• Shoah, Lanzmann (1985)
  • sublimity

how she organizes her work

  • unifying concept
  • understandability even by a layman

what is the traditional way of writing the essay?

  • Retallack (2003)

To do

  • Ask Jessa to send you her powerpoint

use essay when much is at stake but intelligibility is poor


  • vocabulary of the present
  • ambivalence in the playfulness
  • was able to destroy linearity and chronology and hierarchy
  • simultaneity was highlighted
  • novel: why can’t it be ordinary and mundane like the Japanese? Filipinos have a burden to write about big events
  • because she writes about the mundane, there is an expansion
  • who are other witnesses? (did you witness what happened? - this is an ethical problem of the piece)
  • “afterlives”
  • focus on literature and art of reckoning: The Betrayed (Jessa’s work falls here), The Remains by Daryll Delgado
  • Neferti Tadiar, Remaindered Life: “waste value”, life-making, pagbuburda kesa hurry
  • insertion as assertion


  • sublime: divine na hindi mailarawan ng salita (panahon pa ni William Blake) = beauty
  • Rancere’s idea have ethics
  • “unrepresentable” ang sublime, parang Dios na hindi marepresenta (limit, bawal)
  • Rancere makes suggestions on how to traverse this trauma: provides ways on how to represent while not representing
  • Is this transferrable to representing a flooded river? Is this problem = to the problem of Jewish Holocaust
  • calamity as spectacle: matagal nang saturated ito


  • The Falling Man, the ethics

  • truth-seeking but truth-perspecting (sino kukunan at paano? reflect on yourself as an artist and writer)

  • ano ang teksto na dapat lumalabas sa panahon ng global grief?

  • inanavigate pero hindi dapat makita

  • Use fiction to approach difficult problems

  • talk to people there

  • focus on the everyday

  • Mindanao book from Ateneo Press

  • Riverrun

  • Penguin SG


  • Can it really be cleaned?
  • Pagbibigay ng kalinawan sa river
  • Your body giving the river a body and voice


  • audience is limited to the poetic
  • poetic of plurality: use many languages (as if a ripple); if I don’t understand it, I will look for what it means
  • mine your language some more
  • no pan-Philippine idea as ending (great), just local
  • literature reminds us


  • hinahanap ang encantatory voice
  • River of Gold by Gina Marquez (p. 120)
  • maraming literal na ilog pero marami ring figurative na ilog
  • (p. 152)


  • layer 1 (above): social science and referential
  • layer 2 (middle): images
  • layer 3 (below): apostrophe
  • persuasiveness and credibility of your lyrical voice in the lower gains credence from the upper part.
  • there are archives, ethnographic material, news to draw from
  • the lyrical part can be quieted by too much rhetorical questioning in layer 1; ask questions declaratively or in instructions (by implication)
  • you tampered litery form (done)
  • but conceptual framework is murky
  • look for a new framework; can we not think on our own?
  • i enjoy it but it isnt the intended effect because you are rendering a disaster. is beauty the intended effect? happy dilemma.
  • Jose Saramago, Blindness
  • Portrait of Artist as a Filipino
  • ethics of rendering disasters vis a vis your intentions to work with experimental forms
  • para kanino mo sinasalvage itong beauty?
  • shudder of the sublime
  • writers in the Philippines are drunk in contending with modernism and postmodernism
  • contextualize your engagement with a thinker (Mallarme): bakit siya?


  • be intentional with image-making
  • river from pampang
  • reflection on a murky river
  • p. 142 and p. 143: image composition was gone (dapat traversals siya)
  • madaling pagtagpi-tagpii dapat ang photos

think about destructions and detours


Reparative reading The Archipelagic Imagination Fr. Allejo, translation of poems

terror and awe of disaster - Rilke

Vince (me)

  • the images and the form really stays in the memory
  • the abstract promised a lot to me but I am not sure whether the essay fulfilled all those promises.