The silent — though uncontainable – feeling is that the final fifteen, sixteen, seventeen days remaining in 20166 will be Baguio. As much as you want to EEWW the ‘looking-back’ stuff happening as the year ends, you also see some of its value: something cliched: putting the past to a thought-process in order to set fire to the future)
(This is not just nostalgia trip, and is that not a bit rude to the word ‘nostalgia,’ using it in reference to events just in the past months? You counter yourself, 2016 feels so big, the months seemed like the bookshelves of Calvino and the deaths in the name of the ‘war on drugs’ in our country)
Goodreads made me review my “Year in Books,” and the Baguio-to-Manila plotline is alive there and evil, wounding, adding salt to the wound, licking the wound with a salted tongue.
The books you’ve read, they speak of memories that in turn speak of specific locus, concrete locations, situations. I was reading Eagleton’s “The Function of Criticism” upon waking up – 7am, 8am – in our Parisas home, and it was January and you know how Baguio is when it’s January, and we are not talking of city centers but a semi-secluded village in the fringes of Bakakeng. Bauman’s “Towards A Critical Sociology,” I remember bringing to Mt. Cloud’s Third Monday from the Sun and I almost left it, almost. F. Sionil’s “Vibora” I cram-read as I cram-conceptualized a paper for KRITIKA’s call for submissions. I finished the novelette in two days, I guess, but did not find it worthy of writing at least a ten-page paper about. Kruger’s “Remote Control,” Jameson’s “Marxism and Form,” Graff’s “Literature Against Itself,” all these man, I read them with brewed coffee and our Parisas windows which offered calmness and gathering dogs sometimes, sometimes a goat, sometimes a sheep, and always, the unassuming but pretty trees. All these three I borrowed from UP Baguio’s library, while I was a graduating Graduate student, erratically prolonging thesis completion mainly to continue availing of the library’s sexy books. Malabou’s “Changing Difference,” Mao’s essays, Gamalinda’s “Empire of Memory” were all borrowed from UP Baguio’s library, through Mam Brenda, through the cheery librarians of the campus (Sometimes, they will ask me, O kelan ka ga-gradaute? Thesis na lang ba? something).
“The Critical Villa” edited by Jonathan Chua is the bridge. I started reading it in Baguio, did not finish there, was able to finish it in – surprise – Manila, courtesy of Adamson’s library, the university where I am now teaching. “Mga Gerilya sa Powell Street,” I remember reading at Silahis, 100 meters away from NCCA’s office at Intramuros, while I was waiting for Jesa. Wark’s “The Spectacle of Disintegration” I remember reading during the dull moments of our retooling seminar, again at Adamson.”Days of War, Nights of Love,” I mostly read during LRT rides to and from work (I suspect my eyesight has to say “fuck you” to me about this, for I can feel it is deteriorating). Adamson’s library is not without its sweetness. I was able to read Badiou and Engelmann’s “Philosophy and the Idea of Communism” here, and Raymond Williams work on Modernism, and Kerouac’s “Tristessa” and Almario’s thick “Balagtasismo versus Modernismo” which was reserved at UP Baguio (and which curiously I hardly bothered to even check when I was there). Yesterday I finished in one sitting, Marquez’ short “Memories of my Melancholy Whores,” while I was eating time in the last week of school this year. I remember doing that to Apol Sta. Maria’s “Alamat ng Panget” too, only that, again, I was wearing boxers, and long-sleeves and exhaling fog even as Baguio’s own fogginess engulfs me some eleven months ago.
My writings will also make me cry about this (big) city shift. January, I was taking writing for Baguio Chronicle quite seriously, contributing essays about Whang-od and Panagbenga or reviews of an exhibit about film at Baguio Cinematheque. December, I find myself writing a riposte to a lampoon article published in the Adamson Chronicle. Last night, I just returned the revised draft of a paper on Session in Bloom. Nights ago, not only the writings were about Baguio; they were IN Baguio.
Here, right now, I try to chronicle 2016 via the books I’ve read and where I have read them and where I have sweated for them and via the writings I’ve done and there is Baguio, like God (and if there would be blasphemy here, it will be with respect to the former, not the latter): all-powerful, all-present, all-known (not “knowing).
Will I end this piece the way Cesar Ruiz Aquino ended his “Proheme to Zamboanga” (All you were amoeba-fashion Zamboanga Zamboanga Zamboanga)? Enough to put it there because I will not.
My tears for Baguio are so big I sort of bled for almost 1000 words and an earlier plan is yet to be carried out: I will write about Baguio, bearing in mind Cesar’s “Proheme” to his city and Umberto Eco’s own cry for his “Alessandra” – which he described thus, “Alessandria is made up of great spaces. It is empty.”
I almost cried man, while reading Eco’s piece on Alessandra, his city, his place, the locations that make him throb. I was having brewed coffee – still bought in Baguio’s dirty and yet somehow fragrant and charming public market (all markets are dirty, rarely are they eerily fragrant and charming) – in our apartment in coughing Pasay when I almost cried on Eco’s Alessandra, and though the sad thing is that that brewed coffee is the only Baguio remnant I had, the happy, dazzling thing is that Baguio is 256 kilometers away, six hours via Genesis, four hours via Joybus (we are very near the Pasay terminals). Baguio is away like that, just some kilometric count, and another big decision away, another city-shift, (more aptly, a reversal, a return), one that is most surely a lovelier and less agonizing one.