Legend of the

Seafoam
 J. Neil C. Garcia
earned his AB Journalism , magna cum laude, from the University of Santo
Tomas in 1990; MA in Comparative Literature in 1995, and PhD in English
Studies: Creative Writing in 2003 from the University of the Philippines Diliman.
He is currently a Professor of English, creative writing and comparative
literature at the College of Arts and Letters, University of the Philippines
Diliman, where he also serves as an Associate for Poetry at the Likhaan: U.P.
Institute of Creative Writing. Garcia is the author of numerous poetry collections
and works in literary and cultural criticism, including Closet Quivers (1992), Our
Lady of the Carnival (1996), The Sorrows of
Water (2000), Kaluluwa (2001), Slip/pages: Essays in Philippine Gay
Criticism (1998), Performing the Self: Occasional Prose (2003), The Garden of
Wordlessness (2005), and Misterios and Other Poems (2005).
In the beginning there was always mist
shrouding and blurring the edges of things
untouched by clovenness, water and sky
knew nothing of horizons; land and air
rootlessness and sleep. In the beginning
the void stirred awake from itself, remembering
to dream of difference. Out of this wish
two beings churned loose , and arose:
Tungkung Langit, omnipotent Lord of the sky,
and his wife, Alunsina. She was his lilting
consolation as he was her all: at sunrise,
he returned from his labors at creation
to find her singing beside a pond
which had been her desire turned to water.
He loved her enough bequeath her
this one power: a gilt of crystal grief
and pain that grew lucent in her breast
and flowed shimmering to her lips. As she sang,
she strummed the water’s anxious skin
with her fingers, and he felt the cool touch
of ripples spreading faintly from his brow
to his mind’s very bottom. But still,
Tungkung Langit alone wielded heaven’s
towering staff, for he was lord over all
that cowered in its shadow. Alunsina
thought little of its massiveness that was
his shape, but of what hid there
while he was not looking, she had mastered
the trick of seeing the space between his stares
as he searched for more emptiness to fill, more
black regions to banish from his sight
that craved light and more light. She had felt
the doubt in his limbs as they tore apart
ancient waters from their springs had heard
the muffled sigh in his breath as it blew out
heaving mist like a candle whose flame
was darkness. And so, when he told her
in the brilliant clasp of sunrise how her songs
tired him so, how darkly woeful he found them
as depths that lurked wanton under
the formless words that he despised
she knew more than he did of the folly
inside his heart. While Tungkung Langit
was stern-eyed blowing fire into the sun’s
from the sky which had been her home.

At first he thought it refreshing

not to listen to her songs, not to find her lying
on her side by crystal ponds that cooled
the air of celestial palaces. But soon,
he was weary of the heat sputtering
from within his fervent imaginings. Soon he craved
her fingers to put out the flame on his brow
to heal the gap leering at him from within
the binding magnificence of his mind.
In his solitude her absence spoke to him
more loudly than any creation
he could ordain! Fire frantic by her loss
he sought her from the bottom of the surface
of things he had caused: from sunrise
to sunrise, from order to order,
light to more light in the universe
of his own proud invention. She was not there.

And so he remembered, who she was:

Alunsina who haunted everything
he had shaped as shadow haunted light.
He threw the pall of his sorrow
over half of the sky leaving only a hole
through which he might see her and the glint
of countless pinpricks to guide her home.

But she remained lost to him the way dew

was lost to he newly formed earth in the haze
of the very first sunset. And then,
he gathered her liquid sadness from all
the ponds she had orphaned in her wake
and cast it into the hollows down below.

Perched on the crest of a rainbow,

Tungkung Langit wept a rain full of life
that took root everywhere it fell:
on land it crept, through air it flew,
and across the ocean it swam, all in the same
fitful rhythm of loss . He pressed
his mouth to the soil where quivered
flowered sighing their mottled fragrance
into his face. For all this he only grew
more forlorn: she was nowhere in the exuberance
for which he was everywhere called Almighty
by the progeny he had enfleshed. If only
they knew the formless grief enwombing him,
the pain whence they themselves had throbbed
within his heart’s seething mist!
After staying in a fire-lit cave
where his longing had moved the fingers
of an upright creature across a wall,
Tungkung Langit lifted himself up
to the evening. He would have thought
the moonlit sky beautiful had he not
noticed the glimmer of ripples
over the surface of a freeze-blown sea.

For a moment he could see her lying

across the horizon, her head resting
on a hand while the other strummed the water’s
trembling skin. She would seem to be singing
to waves that rushed headlong to shore as if
desiring seamlessness. From across the sea
he called her name an eternity of times
into the rising wind, Alunsina,
Alunsina. But no sooner had he spoken
than she vanished as the foam swirling
lucent among storm-swept rocks.
 Analysis
• A. Poem type - Free verse
• B. Rhyme - At first he thought it refreshing
Not to listen to her songs, not to find her lying
Rhyme scheme - Aabcadefg
• C. Rhythm -
Iamb - withIN his heART's seeTHING mist!
• D. Figures of Speech -
a. metaphor - As she sang,
she strummed the water’s anxious skin
with her fingers
b. personification - In the beginning
the void stirred awake from itself, remembering
to dream of difference.
c. onomatopoeia - But soon,
he was weary of the heat sputtering
from within his fervent imaginings.
d. hyperbole - Tungkung Langit wept a rain full of life
that took root everywhere it fell
• E. Sound Devices –
Assonance - two beings churned loose, and arose
• F. Persona - J. Neil Garcia
• G. Mood - Melancholy
• H. Tone - Sorrowful
 I. Theme
1st stanza:
In the beginning two beings arose: Tungkung Langit, omnipotent Lord of the Sky and his wife, Alunsina. They love each other but their
relationship is getting blurry.
2nd stanza:
Although Tungkung Langit loved her enough to grant a thin power which had caused Alunsina pain. And Alunsina loved him enough for
her to know what was behind his stares. Tungkung Langit grew tired of her songs and made a terrible mistake of telling Alunsina that
her songs brought nothing to him but distress.
3rd stanza:
Tungkung Langit thought it refreshing to not listen to Alunsina singing. But soon, he craved the fingers that had put out the flames
from his brows and distress from his heart.
4th stanza:
Tungkung Langit was powerless before his loneliness. He sought for Alunsina everywhere but he still could not find her.
5th stanza:
He threw a tomb of his sadness towards the sky thinking she would come home if she would've respond to the sorrowful feelings of
Tungkung Langit.
6th stanza:
But she did not respond to the hollow-like cries of Tungkung Langit, so he had collected the sadness Alunsina had spread from all the
ponds she had orphaned and threw it into the hollows down below.
7th stanza:
The omnipotent Lord of the Sky was devoured by loneliness and distress. He mourned for he had lost the mist that would've healed
him so.
8th stanza:
His longing for her lullabies can be felt by creatures near him. He would've appreciated the moon if he had not felt the breeze of the
ocean.
9th stanza:
At a glance he could see his lovely wife across the horizon and called her name out an eternity of times. The songs that had cooled the
air celestial palaces will never be heard again for she vanished as the foam swirling lucent among storm-swept rocks.
 Essence
• During EDSA revolution the Philippines was placed under a martial
rule initiating a regime that supress the writers' right to free
expression.
• Post-Edsa literature publishing has been marked by
adventurousness, a willingness to gamble on "non-traditional"
projects.
• All for the retrieval and the recuperation of writing Philippine
languages other than Tagalog.
• The literary text is important to the 21st century literature for it
proves that we have fought and won or pushed through instances
that have lead us to where our literature is now.