MARGINAL NOTES

(On the Story’s Title)

Asenjo’s story is curiously titled “promdi@manila,” and in the original Hiligaynon, “taga-
uma@manila.” The presence of character “@” already speaks of the millieu where the story is from – the
character’s address, so to speak. Written in 2002, two years after the dawn of the new millennium, the
setting of the story is shaped by digital information technology. The internet and the cellular phone figure
are important tools of communication in Juls’s story, and her access to both, during that time, suggests
her mobility as one fully integrated in the city. Her integrationis emphasized by the title alone. She is
already at, that is, located in Manila, but the “@” here also implies her being severed from it, from being,
still, a “taga-uma,” a “promdi,” As a closing activity, reflect on this: the figure of the promdi in our culture
continues to be stigmatized for not flitting in the city setting. How did the narratives on Juls and Teray
illustrate this?

Navigate

1. The third-person narrator followed the consciousness of Juls in a very intimate manner. Describe
the way the narrator told the story through the mind of Juls by providing your observations on:
(a.) Knowledge of Juls’s state of mind during the moment of the story
(b.) Knowledge of Juls’s motivations for her actions
(c.) Knowledge of Juls’s attitude towards the past
(d.) Knowledge of Juls’s feelings about meeting Teray
(e.) Knowledge of Juls’s way of considering her hometown

(a.)
(b.)
(c.)
(d.)
(e.)

2. It is mentioned in the text that “(y)akap-yakap ang throw pillow, naalala niyang noong bata siya,
idol niya ang lahat na galling Manila.” What does this say about the attitude of Juls and the rest
of her hometown towards the Manila-center? How does this seeming “love” for Manila define
her life in the present day of the story?
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3. The story’s third person point of view delineates Juls’s life in the city as compared to her old life
as a “promdi”. Give examples of characterization from the text that show how she became a city-
dweller. Write them in the space provided below:
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4. As we can observe in the story, Juls’s encounter with Teray points to a complicated mix of reasons
why she deliberately avoided talking about or engaging with her hometown. What does her father
and his soujourn into politics have to do with it?
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5. In relation to the previous question, how does the picture of her family life provide a picture of
life in Antique as Juls saw it? In relation to this, how does her father’s death define the province’s
political landscape?
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6. How does her family experience, and her father’s death by ambush, affect the way she looks at
involvement in public issues? How is her city life shaping her attitude towards social involvement?
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7. What were the things that Juls discovered about Teray’s circumstances? List them below in the
space provided:
About Teray’s husband and children
About the economic situation of Teray’s Family
About Teray’s resolve to solve her family’s
financial woes
About Teray’s failure in the city
8. How does the last scene of Juls looking at her reflection in the mirror compare with th earlier
mirror scene which reads: “(t)umayo siya sa harap ng standing mirror at napangiti sa refleksyon:
5’4”,34-25-35, heart-shaped na mukha, shaved na kilay, maliit na mga mata, ilong na katamtaman
ang tangos”? what changed in Juls sitting down with Teray that may indicate for roundness as a
character?
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9. There are frequent mentions of brand names in the story that point to Jul’s radica; urbanization.
Her episode with Teray however, points to other (destructive) possibilities the city could inflict
 upon a promdi. In your opinion, how does Juls look at city life after remembering her past, her
hometown, and what everything meant for her?
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10. If you were Juls, what do you think would be your resolve after the story?
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Marginal Notes
“Periphery” and the “Center” as context of the region and the nation
The discussion of the relationship between the region and the nation in the Philippine
context cannot avoid the divisive discourse of the periphery and the center. These two terms are
culled from consider the problems of colonized or conquered countries like the Philippines,
Postcolonialism, as an umbrella term, takes up the issue of the internalized marginality of native
peoples of former colonies even after their period of subjugation at the hands of foreigners. The
Spanish colonizers employed centralization to control the indios, and the institution of pueblos
demonstrates how the original barangay system was dismantled for a more hierarchical structure
managed by the colonial government and the church. Being away from the center-the church, the
government house, literal, physical distance, but also distance from values of submission to
colonial authority. This same structure of centralization was used by the Americans when they
institutionalized education and English as a medium of instruction, much to the detriment of the
local languages.
Terms like center and periphery describe a binary, with one occupying a position of
privilege and the other a position of marginality. The center is perceived as the seat of power and
thus dominates over everything around it. Manila, the capital, has long been characterized as a
center of governance, education, and even matters of taste and social acceptability. In response
to this, the various peripheral locations, particularly from the regions, have established different
centers. This happened-and continues to happen-in Philippine Literature, and the results are very
encouraging, Philippine literatures steadily transforming into a more inclusive institution, as
literatures from the regions, as in Asenjo’s tradition, are being welcomed to participate in
redefining the long-centralized literary production. The and now, the discourse of center and
periphery defines the Filipino nation and imagination because we collectively struggle and
consolidate by way of our continued negotiations in bridging our various cultures and worldviews.
Coming to terms with our history of domination and subjugation foregrounds our relationship
with each other. After all, the divisive center-periphery or region-center/capital relations may also
be utilized to forge an idea of unity through shared heritage.
Markers
Character is the composition of a person in a work of fiction.
A round character usually dynamically changes of transforms by the end of the story.
A flat character stays the same at the end of the story and is considered static.
A foil is a character who stands in contrast to another character, usually emphasizing a particular
attribute of a more prominently characterized figure.
Setting is the time and place where the story unfolds.
Center and the periphery describe a binary, with the former occupying a position of privilege and
the latter a position of marginality.

Configure

Genevieve Asenjo and Her Regional Narratives

Fictionist in Hiligaynon and Filipino Genevieve L. Asenjo is an associate professor of
Literature and Creative Writing at De La Salle University in Manila. Hailing from Dao, Antique, she
also writes in Kinaray-a, and often translates her own works into Filipino. Fellow Kinaray-a writer
John tremil Teodoro describes her National Book Award-winning novel Lumbay ng Dila as “a
Filipino feminist novel.” Teodoro emphasizes Asenjo’s remarkable feat; “being a woman writer
from the vernacular realm of the Philippine nation (,) she pushed, and is continuing to push, to
the frontier of an imagined Filipino community where women are free, where gender does not
prohibit anyone from doing any small but vital role in nation building.” Her Western Visayas
regional origin, as well as her linguistic engagements and cultural involvements, inform much of
her writing. These include a poetry collection, Pula ang Kulay ng Text Message, and two
collections of short stories, Komposo ni Dandasoy, and taga-uma@manila kag iba pa nga
pakigsapalaran. She also has a picture book titled Sa Aking Pag-uwi.

Asenjo, an honorary fellow at the prestigious International Writing Program of the

University of Iowa in the United States, is leading efforts to sustain Kinaray-a literature by way of
her celebrated website Blaysugidanun.com. She describes her online work as an exploration of
the “politics of possibility.” In an interview with Kalatas, she notes how her own enthusiasm
sustains this project: “Nabubuhay ako sa ideya, sa imahinasyon, sa visyon, at sa mga posibilidad
ng artikulasyon nito, ni Sir Leo (Leonsio) Deriada at mga naunang manunulat sa rehiyon ang daan-
ang marami at iba pang kakayahan ng Kinaray-a at Hiligayon (kasi nagsusulat ako sa mga wikang
ito) sa pagbubuo ng mga bagong komunidad ng mambabasa sa panahon ng internet at social
medio. Muli kong naisip ang Publiko-ramdam ko ang higpit na pangangailangang makipag-usap
labas sa iyong tower ng akademya. Kaya naisip ko ang Padya Kinaray-a.” Today, Asenjo’s
Balaysugidadun.com (from a Kinaray-a term, “story house”) continues to become a hub of
narratives articulating the Kinaray-a and Hiligaynon experience.

Asenjo’s story “promdi@manila” comes from a long line of narratives that typify the
promdi experience and examine the movement from the redion (often considered rural) to the
national “center” (the city, Manula). Promdi-themed stories in Philipiines literature have been
handled differently-from the comic and slapstick in popular Komiks and serialized novels, to
dramatic social commentary, as Agos sa Disyerto Reyes’s novel, which was turned into film by
National Artist for Film Lino Brocka, tackles the tradegy of barrio lass Ligaya Paraiso and her lover
Julio Madiaga, who seeks her out in the city that ultimately consumes them both. Asenjo’s promdi,
on the other hand, offers a more redemptive version of the figure, despite being already
immersed in the digital and consumerist culture of the city.

Tumawa noon ang kanyang Papa, saka binuhat siya at pinisit sa ilong. “Sa Manila ka
magkokolehiyo. Ikaw ang babawi sa Tatay mo.”

Nang unang lumuwas siya para mag-aral sa UP, pinagtatakhan niya kung saan-saan
nanggagaling ang libu-libong naghahabulan at nagsisiksikan sad yip, bus, at LRT. Nabigla siya sa
taas ng presyo ng mga gulay at prutas. Muntik na siyang mabangga sa Katipunan nang matulala
siya sa matapos ihagis ng batang kalye ang pisong inilimos.

Pagbibisita sa mga kamag-anak ang nagging ritwal niya noong unang buwan sa kolehiyo.
Natuklasan niya sa pakikipagkwentuhan na pawis ng pakikipagsapalaran bilang mga factory
worker, etc. ang nagpatikim sa kanya ng lata-latang tinapay.

Binasa niya uli ang message.

Nag-pouting lips siya.
Tumayo siya para i-tsek ang iskedyul sa nakasabit na calendar planner.

SUNDAY
8:30-10 GYM
2-4 Cine Europa, Shangrila—Flores de Otro Mundo (Spain)
6 Speaking in Tongues (Dulaang Talyer), Austrian Centre
Call/text Roll for confirmation before 12: 833-2490/ 0916-2552438

Last day ng Cine Europia. Flores de Otro Mundo is a film by Almodovar at ayaw niyang ma-
miss ito. Sunday lang ang araw na makiki-claim niya for herself. Pinapa-review naman ni Roll para
sa Today ang Speaking in Tongues. At strictly by invitation ito.

Nag-iisip siya—palakad-lakad; dinampot sa itaas ng drawer ang hairbrush at sinuklay ang

bob cut na buhok; binuksan ang closet, binilang ng mga mata ang naka-hanger na mga signature
clothes: tumayo sa harap nng standing mirror at napangiti sa refleksyon: 5’4”, 34-25-35, heart-
shaped na mukha, shaved na kilay, maliit na mga mata, ilong ng katamtaman ang tangos—baka
may kabarangay siyang available para sumundo at humatid kay Teray sa Caloocan.

Naalala niya ang dating directory na nakatago sa closet

Tinawagan niya ang number ni Boy, security guard sa isang warehouse sa EDSA extension.
“The number you dial is no longer in service.”
Sinubukan niya ang number ni Rose, kababata na nagtatrabaho sa Goldilocks sa Libertad.
“Pang-umaga na siya, e,”

Napabuntunghininga siya. Wala siyang cell number ng mga ito. Hindi na siya dumadalaw
sa mga kamag-anak at nakikipagkita sa mga birthdays, at kung anu-ano pang gatherings. Palagi
siyang nauutangan na hindi nababayran. Palagi siang naanyayahang maging ninang. Ayaw niyang
magkaroon ng inaanak na di niya feel.

Tandang-tanda pa niya, 1992 iyon. Mag-eeleksyon. Tumatakbo bilang Mayor ang kanyang
Papa. Bumisita siya sa Caloocan, kina Uncle Tony niya, pinsan ng kanyang Papa. Birthday ng
kaniyang tiyuhin. Galante ito pagdating sa inumin at pulutan kaya haos doon lahat ng kalalakihan
ng barangay. Gabi at masaya ang kwentuhan.

“Jul, halika ditto.” Pasigaw na kamay ng kaniyang Uncle. Malaking tao ito, nasa
kalagitnaang 50. Buy and sell ang inagkakaabalahan.

Lumapit siya, Balak niyang sumakay sa maaaring pagbibiro o pang-aalaska nito.

“Tsk…Tsk… byuti an brayn ‘tong pamangkin ko. Pero ewan ko lang kung makakatulong ‘to
sa akin. Si papa mo? Huh, wala ‘ yon, kahit Manalo pa siya ngayon. Kulang sa diskarte, Jul, walang
diskarte ni Papa mo, Mahina. Hamakin mo, ha, Vice-Mayor sa loob ng siyang na taon pero wala
man lang ni isang kamag-anak na naipasok sa munisipyo. Pwe!”

Nagpanting ang kaniyang tainga. Nanginig siya. Lumukso ang ilang bote ng beer, plato, at
tinidor sa lakas ng kanyang pagsipa sa mesa. Nabigla at nagulantang ang karamihan. Kaagad siyang
pumasok, kinuha ang bag para bumalik sa dorm. Hindi siya nagpaawat. Chance passenger siya sa
first flight ng PAL, kinaumagahan. Matagal bago nagkabati sila ng kanyang Uncle Tony.

KUNG PWEDE LANG SANA, KAILANGAN KO NA KASING UMALIS DITO.

Idinayal niya ang numero, Lalaki ang sumagot sa pangatlong ring. “Si Teray? Ito ba ang
pamangkin niya? Sandali lang ha…”

Hindi niya ito ikinabigla. Kanina pa niya naisip na maaaring nakikisuyo lang si Teray. Pero
naiintriga siya. Kilos-pagmamadali at pabulong na nag-uusap ang kanyang naririnig.

“Jul? Uh, si Teray dya. Te, pwede’kaw? Sa simbahan ng Baclaran. Maliligaw na ‘ko
paglumampas pa dyan.” Tumawa ito. Kontrolado, “Parang di ko nga matandaan masyado, e. May
MRT ma kasi. Alas dyes…? Di pwedeng maaga-aga pa?”

Naiinis siya dahil hindi siya nakasingit at nakapaghindi. Feeling niya, it was as if nakikipag-
usap lang si Teray sa 14-year old na Julia.

Pero natatakot din siyang hindi ito siputin. Alam niyang magi-guilty siya in case may
masamang mangyari kay Teray. Sasabayan lamang niya ito hanggang Monumento at pasasakayin
ng dyip. Didiretso naman siya sa Shangrila, pagkatapos sa Paseo sa Australian Centre.

Inilipat niya sa low cool ang aircon. Pinalitan ng “Paint The Sky With Stars” ni Enya ang
Cranberries. Nakikita niya sa isipan, habang nakikinig, ang kanyang Papa. Maliit itong tao.
Nagssasapatos lamang kung papasok sa simbahan. Kumportable ito sa sandalyas, camisa de chiro,
slacks. “Magpasalamat kayo at pagserbisyo lang sa Diyos at tao ang bisyo ko. Hindi ako umiinom
o naninigarilyo o nagsusugal kaya o nagsasabong.” Ito ang standard niyang sagot kapag pinapansin
nilang magkakapatid ang pagiging mapagbigay nito.

Barangay Captain pa lang, takbuhan na ng tulong ang kanyang Papa. At hindi ito
marunong humindo. Mapa-bigas man nila o pang-allowance. Maging sa kanyang oras na minsan,
nakakalimutan na nitong nagpagupit ng buhok at mga kuko. Pati ang mag-shave.

Sweldo ng kanilang Mama bilang high-school principal ang bumuhay at nagpaaral sa

kanila. Kaya kapwa niya hinaharangan at kinamumuhian ang kabutihan ng kanyang Papa.
Ipinapasa-Diyos lamang nito ang problema sap era ng inihahaing nilang magkakapatid. Wala silang
ari-arian. Nakaranas siyang magtiis ng noodles sa dorm, magpalipas ng gutom sa library at malls,
pumila at umabang sa kakarampot na stipend galling sa gobyerno.

“Well, mag-rally kayo, basta ako, I would rather do something profitable. There will
always be rich and poor.” Iniwasan niyang makipagdiskusyon tungkol sa Marxism. Ayaw niyang
ma-involved sa NGO at volunteer works. Kagaya ni Justine, ang kanilang bunso na isang Associate
Missionary of Assumption at nakadestino sa Bukidnon.

Lumalim ang pangsusumikap niyang magkapera nang mamatay ang kanyang Papa. Nag-
oobserve siya nang hapong iyon sa mga leaders na abala sa pagdi-distribute ng sample ballots sa
mga pumapasok na supporters. “Ambush. Pababa na sila ng Danawan,” report sa two way radio
ng isang supporter.

Lumuksa siya sag alit at alam niyang with money, there will be justice. Nakakulong ngayon
ang suspek. Patuloy ang imbistegasyon. Magkaroon ng panibagong hearing pagdating ng kaniyang
Mama.
Isiniksik niya ang katawan sa naguunahang pasahero sa LRT. Mahigpit niyang yinayakap
ang shoulder bag. Magkapating ang kanyang mga paa sa pagkaupo. Naka-sleeveless siya ng itim,
cotton. Naka-capri pants na beige. Naka-leather sandals.

College pa isya nang huling tumuntong sa Baclaran.

Alas-nuwebe sa sindihan ng mga kandila ag usapan nila ni Teray.