Archive for July, 2009

In Protest of Caparas as National Artist

Today, Gerry Alanguilan wrote down his reasons why he stands in protest against the proclamation of Carlo J. Caparas as a National Artist for Visual Arts and Film. I believe that as a comic book illustrator, collaborator, and artist, Mr. Alanguilan is far more qualified than I am to reject and protest this decision by the National Commission for Culture and the Arts. As such, I can only write this as a reader of komiks, as an avid viewer of Filipino film, and – as a writer – an artist in my own right.

The criticism and the appreciation of art is subjective. Sucks, but there is some truth – at least in the case of writers and poets – to the belief that people who read books write books, people who make paintings appreciate paintings, and people who write and sing songs are at the forefront of praising and lambasting songs. Yet that does not mean we cannot appreciate and criticize art from the objective position: art, as they say, for art’s sake. People read komiks, read books, and listen to songs without having to make them for a living like we do.

I do not know Carlo J. Caparas personally to pass judgment upon his person, but I believe that within the bounds of the fair and the just, I am free to criticize his art. From what I do know, he is not an illustrator: he is a collaborator. All art may be collaboration, but I believe it is dishonest and disrespectful to his collaborators to award the distinction of National Artist to him and him alone. More than that, though, I believe that even the most postmodern of art must have respect for tradition. Before Caparas, there were the likes of Mars Ravelo, Larry Alcala and Francisco V. Coching who have built the foundation of Filipino komiks; the very hallowed ground where Caparas and every komikero now stands on.

On that ground, I protest the seeming disregard for tradition by the NCCA.

Carlo J. Caparas is being commended for his achievements in film. I will not claim to have watched every Carlo J. Caparas movie, but since the National Artist distinction is an honorific for achievement, let us settle on that. A National Artist for Film should be rewarded and recognized for his or her cinematic achievements: the corpus of cinematic work that Caparas has under his belt is a laundry list of massacre movies and komiks crossovers. It pains me, in more ways than one, that this year’s National Artist for Visual Art and Film is responsible for movies that fail at every trope and level of production, writing, research, and execution (an example: “Tirad Pass: The Story of Gregorio del Pilar”).

On that ground, I protest the seeming disregard for artistic value by the NCCA.

On the one hand, we can believe that the distinction of National Artist is a titular distinction on a piece of paper. We can believe that the distinction of National Artist is not necessary to create good art. We can believe that we have too many honorifics for artists in this country. Yet I believe that in a nation where artists receive so little in the way of compensation and fulfillment, where art is magic but its practicality is tragic, the National Artist distinction should serve as an example of the quality of our artistic achievements. We may disagree on the theories of what makes art “art,” but the existing list of National Artists, while lacking, should stand as a standard of our artistic achievements as a people.

I am not a komikero, and I may have yet to establish my credibility as a writer, but the small voice that I have in the realm of art in the Philippines should stand with the movement started by Mr. Alanguilan. That within my Constitutionally protected guarantee as an artist to stand with the State to protect free expression through the arts and letters, I strongly disagree and stand in protest of Caparas as a National Artist.

July 29, 2009 33 comments Read More

State of Delusion: An Open Letter to President Gloria Macapagal-Arroyo

Madam President,

I do not hesitate to call you “Madam” not on the basis of respect or cordial greeting, but on the basis of its traditions. You are indeed a Madam: political royalty, among other things, an elite, a political butterfly masquerading as a figurehead of political unity. I write this letter in the interest of providing you with the State of the Nation, as experienced by a 24-year-old who happens not to be sheltered by delusional people in your circle, or trapped by the delusions of power. As a citizen, I am entitled to describe the state of my nation, but am not as privileged as you are to deliver it before a lectern in the Batasang Pambansa.

Towards your vision of a great country, towards First World status in 20 years, you have pledged reform after reform, bill after bill, project after project, that claim to improve the lives of the Filipino people. Yet the streets are filled with the hungry and the unemployed who have suffered the brunt of a financial crisis far worse than you can possibly imagine. The farms are fallowed and dry, thanks to an agrarian reform program that only works to serve the interests of landlords, not tenant farmers. The nets cast to the seas remain empty as the boats reach the shore, for as you focus on the imagined enemies of your Administration, our environment is in a shambles. Your laudable commitment to link all the island groups of the Philippines to a nautical highway is great and all, but the absence of national industries to take goods and products through this highway will leave it an extremely open road.

A commitment to a national industry, Madam President. While you attempt to paint a glossy picture of our country being a wonderland of outsourcing, you never looked at the other side of the portrait. The absence of a national industry forces us to become the back-office of the world, working not for our benefit as a people and as a nation. We need a purposeful commitment to things like science and technology to improve the lives of our citizenry; and to art, literature, and music to highlight our culture and our humanity.

As you travel the world shaking hands with the world’s leaders, the Filipino travels in a chaotic transport system. As you pride yourself on teaching, the young Filipino not only struggles to fit inside a crowded classroom, but also reads textbooks that are inadequate and grammatically incorrect. As you pride yourself on the invitation of another President, you cannot invite yourself to the scrutiny of the public who demand your side of the story. As you talk about drugs, you have refused to take a stand against drugs without approved therapeutic claims, and the specter of drug use still remains an ominous shade in back-alleys and even open markets.

Your Administration may have had 365 days to do it this year, and that is a very limited time. The past 8 years, though, is an extended grace period that we will no longer tolerate.

This year, the Government made the grievous mistake of threatening the survival, sovereignty, and unity of the Philippines thanks to the Bangsamoro Juridical Entity – Memorandum of Agreement. This year, thousands of Filipinos lost their jobs in shoe factories, in chain restaurants, in BPO facilities, tire factories, small cottage industries. Things like corruption, scandal, accountability, and transparency, were not addressed in the SONA. The state of the environment – the degradation of the Sierra Madre, Diwalwal, the Cordillera, the seas and oceans and rivers – were name-dropped in your SONA. The very unity to exhort us to do is the very unity you compromised and destroyed.

The disgust and revulsion that threatened our Constitution in the form of HR 1109 was not discussed, not in passing and never even mentioned, in the SONA. Your blatant disrespect for history, the Constitution, and the laws of the land were things you swept under the rug. Political killings, the silencing of dissent… these are things not at all addressed in the SONA in favor of signing passages for treaties not useful (or irrelevant) to us, name-dropping, acknowledgments, and self-aggrandizing behavior that borders on the tasteless, and certainly crosses the border into shameless. Your critics call it dictatorship. You call it determination. Madam President, I call it like I see it: a sham.

The state of the nation is exactly that, Madam President: a sham. A nation plagued by the scandals of its own Government. A nation mired in the miasma of neglect and selfish interests. A nation framed in the struggles of poor families, the unemployed, the children who starve, those who have given up and surrendered their rights because the Government offers no hope and no way out of the impasse of corruption it has created for itself to stay in power. Power is far more important to you than principles of fairness, justice, and freedom.

To you, Madam President, this advice: if you really want something done, do it sincerely, within the bounds of the just, the moral, the ideal, and the prudent. Do it true, get it done. Don’t keep switching a foot. Respect the true. And don’t distort the truth in the face of the public.

As you crunch out the numbers to validate your claims, those who are not cocooned in corporate privilege or government privilege do not feel, nor do they benefit, from the changes and reforms you brag about. They remain poor, starving, lacking in education, denied, cheated, hoodwinked, betrayed by the very Administration that is willing to sacrifice the needs of the many for want of personal glory.

As your staunchest supporters spew forth paraphrases of Goebbels and Castro, know this: history is not the future, nor does it await legacies. History is a judge of the here-and-the-now, and will judge you on what you do today. You do not dare put yourself on the same pedestal as a Bonifacio, or on the same plane as Cory Aquino, if not for your audacity and desire to cling to power.

Kung sa kasaysayan ka umaasa para malinis ang iyong pangalan, iminumungkahi ko na gawin mo itong batayan. Nagsasalita lamang ako para sa sarili ko: hindi ako matitinag ng iyong kasakiman. At lalung-lalo nang hindi ako papayag na papatotohanin ang iyong mga kasinungalingan. Higit dito, hindi ko isusuko sa iyo ang aking karapatan at ang aking kinabukasan. Tama na, sobra na, sawang-sawa na ang mamamayang Pilipino – kabilang ako – sa iyo.

Sa kalayaan, sa hustisya, sa nararapat, sa tama, at sa Bayan, Madam Gloria Macapagal-Arroyo: sabihin mo ang totoo.

Mabuhay ang Pilipinas, at maraming salamat.

(Added September 1, 2009: For purposes of verifying nominations for the Ten Best Posts of the Year for the 2009 Philippine Blog Awards, this code: PBA09prn98r6)

July 28, 2009 25 comments Read More

The Rainer Maria Rilke Translations

Normally I would write a piece dripping with so much contempt, righteous indignation, and anger over the matter of Gloria Macapagal-Arroyo’s State of the Nation Address. Normally I would mock her choice in dress, dress down her address, and tell my readers to seek redress. Yes, it was a silly-looking dress, wasn’t it? I could have sworn she looked like a cross between a Pokémon and Grimace.

Then I figured everyone will be doing it anyway.

See, if the President would have said something substantial worth criticism and wasting petiks on, then it would have made sense to make something dripping with so much contempt, righteous indignation, and anger. Yet because she did nothing but make self-aggrandizing, self-vindicating statements bordering on vendetta and desperation, I will spare myself the indignity of dignifying the President’s rant with a comment: I will NOT talk SONA today.

Anyway, this weekend, my friend Bigenya Tweeted some very interesting and inspiring quotes from Rainer Maria Rilke. It’s only lately that I got in touch with my “literary” side, so I decided to grab what I can of Rilke’s poetry (save for those discussions of “The Panther” in English class), and found myself completely awestruck.

Normally I’d play the “I’m a lyrics translator” card, but I decided that maybe I’m not just for lyrics translations. The whole translation deal just became almost automatic for me that I translated what I can of Rilke’s works. Not that I’m good at it, not that I’m a writer, and not that I’m a poet or anything like that, but I just decided to unwind by giving myself a headache.

So to protest a one-hour speech by an illegitimate President in the throes of calling a dictatorship, I am sharing ten – that’s right, ten - translations of ten poems by Rainer Maria Rilke. Only because I’m a lyrics translator and I can translate (in passing) lyric poetry. And yeah, that’s how I roll.

1. Nadarama Sa Pagdating

“Sense of Something Coming”

Isa akong watawat sa gitna ng malawak na lupain.
Nadarama ang hangin na parating, at marapat na mabuhay
kaharap nito.
habang di pa nagbabago ang mga bagay-bagay sa mundo:
maingat pa rin ang pagsara ng pinto, at ang silungan ay pugad
ng katahimikan,
di marinig ang kalampag ng bintana, at ang abo’y di pa natatangay.

Alam ko na ang bagyo, ang hinagpis ko’y tulad ng alon
Ako’y tatalon palabas, mahuhulog,
Itatapon ang sarili ko palabas, at ako’y nag-iisa
sa hagupit ng bagyo.

2. Kamatayan

“Death”

Halina, ang kahuli-huliang aking napapansin,
di-matiis na sakit sa tela nitong katawan:
pagkat ako’y nasusunog sa aking kaluluwa, at ngayon sa iyo din:
ang kahoy na matagal nang iniiwasan ang parating na apoy
na iyong pinaaakyat, at ngayo’y aking palalakasin
Dito liliyab.

Ang mahinahon kong pagkatao sa iyong marahas na galit
ay naging mainit na impyerno na di galing sa mundong ito
Puro, malaya sa mga pagbabalak, ako’y tumayo
sa buhol ng panggatong na ginawa para sa aking pasakit,
siguradong wala nang bibilhin pa sa hinaharap
habang ang laman ng aking puso’y nanatiling tahimik.

Ako pa nga rin ba, na doo’y nasunog ang mga gantimpala?
Di ko man lang kinuha o ipinasok ang aking mga alaala.
Buhay! Mabuhay! Ngayo’y nakalabas na!
Ako’y narito pa rin sa apoy, kung saan sa aki’y walang nakakakilala.

3. Awit

“Song”

Sa iyo, na di ko sinasabi buong gabi’y
Ako’y lumuluha,
nadarama sa iyo, ang iyong pagkatao’y
tulad ng kanlungan.

Ikaw, na di mo sinasabi, na ikaw din ay nananatiling gising
at iniisip mo ako:
ano na, kung pasan pa nating dalawa ang pagnanasang ito
na hindi tayo nagugulat o di kaya’y nabibigatan,
kaya ba nating pakawalan?

Tignan mo ang magsing-irog, nasasaktan ng pagmamahal
na kung kailan sila’y nagsimulang umamin
sa isang iglap, nagsinungaling!

Dama ko sa iyo, ako’y mag-isa. Mga guni-guni:
sa isang sandali ikaw, susunod ang ihip ng hangin;
isang bango’y darating, lilisan, di magtatagal.
Oh, sa aking mga kamay nawala lahat ng aking minahal!
Ikaw lamang ang natitira, pinapanganak sa bawat sandali.
At dahil di man lang kita nahagkan, hahawakan kita sa isang saglit.

4. Ang Makata

“The Poet”

Sandali ng aking diwata: bakit mo ako iniwan
Sinusugatan ng iyong pakpak, sa tuwing ika’y lilipad?
Mag-isa: ano ang mawiwika ng aking labi?

Paano ko palilipasin ang aking mga araw? Ang aking mga gabi?

Wala akong mamahalin. Wala akong matutuluyan.
Walang gitna na magbibigay saysay sa aking buhay.
Lahat ng bagay na ibinibigay ko sa akin ay yumayaman
ngunit iniiwan akong nasayangan, naghirap, nag-iisa.

5. Ang Kapitbahay

“The Neighbor”

Kakaibang violin, bakit mo ako sinusundan?
Sa ilang siyudad sa ibayong dagat ka
nagsalita tungkol sa ating malulungkot na mga gabi
Daan-daan ba ang tumutugtog sa iyo? O iisa lamang?

Sa lahat nga ba ng tanyag na lugar may taong
na sa sakit at sa poot ng damdamin
ay hinanap na ang ilog na matatalunan, kundi dahil sa iyo?
At bakit ang iyong musika’y umaabot lagi sa akin?

Bakit nga ba ako laging kapitbahay
sa mga nawawala, sa napipilitang kumanta
at sabihing: ang buhay ay higit na mabigat
kaysa sa bigat ng mga bagay-bagay.

6. Pag-Iisa

“Loneliness”

Ang mawalay at maging mag-isa ay tulad ng ulan.
Umaakyat patungong gabi mula sa karagatan;
mula sa kapatagan, sa matirik, sa malayo, umaakyat
patungong langit, ang dati nitong tirahan.
At tanging sa paglisan nahuhulog ang langit sa siyudad.

Umuulan, nababasa tayo, sa mga madaliang
oras na kung saan ang mga kalye’y haharap na sa umaga,
at kung ang dalawang katawan ay wala nang mahanap,
nanghihinayang at naiiyak, lilipat na lamang;
at kung ang dalawang taong kinamumuhian ang isa’t isa
ay matutulog ng sabay sa iisang kama -

doon, ang pag-iisa’y tatanggapin na ang mga ilog…

7. Nahuhulog na mga Tala

“Falling Stars”

Naalala mo pa ba ang mga nahuhulog na mga tala
parang mga matulin na kabayo sa karera sa kalawakan
at bigla na lamang tumalon papalayo sa harang
ng ating mga pangarap – naaalala mo pa ba? At
marami pala tayong ginawa! Pagkat sadyang kay daming
mga tala: bawat sandaling tayo’y tumingala tayo’y
namangha sa bilis ng kanilang kakaibang laro,
habang tayo’y ligtas sa kapahamakan sa ating mga puso
pinapanood ang mga kumikislap na bagay na masira.

8. Awit Ng Pag-Ibig

“Love Song”

Paano ko maitatago ang aking kaluluwa, para
di nito salangin ang sa iyo? Paano ko ito maiaakyat
sa sapat na taas, palayo sa iyo, sa ibang bagay?
Gusto ko itong kupkupin, sa malayo
at nawawalang bagay, sa lugar na madilim at tahimik
na wala akong maririnig kung ika’y parating?
Ngunit ang llahat ng bagay na humahaplos sa atin
ay nagpapalapit lamang sa atin tulad ng kwerdas ng violin,
na iisa lamang ang boses sa tuwing ito’y tutugtugin.
Saang instrumento ng musika tayo napapabilang?
Sinong musikero ang humahawak sa ating dalawa?
O, kay tamis na awitin.

9. Tibok ng Puso

“Heartbeat”

Tayo’y labi lamang. Sino ang umaawit para
sa malayong puso
Na naroon sa gitna ng lahat ng bagay sa mundo?
Ang higanteng tibok ng kanyang puso’y napunta sa atin
gaya ng maliliit na pulso. At ang kanyang higanteng hinagpis
ay, gaya ng kanyang higanteng saya, masyadong
malaki para sa atin. Kaya tayo’y lalayo’t lilisan
mula sa kanya sa magkabilang uli, maiiwan lamang
ang labi. Ngunit di inaasahan, pawang lihim lamang
ang higanteng tibog ng puso’y papasok sa ating katauhan
at tayo’y sisigaw – ,
at magbabago ang pagkatao at sa panlabas na anyo.

10. Larawan ng Aking Ama Bilang Isang Binatilyo

“Portrait of My Father as a Young Man”

Sa mga mata: pangarap. Ang kilay, parang nadarama
ang hinaharap. Sa mga labi, sadyang kay gandang
kapreskuhan – kaaya-aya, ngunit walang ngiti.
Sa ilalim ng mga telang nakatirintas
sa kapita-pitagang uniporme ng opisyal:
ang hawakan ng espada. Dalawang kamay ang
nakahawak dito, walang pupuntahan, kalmado
at ngayo’y halos di makita, na pawang sila’y
ang unang humawak sa kung anuman sa malayo, at nawala.
At ang lahat ay tila nawala na sa paningin
maulap, mailap, di ko maintindihan
ang aking nakikita hanggang ito’y nawawala na lamang.

O, kay bilis maglaho ng larawan
sa aking mga kamay, na tila unti-unti rin na nawawala.

July 27, 2009 0 comments Read More

Sausagery

In Private Parts, Howard Stern made a reference to a guest on his radio show who can swallow a whole kielbasa. To the censors, the stunt “obviously” meant deep-throat oral sex, but to Stern, it was just the simple act of swallowing a sausage; it was one of those “believe it or not” things that have a “sexual connotation.” The woman did end up swallowing the kielbasa, but the stunt was just one among many woes Howard had to face in his radio career.

In the United Kingdom, though, kielbasa freak shows are the least of anyone’s worries, at least for the Advertising Standards Authority. Reuters reports that Kerry Foods, manufacturers of Matteson’s Smoked Sausages, is now under fire for “employing sexual innuendo” to advertise its sausages. Examples include:

“Think about all the things you can stick this tasty, extraordinarily large sausage in.”
“Mmm… Pizza, pasta, stir fry. You have any ideas? Give me a call and tell me where you like to stick it.”

I guess you would stick it in a frying pan. Or a skewer. Maybe when cooked, you would stick it on a bun.

I’ve always believed that censors suggest the very things they want to censor; if there’s any dirtier mind out there, it would be those who want to take charge and control our morals. I met a very religious man once who swore by the word of the Bible, but refused to acknowledge or teach anything from the Songs of Solomon on account of “porn.” I was half-expecting him to call me a Godless heathen Sodomite.

Thanks to the inherent sex-crazed maniac in every (sexual) watchdog organization on Planet Earth, I think that it would be impossible to market a sausage in a politically correct market. After all, you’re selling ground meat in a casing, which to the mind of the censor would have anything and everything to do with penises. In the Philippines, where no sausage is sold on TV (hotdogs are not sausages, they’re made of mechanically-separated meat parts, not meat), you’ll have a lot of problems to deal with. Descriptions, like:

Malaman, natural na katas, mula sa pinakapino at malasang giniling na karne.
Sa umaga, sa gabi, o simpleng meryenda. Siksik sa laman, almusal man o hapunan.
Masustansya. Mataba. Abot kaya sa bulsa.

Can we describe our local sausage links in that fashion? Paging the censors.

POSTSCRIPT: If you’re a parent, yeah, I’m doing everything against my will to corrupt the minds of your heathen children.

July 27, 2009 1 comment Read More

Enough

I am against Con-Ass. I oppose Charter Change. Not because I am an oppositionist, and not because I am a Government destabilizer.

The attempts by the Administration to change the Constitution are claimed to be principled and committed stands for change. Yet the push for a Constitutional Assembly, as it stands now, is consistent with the outright and deliberate demands and desires of This Government to perpetuate itself in power. It is consistent with the outright and deliberate attempts to silence dissent and opposition. It is the outright and deliberate desire to bastardize the document that stands for our country and our people.

I oppose Con-Ass and Charter Change for precisely those reasons. I oppose tyrrany, deception, and imprudence, reflected in every single antecedent that leads to tomorrow’s sales pitch for Cha-Cha. The lackeys and henchmen of This Government may say all they want about history absolving Gloria, but the fact remains that she is not absolved in the here and now. Any act of absolution is only possible with sin, and that the act of tampering with the Constitution for selfish ends and whims is a sin that cannot – in the present or in the future – be forgiven or absolved.

The abracadabra of This Government is that Charter Change will lead to reforms and good governance. The claim is that through Charter Change, the institutions that have become “barriers” to national development can be reformed, and certain amendments in the text of the Constitution can help improve the lives of the citizenry. It does not, it cannot, and it will not. The people will not wait for twisted legacies, or the judgment of a twisted sense of history, to things they are entitled to now, or for things that they have long been denied.

The people need food, now. The people need shelter, now. The people need employment and education, now. The people demand transparency and accountability in Government, now. If these are things that the Government cannot address, if these are things that the Government continues to set aside in favor of near-sighted foresight, then they have no business in their regime. A Government that glosses and obsesses itself with legacies and histories is one that fails. More than that, a Government that refuses to learn from the lessons of the past, denies the needs of the present, and is hallucinating over its future has no business being a Government.

They need to go. Not only because it is just, not only because it is proper or that it is fair, but because it is time. And Heaven forbid that I echo the words I wrote more than a month ago, it is not without a sense of shame that they must be repeated again and again until we have had enough, and that this seed of a dictatorship masquerading as a steward of our Republic has had enough.

I oppose Con-Ass. I oppose Charter Change. I am a citizen who has had enough, and I have had enough of the regime of Gloria Macapagal-Arroyo.

July 26, 2009 3 comments Read More

The Mode is About to Change

Ah, apple pie a’la mode. There’s nothing like a hearty, warm slice of delicious apple pie: the flaky crust, the tart yet sweet apple filling tickling your taste buds with molten butter and brown sugar, the scoop of ice cream to cleanse the palate.

These days, the only mode I’m interested in is a’la.

Modes. There’s modality in the sociological sense: as Giddens writes, modes define the existence of social structures, how they work, how they enable and constrain. There’s the modality in linguistics and, to a certain extent, philosophy: the actuality and the possibility, the “is” and the “ought to be.” There’s kain mode, work mode, acads mode, the kung-anu-anong mode.

For one, the word “mode” as anik-anik; the “uhmmm” and “aaah” of writing. Burloloy would refer to the tildes, umlauts, and other diacritical marks used by kids to artsy-fartsify their names, while words like “chuva” and “chenes” are extremely useful if you’re at a loss for words.

“Mode,” however, is something I don’t completely understand. I overthink; not in a pa-intellectual mode (grrr), but just because I’m bored. So allow me to mumble incoherently in written form.

Once you’re already performing the action, or if you have resolved to perform the action, the mode ceases to exist. After all, there are no possibilities anymore. Of all the possibilities at work, for example, you chose petiks mode; once you’re petiks-ing, the rest of the modes are no longer there, so you’re in the act as much as you are doing it. The proper term would be to petiks-act.

With all those modalities, you have to make differences between the modes that you speak of:

Deontic modals, or the ought-to-be, and;
Epistemic modals, or the thought-to-be.

Or:

Dictum: what is said, and;
Modus: the manner by which it is said.

A mode is either an inference towards a truth or the truth itself. When you say jackol mode, for example, what is communicated is not clear at all; we merely arrive at the conclusion that there is a possibility of masturbation. Heck, it may not even be a possibility available to you. We cannot arrive at an ontological, much less epistemological, reality of your genitalia anyway, because it’s just “jackol mode.”

More than that, you’re always in a mode: every mode will open you up to so many other modes anyway, so you’re only denying yourself so many other modes by acknowledging only one possibility as a mode. When, in fact, everything in the world that you can do something with is a wellspring of modalities. Take kain mode: there are those things that you can make kain, there are things on how you can make kain. You can also have a mode in, say, picking purple blossoms that fall from the Jacaranda tree. Jacaranda mode, so to speak, but you can make a didgeridoo or a guitar from the Jacaranda tree, anyway.

Of course, you wouldn’t go through all that thought that will probably get you to sleep mode.

With all that overthinking done and over with, the qualifier/verb/whatever it is “mode,” is just that: anik-anik, a useless expression, a word that, in the grand scheme of things, is a modality upon itself (a mode mode, so to speak). When accompanied with sT1CkY cApZ and all that shit, though, the mode is about to change.

What I feel about apple pie a’la mode, though, doesn’t.

July 25, 2009 0 comments Read More

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