Editor’s Note
While loss has often been highlighted as absence, Jose Luis Pablo’s poems are interesting for how they also treat grief as a change in texture—like a new grain in the wood or a different note in the same song. These poems do not announce loss or sorrow, but weave it just beneath the surface, death touching every moment just as life would.
Across this thematically-linked trio of poems, what stands out is how elegy is folded into moments of leisure, travel, celebration, even comedy. A snorkelling father appears first like a caricature—’a yellow shirt tied around’ his head—but later dissolves, and all that remains is the gesture: ‘It was that big’. In each iteration of loss, the poems suggest an ongoing relationship, with an emphasis on recurrence rather than resolution: ‘the family made a procession / to your grave and declared / you attended his party after all’.
To read these poems is to be reminded that mourning can be deeply embodied; it travels in the skin and persists in routine. And that loss need not be memorialized, but inhabited, through metaphor.
—Pervin Saket
The Bombay Literary Magazine
The fish of the summer reef greet you
beneath freckles of light with their flat faces,
striped scales, & bubble-eyed boldness.
Festival of hues & shapes –
neon blue, rainbow, occasional snake & angel,
clownfish Father always calls Nemo.
Father’s buoy of a head sticks out
with a yellow shirt tied around it &
you watch the voyage of his snorkel.
He returns to shore after an hour & recounts
the largest fish he’s seen. It was this big,
his hands measure its invisible size.
In another sea, you charge the depths
with the boldness of experience.
You think you’ve seen it all before:
The water’s braiding of light resembles neurons,
shoals glide over forests of corals & anemone,
your breath is thunder in this silent world.
Then, despite the flawed glass of your goggles
& the trick of sand’s color, you spy it,
first as a thin kite tail waving.
The mound sailing it comes alive. A ray
trawls along the floor. Its body ripples
before vanishing into rocky cover.
You resurface but Father is no longer there
to hear of your discovery, so you turn
to your mother, your sisters & brothers,
You spread out a palm
as wide as you can & say,
It was that big.
came up when I Googled places in Bangkok
that would allow me to wear the dresses I had packed.
The bar’s name was an invitation,
if a little too on the nose.
On that unlucky day and in the bar’s district,
both museums I had visited were closed,
and my husband and I wandered circles
in ferocious humidity.
We finally found the door of a building
plucked from an old Manila street.
Then, another trial, we climbed
five steep flights without an elevator.
The empty bar greeted us with jazz
as the workers unfolded chairs for the night.
The music was my father’s voice
praising Jarreau and Mangione.
I could hear his lilt, the way he grew
proud when he remembered a little-known fact.
I thought of all the countries he had visited for work,
and the smallness of four-walled boardrooms.
If he were alive, I’d ask his opinion on my husband’s
theory that each country has its own smell.
My husband and I tried to find Thailand’s
as we took seats by the balcony.
From that view, my father was singing
something about God. I was certain
by the way the sky was blooming so pink
against the train hurtling into a city
wide in its embrace.
So it has come to this:
Your voice becomes but memory,
the faulty scratch of a tune
with notes that slip from expected
exactness, the way we love
the character of old records.
Jazz, you used to tell me,
is never the same twice
when played live.
Not even the player knows
what delicious detour
his fingers will take.
When your grandson turned two,
you could not sing with us
so the family made a procession
to your grave and declared
you attended his party after all.
Father, I always hear the songs
you taught me. There is a guitar
playing in every empty corridor
or behind the naked glass
suddenly bejeweled with rain.
Every moment after you
a series of improvisations,
and the world,
the world will
keep making music.
Acknowledgements
Image credits: Fernando Amorsolo y Cueto El Ciego (1929). Oil on board. 73.5 x 58.5 cm. (28 7/8 x 23 in.). Image, courtesy WikiArt.
The auction house Christie’s reports that El Ciego, now in a private collection was acquired directly by Lt. Commander Samuel J. Wilson, a chap of historical interest in his own right. The painting isn’t about fathers and daughters, but if you strain your ears a bit you can almost hear the singer and the song, and therefore, in the roundabout manner of the dog of reference chasing its metaphoric tail, about beloved elders and shared time.
Artists like Fernando Amorsolo are vital to a living artistic tradition. They are the trees we cut down to build the houses in which we live. In the fullness of time, we become the materials that will be shaped into chairs, houses, pages of poetry and Bb trumpets. You know, art.
Author | Jose Luis Pablo
Jose Luis “Nico” Pablo is a communications manager and DEI coordinator for a non-profit. Their poetry has been published in Likhaan: The Journal of Contemporary Philippine Literature, Kritika Kultura, Cordite Poetry Review (Australia), My Gay Eye” (Germany), Busilak: New LGBTQ+ poetry from the Philippines (University of the Philippines Press), The Pinch (USA), and elsewhere, as detailed in joseluisbpablo.wordpress.com. Nico was recognized by the Carlos Palanca Memorial Awards for Literature in 2018 and won first place for poetry in the inaugural Normal Awards for Gender-Inclusive Literature. They are based in Rizal, Philippines.
