(Aphorism Nos. 201-202)
Because of its heterogeneity, Kidapawan doesn’t have an identity, and the Kidapawanon is constantly trying to create one. This constant drive to create Kidapawan identity is Kidapawan’s identity.
And I do not want simply to write about Kidapawan, I want to write as a Kidapawanon.
In which the author, with archaic language, gives public notice of the cause of this blog’s temporary unavailability, of changes to his literary appellation, and of the implications by these same changes and alterations causedPosted: September 18, 2014
To my much valued and well beloved Readers, Followers, Stalkers, Haters, and all such pleasant or unpleasant personages that now do read this here blog, Greetings.
Forasmuch as this blog has, for the past few weeks, been rendered inaccessible to you and to the general public, and the motivation thereto being undisclosed prior to such a rendering, I therefore do hereby notify you, good Readers, Followers, Stalkers, and Haters in readership hereto united that this here blog hath been thus rendered inaccessible for the intention of:
– making most desirable changes to this here blog’s appearance;
– observing the usual sabbatical of seclusion for the month of September, to which I have over the years been accustomed; and
– making necessary alterations to several parts hereto in relation to the changes to my nom de plume recently agreed to.
And thereby do I also notify you, good Haters, Stalkers, Followers, and Readers in readership hereto united that henceforth until subsequent alterations are in future agreed to, I shall in writing refer to myself under the appellation of Antonio Galay-David, without my first name of ‘Karlo’ – shared most inconveniently with my good brother Karlo Enrico and granted quite unpleasantly by my most un-illustrious father – and with the double barrel surname including the most honourable maiden name of my rightly obeyed and dearly beloved mother and of her most respectable family, added to give dignity to the lowliness any well informed Kidapawanon would associate to the name of my aforementioned most un-illustrious father’s house. All works written by me shall therefore and henceforth be attributed in publication and for other purposes to the name Antonio Galay-David.
But whereas this change of name has been thus agreed to, those who have been hitherto accustomed to address me as ‘Karlo’ or ‘Karlo David’ nevertheless have no need of altering their accustomed appellation or appellations to me in person or in most pleasant informal writing, as the changes agreed to and hereby made notice of are limited to attribution in publications and for other such purposes. Similarly shall I use my complete name for this here blog, which is in nature, as it always has been, personal, and so shall my gmail address remain firstname.lastname@example.org. And my Monogram and Signature, in use, please God, since time immemorial, shall most rightly continue to be composed, as it always has been, of my complete initials of KAGD, stylized in the manner accustomed.
In witness whereof do I cause this here post to be thus published, and for this here blog to be again made available to you and to the general public in most loyal readership hereto united. Let this here post be deemed good!
I won 2nd place for One Act Play in English in this year’s Palanca awards. Yes, I’m a Palanca awardee now.
I have never met the judges before, and I doubt any of them know who I am. But I am deeply thankful for the honour. I look forward to more Palancas in the future (I want a medal!)
No, I wasn’t able to attend the award ceremony. Not enough time and money.
Following the official announcement, congratulations from everybody poured in, and I thank them all for their good wishes. Special mention is to be made of actor Bamboo Ranada, who has been a fan of the play since he first read it, of young writer ate Hannah Enanoria, who went out of her way to make a statement on Facebook even though she couldn’t find me there anymore, and of poet Arkay Timonera and ballerina Marya Inocencio, who served to disseminate the news when I tried to keep it as quiet as I could (this blog post was inevitable because of them).
Silliman has also warmly received it. An article on the Weekly Sillimanian, featuring an interview with me, was lead story in one issue, and some MassCom Students interviewed me on a local TV station about it. I will make the article and interview available here when I get it.
My humble old organization in Ateneo de Davao, the Society of Ateneo Literature and English Majors (SALEM), had also announced their congratulations, and I thank them for it.
Palanca Hall of Famer Krip Yuson also mentioned me, among other winners, in his column on Philippine Star, and it was nice of him to remember me.
Perhaps most warmly, my mother proceeded to call me ‘Palanca awardee’ many days after hearing the news (she was the first to find out, even before I knew it, because she got the official letter in Davao while I was here in Dumaguete).
The play that won, ‘Killing the Issue,’ is my most successful work so far – it got me into Iyas in 2011 (in its original godawful Tagalog version) then to Silliman in 2012 (in its original godawful English version).
I wrote it when I was in third year college, just nineteen, and it was conceived on a jeepney going to school. Inspired by the Maguindanao Massacre, the play nevertheless tries to look at a reality true for all Philippine politics. I shall make it available here on this blog as soon as the Palanca Foundation uploads it online.
After years of slash and burn, it’s finally time to leave it alone.
But ultimate fulfillment for me would be if I hear that my hometown of Kidapawan is proud of me. I am a fan of the poet Rita Gadi, and if I’m not mistaken I’m only the second Palanca awardee the city has produced. But maybe before me, Kidapawan ought to recognize and celebrate her first. Ah, how our love for our hometowns is unrequited.
The logo of Sands and Coral, Silliman University’s literary folio.
First published in 1948, Sands and Coral is arguably the country’s first literary folio (as the story goes, copies of the first issue reached the College Editors Guild of the Philippines Convention being held in Bacolod at the time, and the idea spread to different campuses around the country from there). First conceived by the poet Ricaredo Demetillo, the S&C materialized with the efforts of its first editors, Aida Rivera (now Ford) and Cesar Amigo. The list of S&C‘s editors include the who’s who of Philippine letters, from Myrna Pena-Reyes to Elsa Martinez-Coscolluela, from Rowena Tiempo-Torrevillas to Marjorie Evasco, and it has over the decades featured works by almost every relevant writer in the country’s literature.
The logo, designed by Reuben Canoy, has appeared in almost every issue since the first.
The Poet as Prophet and Punster