La Union, The Ransom Collective, and embracing my youth (before it’s too late).
There’s a song that plays in my head when I think about my first visit to San Juan beach in La Union: Shelter (Oh No), by the happy little indie folk band named Ourselves the Elves. When I’m packing stuff for a trip it’s become my habit to load my phone with new music, which I would listen to on the bus (or plane), and in idle moments, as in that lazy hour before noon, before checking-out, while my travel companions mill around gathering their belongings. Pieces of music, once they imprint on a memory, can preserve moments in a way photos can’t. Pictures allow me to replay the visuals of a moment weeks, months, or years after it has passed, but they don’t always trigger the emotions. I have beautiful pictures from that trip to San Juan more than three years ago—sunset, waves, and lots of sand—but I can’t say that I truly remember that time, unless I hear Shelter, unless I feel the feelings only that song can stir in me.
It’s not that the words of the short but spirited song mean anything particular to me. The song is technically a duet, featuring Aki and Aly’s wonderful, interweaving boy-girl vocals, but I hesitate to call it one, because all the words seem to belong to the same persona—a character losing a metaphorical battle, and calling out to the listener to be her (or his) shelter and shield.
Well, I wasn’t quite feeling vulnerable when I listened to the song in a room by the sea, despite the relentless crash of waves resounding through the window shutters. I merely thought it a rather joyful song, in a swinging way, even if its somewhat foreign texture tinges it with melancholy. It was a great song, an appropriate addition to the soundtrack of my weekend in a carefree, blissful place.
Sa pagsasalin ng mga kuwento, ang mga banyagang kaligayahan at pasakit ay ganap naring nagiging atin.
Takaw-pansin ang makulay na pabalat ng Layag. Tila pino itong lambat na humuhuli sa madulas at malabnaw na atensiyon ng mga katulad kong mahilig luminga-linga sa bookstore. Nang makita ko kung tungkol saan ang aklat, hindi na ako nakatakas sa pang-aakit—madalian ko nang binili.
Paano ba naman, nagkataon na may kasalukuyan akong pagsisikap na magbasa ng mga akdang klasiko. Minsan hindi ko matiis ang pagbabasa ng ‘importanteng’ panitikan. Isang antolohiya ang Layag ng mga maiikling kuwento at salaysay ng mga sikat na Europeong manunulat, ng mga tulad nina Guy de Maupassant at Luigi Pirandello. Halos lahat ng mga awtor ay pinanganak noong gitna hanggang hulihan ng ika-19 na siglo; karamihan ng mga akdang kasali ay naglalarawan ng mundong Kanluran sa panahon ding iyon, at sa mga batang dekada ng ika-20 na siglo.
Sa totoo, akala ko dadagdag lang ang Layag sa tambak ng mga babasahing iniipon ko sa bahay, ngunit sinimulan ko agad at mabilis ko itong natapos. Hindi ko kasi maitanggi ang husay ng sari-saring estilo na itinatampok sa lipon ng mga kuwento. Iba-iba ang pakiramdam na dinudulot nito: may nakakatawa (Ang Pagligo sa Araw ni Janko Jesenský), may nakakasabik (Pagtakas Tungo sa Buhay na Walang Hanggan ni Stefan Zweig), may nakakapanlumo (Ang Hosier at Ang Anak Niyang Dalaga ni Steen Steensen Blicher), may nakakatakot (Ang Horla ni Guy de Maupassant) o nakakakilabot (Satan ni Ramón del Valle-Inclán). Ngunit, pinakamadalas, ang naiiwang pakiramdam ng mga kuwento ay pagkalumbay. Marahil ay dahil ito sa paksa, lugar at panahon na pinagmumulan ng mga kaganapan: ang romantikong Europa ng nakalipas na siglo. Sa pagsunod ko sa mga kaganapang inilalarawan ng mga salita, kusa na itong ipinipinta ng aking isip sa mapanglaw na mga kulay. Natural sa Layag ang taglay nitong nostalgia.
A sort-of defense of the decent kind of men’s magazines.
I recently had to spend a night out in the city, waiting for the sunrise. It was already past midnight, and on a whim I boarded a bus to Makati. Nowadays, these buses with brightly-lit cabins ply the city’s highways all night. Other souls were shuffling on and off the bus, going around the metropolis for leisure or for labor; it was hard to tell which, here in the offshore-outsourcing capital of the world. They all looked impatient, in any case.
Up until a year ago, I worked graveyard hours in Makati myself, and I’ve memorized the night-time pulse of its wealthy streets. The place always feels safe, even in the most ungodly hour. On a weekend, it is even serene, but not dead. Every turn of the district is illuminated by lights spilling out of innumerable convenience stores; every intersection, by the blinking of traffic lights.
I planned to kill the time by reading in some 24/7 restaurant, picturing myself like Mari Asai in Haruki Murakami’s After Dark, digesting a hardbound at a Denny’s in Tokyo. I didn’t have a book with me then, however, so I dropped by a Ministop and grabbed the current issue of Esquire from the magazine rack. I had to stand and wait a few moments in front of the cashier before the sleepy clerk, who was catching up on some shut-eye, sensed my presence.
Here’s what you learn when you go to Davao just to admire eagles.
The much-touted piece of trivia that Davao City is the largest city in the country always had me imagining an urban jungle whose sprawl surpasses that of Metro Manila. That idea excited me, in a dubious capacity as a ‘city explorer’, but at the same time it worried my conscience, because the congestion of Manila is terrible for a myriad reasons, none of which would be pleasing to see replicated somewhere else in our archipelago.
It was both a delight and a disappointment then to realize that the nominal vastness of Davao is nothing like that of Manila’s. Delight because, as a tour guide in Museo Dabawenyo dutifully pointed out, more than eighty percent of Davao City’s territory is in fact rural—sparsely populated, fresh, green. And the city government intends to keep most of it that way; there were mentions of development plans and city ordinances intended to limit urbanization (or, euphemistically, ‘development’) of the city’s greener districts. Coming from Manila, it’s certainly refreshing to find a major city government in the country caring, or at least affecting a concern for, nature. (Only time will tell if Davao will stay pro-environment, or be tempted by unsustainable prosperity.)
On the other hand, the actual size of urban Davao means that there isn’t as much for me to see around in the way of man-made environments, i.e. city architecture. Downtown Davao, the blocks surrounding the city hall, is a blend of the weariness of Manila’s Quiapo and the sleepiness of my hometown, Malabon. Davao City’s growth so far has definitely been horizontal rather than vertical—Marco Polo Hotel is the only visibly high-rise structure in the downtown area, and serves suitably as a compass if you feel like wandering around.
As to why the city’s official boundaries remain so expansive is still unknown to me. The size is absurd when compared to the neighboring territories: Davao City is larger than the rest of the province of Davao del Sur combined. Wouldn’t it be somehow more efficient and effective for governance if the territory were to be chopped up into several cities and municipalities? I can’t be sure, I’m not some public policy expert. I’m guessing that local legislators and executives want to retain the ‘largest city’ title for the vague pride and prestige of a superlative. Competing for the largest, biggest, longest whatever, no matter how Guinness World Records-silly it becomes, is a Filipino hobby after all.
It may be distractingly beautiful, but like any good film there is more to ‘Sakaling Hindi Makarating’ than its spectacles: here is one reading of the poetry that extends beyond the postcards.
Perhaps all forms of storytelling are, in essence, also forms of travelling. Even when a story does not, literally, take us to unfamiliar places, it will always at least transport us, figuratively, to unfamiliar situations. Every story that introduces us to new characters is a visit to the home of strangers; the most profound tales are expeditions to the unlit depths of human hearts and minds.
Sakaling Hindi Makarating, then, is twice a travel film, because it pairs the figurative journey of its characters with the premise of a literal voyage. Far from being the typical touring blockbuster, which treks through various locations purely for spectacle, Sakaling Hindi Makarating distills the beauty from each of its destinations, then uses this essence to chart its characters’ arcs in consequential ways. By its end, it feels almost regretful that one regular feature film can accommodate only so many settings, while keeping the itinerary meaningful.
Warning: this discussion shares extensive details of the film’s plot and other elements, or ‘spoilers’; this was written mainly for those who have seen the movie.