Mar 22
inspired by tony labrusca's portrayal of josé rizal
babae likes me contained.
me—a tupperware full of lumpia.
i'm soggy, *****.
*****—inday—i'm gwapo. fried uy.
sorry. soggy.
druggy. sorry.
my chest tattoos?
yes, they can be removed.
will that be provided in my—
nevermind. thank you.
she opened her purse.
hard candy.
waving me away.
sorry carb-eating lad.
she is just ******* hard candy.
cgeh. babay. cgeh bi.
jose, they say you wrote novels.
but i wonder—
did you ever write yourself out?
did you watch your own ink
bleed into the soil?
did you wish for something softer?
in the way i am devoured. hero forgotten.
in the way i am swallowed
whole—one piso coin
by lovers, by history, by a name
they gave me before i ever
spoke too. ii
babae likes me contained.
me—a tupperware full of lumpia.
i'm soggy, *****.
*****—inday—i'm gwapo. fried uy.
sorry. soggy.
druggy. sorry.
my chest tattoos?
yes, they can be removed.
will that be provided in my—
nevermind. thank you.
she opened her purse.
hard candy.
waving me away.
sorry carb-eating lad.
she is just ******* hard candy.
cgeh. babay. cgeh bi.
jose, they say you wrote novels.
but i wonder—
did you ever write yourself out?
did you watch your own ink
bleed into the soil?
did you wish for something softer?
in the way i am devoured. hero forgotten.
in the way i am swallowed
whole—one piso coin
by lovers, by history, by a name
they gave me before i ever
spoke too. ii
This poem weaves together personal identity, societal expectations, and historical resonance. The imagery of food (lumpia, hard candy) juxtaposes with themes of erasure and visibility, tying into both personal struggle and the weight of history. The references to José Rizal invoke a parallel between artistic creation and self-sacrifice, questioning how much of oneself is lost in the process of being seen.
