I’m finally up and about. After a long break, I figured I’d focus on my art sites here and here, then convert this blog into a public service platform, instead. I’d still drop poems and quotes every now and then, of course.
But since my laptop broke down two days ago, I’m up for the challenge of blogging from my phone. I know it’s like writing under the moonlight, blah and blah. But, hey, what choice do I have?
Have you blogged from your phone? Tell me how it went.
And, finally, we came up with a more compound one, attempting to study, if not defy, the limits of style, structure, and media, thus, departing from the margins while keeping space, as we know it, undefined, so to speak. With the book’s dynamic approach to an age when we are all subject to compartmentalized outlooks and fed with a prepackaged sense of identity, it’s a challenge to insist on finding meaning and value in ubiquity.
Sometimes, while you’re trying to outsmart time behind your work desk, you meet with your thoughts and ask questions you dare not ask your kitties. Then you try to find a way to impart that conversation to any surface you can find. And when you do find it, the universe simply opens up its doors to usher you in.
Piso pa rin ba?
O mas malamig pa sa piseta?
Ang agahan, pananghalian
at hapunan na pinagkasya
sa isang maliit kakarampot na supot
para ipagpalit sa pangarap
na papsikel, tutunawin lang
nang panandalian, isisikmurang sa paparating na pantawid sa tag-init.
As I was preparing for more exciting features for Lines of Lila, I tried out the Autodesk Sketchbook Flipbook and thought of making an animated teaser. It was fun! Watch the line breaker in action. Well…sort of. 😀
While polarity has often characterized these discourses, it is hard to pin down even contingent names for the resulting dichotomies: Conceptual Writing vs. Lyric Poetry? Conceptual Writing vs. Political Poetry? Conceptual Writing vs. Positivist Representation? Avant Garde Aesthetics vs. Activist Poetics? To speak in the idiom of Maestro Ilayaraaja, my muse while I edited this feature: How to name it? How to, indeed?
This moment, like many significant moments in literary history, requires better questions: questions that do not demand denouncement, do not enforce allegiance to a certain aesthetic, do not automate categorical definitions; questions that challenge how writing is institutionalized, incorporated, or made hegemonic and complicit; questions that clarify and document the contemporary moment as it is, rather than answers that produce easily instrumentalized narratives.
So, instead of asking practitioners who they are (i.e. the questions of inquisition), I asked writers why and how they work (i.e. the questions of exposition). They told us, in return, how they lean and how they work through, beside, outside of, and within what we’ve come to understand as Conceptual writing. They told us how they have grown into, grown from, outgrown, or forborne its possibilities. To pluralize prepositional relations to the thing seemed like the best way to counter polarizing discourses that focus on select individuals in an otherwise highly diverse, striated, and divergent network of poetic practitioners.