATEGORY ERROR. It seems a bit odd to term this as 'the most stupid mistake of all' but actually, for any serious writer, mixing categories is not a good way to handle one's arguments. Plainly, the fact when one reads your article or essay, let us say a young film studies major who do not exactly know the difference between Lacan's interpretation of semiotics to that of Saussure, it should be 'a-must' that it follows a simple, well-planned structure to let the reader know what he should think and how should he think about it.

One thing to avoid is a category mistake. Category mistake, proposed by Gilbert Ryle to attack Descartes' concept of mind and body, is committed when 'we talk of something in terms appropriate only to something of a radically different kind.' [link]

Let me give you an example:

Simple ones:

"Every apple is a pig."
"Adrian Mendizabal is a scientific knowledge."

Compound ones:

"Adrian is a dormer. Manuel is also a dormer. Ms. Tirona is the dorm manager. But where is the dormitory?"

"A postmodern society is characterize by intertextuality (a principle which denies the existence of grand absolute universal truths)." ----- [this is my very obvious mistake that i wrote on my criticism and on a post at Jan's Blog, by the way, thank you so much Jan for posting my comment as a guest post]

Why is the last example a categorical mistake?

When one talks about a society, it ascribes a property characteristic of a society. It prompts a discussion about society, sociological issues, culture, etc. It may discuss social philosophy but this requires a sufficient analysis on the philosophy attributed to that society. Let us say we are talking about the 'postmodern society'. It cannot be characterized as being 'intertexual' because they are totally and radically different categories. Intertextuality is a philosophical principle, a product of a Lyotard's attempt to define the 'postmodern condition' of thought.

However, when one says about the 'postmodern society' it follows that the writer must give descriptions like a postmodern society should be media-driven, indicative of a fast-paced lifestyle, technologically advance, etc. It cannot be mentioned in terms of philosophy because philosophy is different category. The term follows a different formulaic structure of thoughts .

haha! this is really a high-end type of clarifying a mistake, i really apologize for that.

But this is what i want you to understand:

1) Do not commit a categorical mistake when writing. It's atrocious. Although the famous Descartes committed one, it should be avoided.

2) Serious writing requires a good way to carry arguments, not just blubber out words and connecting ideas with others.

3) Film criticism, for me, is a form of serious writing which requires dedication and time.


Yeah! i admit it, I'm a perfectionist when it comes to writing. Well, i consider writing as an art. The way one puts sentences in a paragraph to add effects to the readers is an art. I mostly think that sentences are like blocks of wood with shapes which can arranged into many forms to depict different moods or effects. To look at it a fundamental level, punctuation works similar to sentence placement as well.

Creative writing works differently. A creative writer manipulates each element: words, sentences, paragraphs, punctuations etc. to create an imagery or an idea. every move is crucial.

Anyway i just want to wrap this insanely philosophical view on writing by giving away this music video. It is a conglomeration of my favorite song 'Breathe me' by Sia and one of my favorite scenes in 'The Hours'.

Enjoy. Write well.




A great mix!


-------------------------------

The Breaking of the Waves

[photo credits to Village Oblivia]


-------------------------------------------
The Breaking of the Waves

a poem by Adrian Mendizabal

Soar towards shifting shores
to the death beyond conscience.

Is it there? Is it washed away?
Did it flew away?
The barren larks, the seemingly unessential larks
What is it, hidden?
The hard harsh marshes
The plain of indeterminate ebony
The phantom of the whim?

My soul lengthens.
I breathe; life.

How dark this passage,
To let go,
To fall, and
To fly away,
To succumb the shifting oceans,
The appalling transient dark seas.

How intolerable, how frail
to dream,
to escape from the miseries
I hid in my conscience.

Death is near. Death is far.
Death is seemingly near and far.

-------------------------------------------




MORE Literary Pieces by Adrian...

To Live Away, To Love (A Love poem)
Absence (A Love Poem)
Cinema 21: Love (Photographic poem)
Famine, (A Short Story)
A Good Life, (A Short Story)

To Live Away, To Love

a poem
by Adrian Mendizabal


I can barely hear you breathing.
You sound lost as if a heart
So I came, but left.

How much does love cost:
If i can only hear you breathing,
Or sighing, or speaking;
If I am only here to live away.

You came because my sadness is
so swept by the northern seas.
You came to bereft me,
my senses, my body, my soul.

I can feel my flesh shudder.
Is it pain from past love,
or your absence?

I am dead like a twig
twisted into you,
like veins in my heart.

Whenever I hear your voice
I cry inside and
robed myself in desolation.

Is it that i longed for you?
Or that this wrath in my
soul is forever a vindication
of my sinful acts of passion?

What has become of me?
Have my mind depleted?
Have i forgotten what i
used to be, have i loved you?

What else this matter-of-fact
has become?

Your hands are raw when
I hold them, sometimes cold
sometimes green, sometimes
incandescently true.

What else then is love?

~dedicated to Xd

FIRST, SECOND, THIRD

a short story

[reposted and re-edited]
[from here]
[here]
[here]

FIRST

December 15, 2008

I sat on a dark aisle waiting for the medical results. The streets hummed with buzzing bees, the color of the nights exploded, and in every moment I regret the sudden passage of the wind. I whispered quietly in still air: "I should have stopped myself."

--------
Fifteenth of December


I stood still on MINISTOP KATIPUNAN waiting for L. I was filled with hope yet fixated with terrible apprehension for I haven't met someone like this for almost three years. I recalled the last time I had an 'eyeball' with a text mate, Jocelyn. It was monumental that time because I did it after I gave the valedictory address. I send a text message to Jocelyn that Blainnard Daemiaz (the anagram of my name) stood in front of the graduating class of 2006 and gave the unfaltering speech about pursuing one's ultimate dream. Surprised, she approached me to shake my hand and congratulated me for being the class valedictorian of 2006. Her faced was bruised with sentimentalism and was flattered with an ardent smile, that of a dove, but simply curved on the left of her cheeks.

I smiled back, and I heard her talked but the sounds deafen my ears. The spotlight illuminated my skin like a lamb, and everything ended there. After that, we never talked. We never heard of each others words. We never sent text messages.

My cell phone went dead for three years. I heard that she's in Singapore studying on a local university, I’m not sure if NUS.

I have lost faith in forming relationships via technological tools such as cell phone and chat rooms. I bade goodbye to my teenage years and welcomed adulthood with a blast.

On my eighteenth birthday, I had a big party of about thirty people frolicking in and out of the Molave shed, drinking wine not beer(for I absolutely believe that wine is most proper in my-coming-of-age party), eating chocolate cake and munching white spaghetti. After that, I busied myself with almost everything related to my whole new world: the University. I went to plays, indie film showings, parades, cross-dressing pageants, company talks, lectures of renowned scientists, economist and writers; joined the welcoming of a Nobel prize laureate; drank a bottle of vodka with my best friend which my dad found out; argued with most of my colleagues about the effects of pornography; glorified philosophy and met a philosopher; made a sarimanok costume; joined three organizations but failed one; organized a corridor display; and failed a major subject. I have set limitations but learned that no such limitations exist. I learned to value failure, independence and the meaning of forming true friendships and bonds.

I believed that I have grown somewhat better, more controlled, and more mature. My sensibility and sense of being responsible for myself and my fellow friends is most evident. Everything seemed to be okay until that day of December.

I grasped my cell phone tight and hoped it would malfunction when L arrived. L walked past the entrance of the shop. I knew it was L, pale, thin and peaceful looking. I plunged into the Katipunan sidewalk. Dirt and a whipped of mechanical smoke dashed my brown skin. L smiled at me, and I introduced myself. L carried a violin and offered it to me and asked if I could carry it. L was a bit nervous; I could see it in the dark set eyes, the whimsical and mysterious circular halo filled with stories unknown to man.

We met and did not stop there. On that cold night before the sun could fleet, L left me the violin and asked for a jacket. I gave L a sweater instead of a jacket for it was the only available one. I seemed to be left with hope, moved by L's offer of keeping the violin. L's taxi reverently strides away from me, and I recalled feeling a deep fainting feeling. But maybe it was just because of the alcohol that we drank earlier.

Tipsy, i went back to Ipil to finished my video. I did not slept after that.

SECOND
DECEMBER 17, 2008

1:30 PM

I just got back from Antipolo, it was a hazy day and i heard forecast of rains from northwest. The skies were troubling my conscience. i followed a straight path from the junction of Kapinunan avenue and Marcos Highway and walked straight towards the stairs crossing the busy highway, and fled towards the Katipunan jeepney. i felt considerably warm and dislodged, with two heavy plastic in both hands and a jostling messenger bag hanging on my shoulders. I sighed as soon as i sat beside a middle-aged fat woman, and she was murmuring something about the traffic and politics. I did not want to listen. Sounds of truckloads banged through the dusty causeway; switching gears of motorcycles and shrieks of barkers saturated my ears. It was then and there, i knew that it was KATIPUNAN on an ordinary Wednesday. What could happen?

230 L arrived from the Katipunan station with a gray bag. I brought L a bottle of mineral water for substantial consumption. I want L to indulge in the healthiness of the soul, yet there seemed to be sadness around. The tinge of the sky convulsed as gray as the bag, and sultry wind wept in ensemble with the dust and smoke. It is as if that moment created a deepened feeling, of disgust and aberration, a darkened humming noise gauged the stillness between L and me as we sat on a jeepney.

It seemed that i have lost my loneliness sitting with L. It hindered my senses, my clutter brain defiled, and as soon as L spoke with L's hair waxed like a shoe, my loneliness was over.

I broke into an exhortation, a windy disposition, with a smiling face and exuberant spirit, i made L taste my tipsy words coming from mouth. My admiration to this talented entity grew like a stalk, building and branching out, but the closeness of my adamant eyes to L's despised me. I retreat by mentioning cold words like "how are you?" It felt defined that at this moment everything is possible, everything is true, brimming with joyfulness and callousness. It felt that as of this day, when the lanterns lit the darkness, when the white butterfly exposed its wings, the utterly conjugated feeling of longing would be quenched forever. Persistent, we jumped from the jeepney and headed to the dormitory to get L's treasure violin.

Rich, when lanterns fled towards the streets of Diliman, everything is virtually hanged with pleasure, to see how L's eyes were opened. How L greeted them! Fine Arts! Fine Arts! i saw L's eyes mysteriously lit the space that he pursued. Beside L were hungry by-standers, meticulously seeking for pleasure. The construction of Ls perceptions brought me into a temptation: to make most it.

And when the night came we sat, alone in the wilderness. People walked with pace, but they did not mind, for their eyes were blind, blinded with splendid pursuits, fulfilled by the majestic brilliance of the lanterns. Whenever i could, i would look at them from a far. I saw most of them, smiling. Others, they frowned in mystery.

As soon as our eyes were fixed i cannot possibly tell you what happened.

THIRD
DECEMBER 18, 2008


The expanse of night unfolded. The kiln burned with toasted frivolities of the inmates of Ipil. Darkness succumbed our skins, piece by piece, inch by inch, as if we were bathe with the subtleties of the vexed light from nothingness. I must felt it: warm, intoxicating, and frisky whenever i sway my hands to wary the floating beasts that touches it, the air. The air grew thinner, we sat on a cold bench, after everything had passed, the hours of togetherness, of meeting the eyes, of soldering our brains to one another. It seemed a becoming, a mingling of sun and moon, however my heart doesn't felt right.

Whether the night should be an illuminating halo that wrapped our souls and feet with arduous intent or a despicable perversion of two unlike entities seeking for belonging, the stillness of the surroundings was lamenting, of the street lamp burning by the other side of the avenue, of the damp windowpanes on the house walls, of the seclusion of a butterfly by the cobwebs, of the sheets of soils with fiery ants in dark ebony. It seemed as though the night bestowed us the stillness that we want, the calmness and anonymity, the peacefulness whenever i heard of silence. And we sat there with our eyes fixed, and mine, clearly alluded to L's, i heard the beating of my heart, but on this night, it did not foretold the tales of romanticized love but more pure that.

What is this new found nothingness holding the strings back, back into the reveries on my own damnation? Will this exquisite agony, the space between our seats and faces, be the end of all? If there should be a resolution, the moment when we laid our eyes, wouldn't it be my extinction? Where does this leads?

And when L jumped into the bus by 6:00 AM, i saw L's face, frozen in my own time frame, haunting me, disturbing my very sensible nerves, and i continued to ask irrelevant questions about my adequacy as a companion, a new found friend, an 'admirer'. Whenever i can, i would recall that frames of my life, when the bus left and me, standing in the middle of empty north avenue, on a 6 o'clock, looking at L's face passed from the shadows of my empty thoughts. I couldn't stop it, to cry, to weep whenever i can, to ground my own sensibilities... to question my own fate.

--- BD.

NOTE: Fictional!

Ciao!

Absence




Absence
a poem by Adrian Mendizabal

It's lonely for the night to mend.
surface are half truths
wombed
by the macabre of the night
Hymns shatter'd utterless silence
broken by the heart
shaped like a sword
any whisper completes the tune
that left their voices astray.

In stillness rose a flight
flicker bond with a kiss
they rose
in their beds they whisper
with lips on my ear
Bind. sought night after endless night.

In they grasped and tossed,
bled and seized the rose
to stem darkly, rise a stone fire
Frosted
poured the milk,
poured in, consistency of my soul.

How bright and tan
their bodies shone,
plead but resist
hover but mad
darken and taken
by blades of heart
in they pour the Milk they sought

Beyond are voices
the moon, distant;
borders came;
to the horizon, went, sparkling spree
Left are floating bodies
soaked in fire
bleeding.

Freewriting #1



Freewriting #1
Photo credit to this site(click here!)



Warning: This is an attempt to cure my very depressing writer's block and some people will be mentioned here. My opinions on them should not be taken personally for i do not intend to hurt them. Moreover, I am sorry if I unintentionally hurt your feelings. Sorry! Sorry! Sorry!



TO be honest i hate my semester this semester, i don't know maybe because of this drastic change that happened in my blog. though i knew that this is what i like, i don't get the feeling of it. i don't get the hang of it. I do not talk any more about the films the i watch, noGRILLED posts, or a topic about the medium. i wish, and only wish, to be the same again. BAd start! Bar start!

What is this pestilence that i am having, a weird concussion on my head, on my groin, on my body. Is it physical pain? the way Dr. Mischief describes it, tantalizing pain? I wish i cna be more spontaneous! more spontaneous, that is!

I know that being a male person, on gender, entails a lot of peculiarities like not so spontaneous. And the girl, the girly girl gets the prize for being more spontaneous than a guy! Well what the heck! Girls, they don't have the guts to go through hard stuffs in life. It maybe fair, gender-wise that a male individual is given a less spontaneous mind and a girl a less structured flow of ides.

I hope i can be a writer. A good writer for all in the world. i am in the process of creating a great character, actually two characters, Leonard and Marcus on my novel. I keep notes. marvin tamayao knows this, he read some of my notes on the my character development and i make sure he gave me a comment on it, not just a comment but a good criticism of their persona. How will i take their insecurities, make them flesh out, flesh out from the book and into the reader's mind so that they will actually believe them, and considers them purely realistic. I am a very curious how marcus, my very bold marcus would turn into. he is the dark force. The anti-hero. Every reader will disgusts him, some may emulate his carnal, psychopathic desires, some may curse him to be brought into the world. The idea of Marcus elludes me more than the idea of Leonard. leonard will be considerably frail, he will be frail and fragile. Weak. discontent. but he will be the hero.

But how am i suppose to plunge him into the heroic stance. A heroic battle? A heroic deed? A heroic canvass of events that largely depict leonard as the big deal, big guy, big fame. But he will be sad, which made it terribly deficult to create him. to flesh him out. to draw him to the reader. It would be very boring for the audience to read a very sad beginning. so i made a lot of changes from my first draft, looking for pitch, high enough to make it like an expanded epistle of Shakespeare.

There are loads in my thoughts that i need to dislodge before i could think of my two major characters who will be playing the chracters in my novel. Since fifteen, i was only positive that i have one character, leonard. But then, i thought, i should have two characters to point out dichotomies of human life, human existence and human fate. it is but a dichotomy, a dichotomy that is filled with wholeness, wholeness of a being, of a human beings. For there shall be one, one Mr. Cervantes, one Mr. Cervantes who will not be Leonard, nor marcus, nor Celia, nor Clarissa but he will be whole. it is the wholeness of human character that i wish to play. It will not harbor a great memory from me, but more of a perspective about human character, how it grows, how it dies, how it disinterest and interest, how it purge the incapacities of the human mind.

i felt anxious. anxiety eats me like worm, a vermin of hell, it freaks me out. It freaks the hell out of me. Maybe this is the beginning of this blockage, the trapping of the soul, the capsized destructon of the temple of my writing. I must be able to overcome this fretting obstacle. I must, i must.

i am must go into the lightness of me, find happiness, not just external happiness, but a happiness that has meaning and essence. so i bought Blaise Pascal's, HUMAN HAPPINESS essay just this afternoon at Fully booked. i hope it could make me understand my condition.

does virginia ever felt this blockage of creative energy?

Ever since she was twelve years old, she kept a diary until her suicidal death last 1941.

I remember making an essay about her and titled it, VIRGINIA's LOVER.

I have seen some good films lately, and have experience a momentus feeling of parading the mall of Trinoma at 9 o'clock PM with a purchased VAN HEUNSEN violet solid colored shirt, and a leather bag, i am very happy about it. I am almost estatic to use them so this day i went to SM North, aside from fishing for a first sentence for my essay in English 10, to wear them. I must say that i love them, i love my leather bag. i love the violet solid colored shirt. I must say that i am satisfied with them, with everything. with the humming of my heart as i drink my caramel machiatto at Starbucks a while ago, the way it enters my body, makes me feel hot, feel dislodged. Feel estatic, undefinable.

i think i am sleepy, i am getting drunk of words, drunk of the pain of not creating art, of having a bad taste.

What is this thing inside of me, a virus or something? like the virus in Naked Lunch(movie). A vermin. A hermit crab with large pinchers. I see that my eyes are closing and my confidence dropping, dropping, tik tik tik tik tik tik tik tik tik .... i wanted to hear the sounds of nature, the paddling of the sea, the waves, the wind, the rasping of the leaves of the mint and the mango tress, the pure insolent shriek of the baby on the neighboring houses, the voice of my mother calling me, the voice of my father.

I am alone in my room, isolated, untouched. I must feel alive. Feel free again, i must go on jogging tomorrow... i must wake up at six and jog. and jog, jog jog jog jog jog jog!

wikipedia says it oxygenates my blood. i hope nikko would come with me, or with carl maybe, i have no one to come with me. though, i jogged alone, i must have someone with me, talked to them, to exchange with them my thought on philosophy and minute details of my plans for the day, or the snorts of Manuel, or the quirks of Melbert, or my bisexual classmate at my _____ subject, or the Plurk things, the goodness of it, the disavantages of it, the theory of knowledge of Bertrand Russell, or my film studies' research, or this blog, this blog, this blog, this ultimate part of me, indespensable and true. I could be having a dream, a good dream tonight, cause i have released this freewriten thought from me to this blog about films and life. Film and life are a good combination, personal and film, it makes film a more legitimate form of art if there shall be a personal attachment to it to those who criticizes it, it forms a bond ot the individual like milk and honey, or stone and river, or eath and sky. A great bond, forever true.

I must sleep now!





I Have It: Two books for Five Years



I Have It: Two books after Five Years

a reflection



Virginia Woolf. One of the leading writers
of the twentieth century.
Photo credit to this site (click here!)


Mrs. Dalloway said she would buy flowers herself.

Virginia Woolf's first sentence constitute the confidence of a writer. During my pubescent years i recall reading Virginia Woolf's biography in Microsoft Encarta and i wondered how insightful her life as a writer. I always wondered what Mrs. Dalloway would be i read it.

I had two versions of Mrs. Dalloway, both are at its poor state and incomprehensible and distasteful. I always look for a cover art that will stand out, that will characterize its content. The Harcourt version is most tantalizing for such account. The texture of the books were phenomenally smooth. One could feel the people in the pictures moving and alive.

There is always a relationship between the cover art and how a reader would read the book. Reading elucidates the principles of arts. Always, when reading, the activation of beliefs, sense of taste, ideological instigations, hermeneutic perceptions forms the picture of the book. Readers form free communal relationship with elements such as those in interpreting the whole of a piece of literature. The cover art depicts, at first hand, the working images of the book that will remain to the reader's eyes as they continue to flesh it out page by page. If by chance a reader do not know how an Englishwoman-hostess would look like, given the reader is from another cultural descent without the aid of picture books and television, a cover with some staggering pictures would illuminate the picture of the wonderful lives the characters. I suppose one can imagine how the cover of the legendary Harry Potter series have helped in depicting the character. Mary GrandPre's cover art in Harry Potter series helped me during my early years of reading the process of visualizing how Harry Potter would look like.

The visual stimulation can open many lighthearted souls in accepting and loving the book world. Books are essential to human kind. It has always been the canvas for culture, for ideology, and for passion. Reading is a visual process. Spatial and contextual concepts are fundamental to this cognitive process.

After my five years of looking for a cover art of the three books (Mrs. Dalloway, To the Lighthouse, and the Waves) I only found two, Mrs. Dalloway and To the Lighthouse, on book sale at UP Swimming Pool. I am astonished by how incidental this happened: on a night, walking with friends, and last streak before Nov. 11's first day at school. The magic of finding a book is elusive. if one can find a book that you truly love, follow one's own conscience and consider cover art as co-requisite to its beauty.



Mrs. Dalloway. Harcourt version.
Cover design by Liz Demeter.
Cover Photograph: Houlton-Deutsch Collection.

Photo Credit to this site(click here!)

To The Lighthouse. Harcourt version.
Cover design by Liz Demeter.
Cover Photograph: adapted from Herbert List/MAGNUM PHOTOS

Photo credit to this site(click here!)

The Waves. Harcourt version.
Photo credit to this site (click here!)

Never stop reading.

Ciao! God bless!