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FOL-Chuckberry-Pascual-Kumpisal Mga pagkilala sa Kumpisal: Mga Kuwento Gawad San Alberto Magno for Best Creative Work (2017) Finalist, National Book Award for Short Fiction in Filipino (2016) Finalist, Gintong Aklat Awards (2016) Finalist, Madrigal-Gonzales Best First Book Award (2016) Iba pang libro ni Chuckberry J. Pascual sa UST Publishing House Ang Tagalabas sa Panitikan (2018) Salin ng Where only the Moon Rages ni Cristina Pantoja Hidalgo (forth- coming) Salin ng Ballad of a Lost Season ni Cristina Pantoja Hidalgo (forthcoming) Online orders: http://bit.ly/USTPHOrderForm /USTPublishingHouse /ustpublishinghouse Oh, bathala ng prosa, patawarin ang tulad kong sa gaya mo lang umaasa at nananampalataya. Ang huli kong kumpisal ay… teka, kelan nga ba? Nangungumpisal ako dahil naninibugho sa talas, tatas, tikas, timyas, tudla, tumbok, tutok, turing, tudling, tapang at tampal sa pamimili habang nagsasalansan ng salita si Chuckberry Pascual. Nangungumpisal ako dahil hindi ko naisip na nagawa nyang buhayin ang mga diskursong pilit inililibing ng/nang buhay/buhāy. Ikinukumpisal ko rin na lihim kong hahalakhakan ang ilang kontrabida sa mapangahas at namumusong na verso ni Pascual. Alam ko pong naglalaway sila ngayon dahil sa mutyang matyagang inabangan ni Chuckberry na mapasakanya (kaya siguro madalas syang naglalamay sa madilim na sagingan ng pagtunganga). Oh, bathala ng prosa, paanong nagawang muling maikwento ng koleksyong ito ang mga kwentong matagal nang napagkukwentuhan sa mga pondahan, barberya, parlor, kanto, eskenita, kalyehon at lansangan ng gunita ng bansa? Opo, nangungumpisal ako, na nagkasala, na sa una, inakala ko na luwal ito ng mga inaral, pinanday at pinakinis ng bokabularyo dela lengua de akademya at bulong, mahika at gayuma ng teorya (na mga may bertud lamang ng talinghaga ang magbabasbas para matawag ang akda na panitikan). Salamat at nagkamali ako. Kayat patawarin po ako matapos mangumpisal, dahil sa aklat na ito ni Chuckberry Pascual, muli kong natutunan na walang hanggan ang kapangyarihan ng wika, himig, tinig, panaginip, bangungot, himutok, nasa, dusa at hiraya ng sambayanan. Esprewkitektek kumbekbek! Eros S. Atalia May pwesto ng palmistry sa Quiapo Kumpisal mga kwento Kumpisal mga kwento Chuckberry J. Pascual UST PUBLISHING HOUSE Manila, Philippines 2015 Published by the University of Santo Tomas Publishing House Beato Angelico Building España, Manila 1015 Philippines Telefax: (63-2) 731-3522 • Tel. Nos. 406-1611 Loc. 8252/8278 E-mail: [email protected] Copyright © 2015 by Chuckberry J. Pascual ALL RIGHTS RESERVED. No portion of this book may be copied in any form or by any means—mechanical, graphic, photocopying, or stored in a database or any retrieval system—without a written permission from the copyright owners. Cover art by Donnie M. Teodoro Cover and book layout by Dawn Catherine P. Llanera Recommended entry: Pascual, Chuckberry J., author. Kumpisal : mga kwento / Chuckberry J. Pascual. -- Manila, Philippines : University of Santo Tomas Publishing House, c2015. xxiv, 178 pp. ; 23 cm. ISBN : 978-971-506-768-3 1. Short stories, Filipino I. Title. PL6063.P63 .P263 2015 Para kina Mama at Nanay Nilalaman Pasasalamat xi Pagkilala xiii Introduksiyon xv Magnanakaw 1 Balita 17 Berde 25 Tikbalang 41 Labingwalong Taong Gulang 45 Kumpisal 55 Mga Kotse sa Airport 61 Ang Mga Nawawalang Bangus 67 Baha 87 Ang mga kuwento nina Gabriel at Alejandro Gabriel at Alejandro 101 Boylet 113 Kapre 121 Sigbin 135 Ex pt. 1 149 Ex pt. 2 163 Pasasalamat Kay Cristina Pantoja Hidalgo, sa pagtitiwala sa manuskrito. Kina John Jack Wigley at Ailil Alvarez, ang Director at Deputy Director ng UST Publishing House, sa suporta. Kay Rolando Tolentino, sa pagpapaunlak na isulat ang introduksiyon ng libro, at sa pagtataguyod ng maikling kuwento sa Pilipinas. Kina Eros Atalia at Joselito delos Reyes, sa pagsulat ng blurb, sa pagtitiwa- la at pagkakaibigan. Kay Dean Michael Anthony Vasco at sa UST Faculty of Arts and Letters. Kina Ralph Galan, Augusto Aguila, at Anna Nicolas, mga kaibigan at kasamahan sa UST Center for Creative Writing and Literary Studies. Kina Adam David at Chingbee Cruz ng Youth and Beauty Brigade, sa pagtitiwala sa mga kuwento nina Gabriel at Alejandro. Kay Boy Abunda, sa pagsuporta sa Kuliti. Sa aking mga pormal at di-pormal na guro: Eugene Evasco, Luna Sicat Cleto, Rommel Rodriguez, Vim Nadera, Galileo Zafra, Corazon Lalu-San- tos, Paolo Ven Paculan, Joseph dela Cruz, Ronan Capinding, Bernie San- tos, at Jun Cruz Reyes. Sa aking pamilya na sama-samang nagpalaki sa akin at nagsilbing mga ma- gulang, kapatid, at kaibigan sa iba’t ibang panahon at pagkakataon: Mari- lou Julian, Carlito Pascual, Victoria Pascual, Geronimo Pascual, Roberto Pascual, Teresa Pascual, Jaime Pascual, Ricardo Pascual, Marilyn Julian, Triana Diestro, at Czherbob Acampado. Sa aking mga kapatid na sina Rie Yoshida at Hajji Espiritu. © Chuckberry J. Pascual • First published in 2015 by the UST Publishing House xiii No part of this file may be reproduced or redistributed for sale. Kina Maynard Manansala, Bernadette Neri, Tyron Casumpang, Nerisa Guevara, Ferdinand Lopez, at Jaymee Siao, mga kaibigan. Kina Eileen Marcelo, Ryan Louie Rivera, Allan Ray Jasa, Nico Estrella, Louie Mallari, Emmerson Lotho, Ericson Mojica, Sarah Raymundo, Pri- mo Ramos, Ryan Mark Lam, Olibert Bustamante, at Ranier Icasiano, mga kababata. Kay U Eliserio, ang may kasalanan ng lahat. Kay Donnie M. Teodoro, sa paggawa ng cover art, at sa maraming-marami pang bagay. xiv © Chuckberry J. Pascual • First published in 2015 by the UST Publishing House No part of this file may be reproduced or redistributed for sale. Pagkilala Ang ilan sa mga kuwentong narito ay unang lumabas sa mga sumusunod na publikasyon: “Magnanakaw,” Philippine Humanities Review volume 13 number 2 “Balita,” Philippine Studies volume 53 numbers 2-3 “Berde,” Likhaan 3: The Journal of Contemporary Philippine Literature “Tikbalang,” Kuwentong Paspasan “Labingwalong Taong Gulang,” Kadiliman: The Philippine Collegian An- thology of Critical and Creative Writing “Kumpisal,” Ani volume 36: Disaster and Survival “Mga Kotse sa Airport,” Kathang-isip: Mga Kuwentong Fantastiko “Ang Mga Nawawalang Bangus,” Likhaan 8: The Journal of Contemporary Philippine Literature “Baha,” Ani volume 33: Nature and Environment “Boylet,” Querida: An Anthology “Kapre,” Tomas volume 2 number 1 “Ex pt. 1” bilang “Ex,” Transfiksyon: Mga Kathang In-Transit “Ex pt. 2,” Dapitan 2015 © Chuckberry J. Pascual • First published in 2015 by the UST Publishing House xv No part of this file may be reproduced or redistributed for sale. Introduksiyon: Maaligagang pagninilay sa mga kwento ni Chuckberry J. Pascual ni Rolando B. Tolentino Bawat kwentista—mapa-nobela o mapa-maikling kwento man— ay naglalayong magkaroon ng sariling tinig na magpapaiba sa mga henerasyong nauna’t kasabayan niya, kahit pa may ugnayan din na ang tinig nito ay may kumbersasyon sa mga nauna’t kontemporaryo. Ang tinig ang pasaporte ng manunulat para makagalaw at umalagwa sa network ng panitikan, akademya, kultura, at sa maraming pagkakataon, maging sa politika (hindi ba, marami ring manunulat ay mga hayagang o ghost speech writer at biographer, ng mga politiko at iba pang nangangailangan ng kultural na kapital ng manunulat?). Sa huling usapin kasi, ang kultural na kapital o ang kakayahan ng manunulat na magkaroon ng panlipunang mobilidad batay sa kanyang kultural na kredensyal--na naitalaga sa mahaba- habang panahon sa pamamagitan ng pagkakamit ng mga parangal ng mga kultural na institusyon (Palanca, workshops, natatanging alumni, makata ng taon, writers’ prize, at iba pa)—ang tanging impetus ng manunulat na magkaroon ng sariling tinig. Paano magkakaroon ng sariling tinig kung ang iniidealisang tinig ay nakakamit sa pamamagitan ng pagkakamit ng mga pagkilala ng mga institusyon? Sa isang banda, ang kinikilalang tinig ay natatangi at hindi: natatangi dahil nahulma sa mahabang panahon ng panulat, susteynabol na pagsulat, pagaling nang pagaling na pagsusulat na siyang magpapa- combo meal sa mga parangal ng institusyon (hindi lahat ay pare-pareho ang makakamit sa maturasyon ng manunulat, kanya-kanyang kombinasyon ng pagkakamit at pag-angat sa mga kasabayan); hindi dahil malinaw din ang benchmark ng kultural na kapital sa panulat, para lang sa mga nakapagmaniobra sa mga parangal at disiplina ng mga institusyon (walang parangal, parating nasa laylayan, hindi aangat at makikilala ang tinig. Sa kabilang banda naman, walang tinig ang magkakapare-pareho. May pagkakahalintulad at maari pang magkakatulad pero walang © Chuckberry J. Pascual • First published in 2015 by the UST Publishing House xvii No part of this file may be reproduced or redistributed for sale. iisa lang ang pamamaraan at laman ng pagsusulat. Ito ang halaga ng individual na tinig dahil may pagpupunan ang bawat isa sa kapasidad na magkapaglarawan at makabuhay ng isang spero ng mundo. Ang panitikang bakla o kababaihan, halimbawa, ay nangangailangan ng bottomless na balon ng pagmumulan at pag-uunlaran ng kwento. Hindi kaya ng isang manunulat na mailahad lahat ng laman ng balon. Para sa mga panitikang may kasaysayan ng pagkaisantabi’t pagkaetsapwera, mas marami, mas politikal na makabuluhan sa paghihimok ng makabagong kaisipan at pagkilos, lampas sa akda’t tungo sa mas malaking lipunan. Marahil, tapos na rin ang yugto at panlipunang kabuluhan ng mga historikong nobela at pamamaraan ng pagkukwento, tulad ng Noli me Tangere, El Filibusterismo, Banaag at Sikat, o Ibong Mandaragit. Wala nang manunulat na aako na siya na at ang kanyang akda ay ang ito na! May nangyari
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