Issue 60 | Poetry | April 2025

‘Seeing the Ray’ & Other Poems

Jose Luis Pablo

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

Seeing the Ray

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.

Safe and Sound

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.

Jazz

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

Cover Image

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

Author Photo

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.