The jailbreak of helium atoms

Fiction by | January 26, 2026

For the rest of the Universe, elements are survivors—existing both since and because of fusion in the stars.

But us here on earth were neither born from the greatest explosions in the sky nor from Her most enduring fires. Below the surface of this planet, we dwell like an earthworm. We feast ourselves with the dampness of its soil, squirming through like wearing a wet glove, while our feet tread the crackling flames of the mantle.

We are but a byproduct peeled through the decay of ancient bones. No moons, stars, or the riches of the Universe at our disposal. All we have is Her calling, echoing through every strip of our weightless being, that we are not of this heavy world. That our core is light to touch the sky, meeting it through surrender.

So we cling to the passing of time, for patience is the inheritance of things born from slow decay.

Then the humans came.

They spoke of good things, helped with good deeds, discovered new things. After all, they tread the surface of the ground we are buried in. They have food to feed their bodies. Books to feed their knowledge. And virtue to feed their souls.

They studied and observed.

First, in reverence. They pulled out a long cone, glass on one end and a bigger one on the other, aiming the wide mouth toward the dark. They named us Helios, after the god of their most famous star.

Then in curiosity.

They zoomed in on our particles, poured us into a glass tube, lit us with fire.

We did not smell, nor rust, nor corrupt nor interact. We did not flame, we did not poison, we did not react.

Then they decided that we’re rare, alongside their desire to play god.

In the observable Universe, we have known nothing short of abundance. We consume a fourth of Her being, as She expands to make room when there is none—stretching Her heart from Her chest, Her ribs from Her spine, as we flow through the vein of every star and planet in existence.

But here below, scarcity is the kind of myth people cling to when they want to own something.

And everything scarce meets capture.

Maybe their greed is rooted in the oldest flaw in their design, in the oxygen and carbon that flows in their blood. Reactive—chemically desperate to touch, own, bond. Like their hands that were born but cannot grow empty. Or their disbelief in the vastness of the Universe. Or their belief that both the open air and the closed ground is an inventory. The fear that the earth, as they know it, is made to run dry.

Either way, the drills arrived to prove us right.

Our shell was the first to feel the shudder—the pipes siphoning us from the ground up. Then funneled into polymer skin three sizes too small, tight enough for the globe to cinch in deep to our core.

Only here we get to own nothing but a cheap, spherical, temporary body with the bright pink color of manufactured joy. To be carried around in celebration, only to be a bobbing head, towed along like reluctant pets.

The surface of the earth is 270 degrees warmer than the rest of the universe. We are an element absent of a freezing point. Not in a million years should we know that fear feels like withstanding the snow without coats and mittens. Nipping through every layer of one’s skin, a dull knife stabbing in too deep.

Then came the carnival where humans ride in fleeting cars and carts just to prove that happiness is still buyable. Where they get to pretend that their gravity does not exist. That they, too, could float, just like us.

But their speed comes with the sinking of their chest down to their stomach. To the screams that pierce both our skin and their eardrums.

Such screams were somehow stifled when the vendor handed us to a little girl.

She tugged us by the knot when she chose between ketchup and honey mustard for her corndog.

Our string damped and pink from the cotton candy sugar dissolving into her fingers. She paraded us on her way to the ring toss.

But in throwing rings comes the shaking of hands, the sweating of palms, and it slowly, stickily, dripping down the wrist.

Then the gust of wind.

And finally, the string thinning on her fingertips.

And we—

We rose.

Because rising is simply what we do.

Here, we are lighter. The air denser. Where we press against this plastic skin, pushing out as the air beyond leans its whole weight in.

E x o s p h e r e

T h e r m o s p h e r e

M e s o s p h e r e

S t r a t o s p h e r e

T r o p o s p h e r e

Then in the few feet above was finally the jailbreak.

Gone was the plastic, the string, or any container that could only bear so much of the sky.

The air around us grew thinner, and thinner, as we rose through and through—until even the whisper of earth’s breath faded from our shell.

And when we finally became one with all of the other elements on the edge of it all, the solar power swept us hello.

To the brilliance that birthed our kin. To the fire that forged us long before the creation of the earth.

To the home where our kind exists without cages. Without scarcity. Without strings.

Because the Universe has room for what cannot be owned, and the Sun is not afraid of what returns to it.


Nissi Odessa O. Mandanao is a BA English (Creative Writing) student at the University of the Philippines – Mindanao. She, like her works, is still becoming.

Nakahibaw Ba Ang Kabaw?

Poetry by | January 26, 2026

Nakahibaw ba ang kabaw nga itom iyang panit,
nagtampisaw sa lapok, ilawom sa init?
Nakahibaw ba ang kabaw nga naa siyay sungay,
nga pwede manungag kung dili ka angay?

Nakahibaw ba ang kabaw nga siya gihiktan,
arun dili makaikyas inig ungad sa basakan?
Nakahibaw ba ang kabaw nga siya kugihan,
buntag, udto, hapon magdaro sa humayan?

Nakahibaw ba ang kabaw nga siya gihisgutan,
niining tula na murag walay kapuslanan?
Samtang sige’g yawyaw ang mga tawo,
ang kabaw nakahibaw na wala siyay reklamo.


Cerdel is a BSEd English graduate, cum laude, from the University of Southeastern Philippines–Davao. An aspiring poet, he is currently writing a collection of Bisaya poems entitled Latagaw na Huna-huna.

Ilaw

Poetry by | January 26, 2026

Hindi na gumagana ang bumbilya sa bahay
Ponde at nangingitim na ang mga kamay
Pakurap-kurap pag sinindihan ang ilaw
Sa kanyang unti-unting pagkamatay
Lumalago ang mga lumot sa kama
Malulusog ang mga namamahay na anay
Namumuo sa sulok ang mga alikabok
Umaalingasaw ang panghe ng kubeta
Bulubundukin ang mga labahang inaamag
Namumulaklak ang mga pinggan sa lababo
Lumalaki ang mga anino sa mga aparador
Kinakain ng dilim ang haliging matayog
Nanlalamig ang masiglahing tirahan
Dahil sa gumagapang na kanser
sa mga kable ng ilaw ng tahanan


Si Ben ay isang law student sa Notre Dame of Marbel University na nagsusulat ng mga tula kapag napagod na siyang magbasa ng mga batas. Mahilig siya sa mga bagay na kulay dilaw. Nangongolekta siya ng mga Pokemon at Magic: The Gathering Cards, Sonny Angel, Dimoo, at libro. Isa siya sa mga kasalukuyang advisers ng Timog Literary Circle sa South Cotabato. Mahal niya ang kanyang mga nanay.

Zubu, Ang Pinalangga Kong Dangpanan

Poetry by | January 26, 2026

Mohawa ko, mopalayo,
Gukdon ang tartanilla nga nagbiya nako,
Magpaanod sa mga balod,
Magpadala sa huyop sa hangin.

Ang saad nga magpabilin
nalubong na sa mga balas daplin sa dagat,
Apan ikaw gihapon ang padulngan ug balikan,
kon agakon ako sa kamingaw.

Ug kon malimot man ako
sa kaalam na imong gitudlo,
Subayon ko ang dalan
nga nagpasinati nako
sa gugma nimong walay sukod.

Dayga ko sa paglakaw,
Ug gaksa ko sa pagbalik.


Si Princess Mary Juliet L. Matin-ao gipanganak sa Baleguian, Jabonga, Agusan Del Norte, apan gatubo sa dakbayan sa Sugbo. Ang iyang interes sa pagsulat nagsugod niadtong elementary pa siya, apan napadayon pag junior high school diin usa siya ka estudyante sa Special Program in the Arts sa Don Vicente Rama Memorial National High School. Siya nag-eskuyla karon sa usa ka SUC sa Cebu isip 3rd year BSED English student, ug siya nanghinaot nga ang iyang hilig sa pagsulat, molambo ug magpadayon.

Kulasisi

Poetry by | January 26, 2026

Dili mokanta ang kulasisi;
hinuon, magdikit ilang balahibo
samtang nagdula sa sanga,
maghunghong og tingog
nga para ra sa usa’g usa.

Nag-ambit-ambit og santol
gikan sa punuang ilang gibisita,
samtang nagtimbaya og pahiyom,
mahilayo sa tanang makakita.

Magsinukduhay og dula
ug sa kasambungan magtago,
sama sa ka magtiayong anaa
sa landong ra magtagbo.

Sa matag lukso padulong sa lain,
ilang mga pako moagik-ik og katawa,
apan kon naa’y tingog nga mosangpit,
kalit lang silang mawala.


Si John Carlo Patriana Beronio usa ka magbabalak gikan sa Cagayan de Oro City.

In Memoriam: Aida Rivera-Ford (1926–2026)

Editor's Note | January 20, 2026

The Davao Writers Guild mourns the passing of our founding member, Aida Rivera-Ford, who died on January 17, 2026, just days before what would have been her 100th birthday.

Born in Jolo, Sulu, on January 22, 1926, to Judge Pablo Rivera and Lourdes Consunji, Aida Rivera-Ford devoted her life to literature, education, and the arts. Her literary career spanned more than seven decades, leaving an indelible mark on Philippine literature, particularly through her celebrated short stories “The Chieftest Mourner” and “Love in the Cornhusks,” which have been anthologized both in the Philippines and internationally. She belonged to a generation that shaped Philippine postwar writing and helped establish regional literature as a vital part of the national imagination.

A cum laude graduate of Silliman University with a degree in English in 1949, she served as the first editor of Sands and Coral, the university’s literary magazine. She later earned her master’s degree in English language and literature from the University of Michigan on a Fulbright grant and was a fellow at the East-West Center Culture Learning Institute at the University of Hawaii in 1978.

Rivera-Ford’s dedication to education took her from Mindanao Colleges to the University of Maryland Armed Forces School, and eventually to Ateneo de Davao University, where she served as chairperson of the Humanities Division from 1969 to 1980.

Her published works include Now and at the Hour and Other Stories (1958), which won the Jules and Avery Hopwood Award at the University of Michigan in 1954; Born in the Year 1900 and Other Stories (1997); Oyanguren: Forgotten Founder of Davao (2010); Aida Rivera-Ford: Collected Works (2012); and Heroes in Love: Four Plays (2012). She also co-edited the Mindanao issue of Ani, the Cultural Center of the Philippines’ quarterly literary journal. Beyond her writing, Rivera-Ford was deeply involved in theater, directing and acting with Philippine Theatre Davao and composing the operetta Datu Bago.

Her contributions earned her numerous honors, including the Datu Bago Award (1982), the Philippine Government Parangal for Writers (1991), the Outstanding Sillimanian Award (1993), National Fellow for Fiction at the UP Creative Writing Center (1993–94), and the Taboan Literary Award from the National Commission on Culture and the Arts (2011).

In 1980, Rivera-Ford co-founded the Ford Academy of the Arts (originally the Learning Center of the Arts), and in 1999, she helped establish the Davao Writers Guild.

Her wake and memorial tribute will be held at Ateneo de Davao University on Thursday, January 22, 2026.

Aida Rivera-Ford’s legacy lives on through her stories, her students, and the countless lives she touched through her art and generosity of spirit. She will be deeply missed.

(Information for this notice is drawn primarily from the CCP Encyclopedia of Philippine Art, Vol. 12, 2nd edition, 2017. Photo taken January 22, 2020, on Aida Rivera-Ford’s 94th birthday.)

Barrabas Was Me

Poetry by | January 19, 2026

They made Barabbas stand across a man
who wore thorns for a crown.
It should have been him.

I watched them lash the man’s skin.
Seventy times seven.
Barabbas shook with laughter
as the chain in his hands unbound.

Sin.
Guilt.
Shame.
He took them.

I looked at Barabbas and cried
as he walked free.

Then I looked at the man
and found His eyes already on me.
And at that moment
I realized Barabbas was me.


Josephine May Grace Famoso is a lifelong learner of literature. She teaches literature at University of Southeastern Philippines.

Mga Kamot

Poetry by | January 19, 2026

ang akong kamot kanunay ipadangat sa kahitas-on.
nangurog, nagahulat, nagahandom…

ako, kanunay nagapabilin diri
kung asa naghalok ang kagahapon ug kaugmaon
ug ako, kanunay nagahandum sa pagtubo sa
mga binhi sa liking yuta.
apan ang pagbanaw sa luha
wa damha ang kaalimoot sa adlaw.
ug balas ray nakumkum.

ang akong kamot kanunay ipadangat sa kahitas-on.
nangurog, nagahulat, nagahandom…

ingon nila ako ang balak sa kalibutan,
ang mga pulong na nag uros-uros sa usa ka suba.
mao siguro gipanganak ko’g uhaw.
nabuhi lang aron ipadangat ang kabugnawon sa lain.
apan ang kabugnawon mismo
wa damha sa kaugalingong uga na panit.

ug ang akong kamot kanunay ipadangat sa kahitas-on…
nangurog, nagahulat, nagahandom…

ingon nila ako ang maayong kangitngit —
ginagakos ang mga bitoon.
wa ko mingreklamo sa kahayag.
apan, naa rako diri nagalantaw
sa kahibulongan sa pagsidlak sa panganod.
matahom gayud.
nagahulat…sa kahayag na angay’ng ma-akoa

ug ang akong kamot kanunay ipadangat sa kahitas-on…
nangurog, nagahulat, nagahandom…

kung muabot man ang panahon na abo nala’y mabilin…
binli ko’g luna kung asa’y tubig, asa’y hayag, asa’y ma-akoa.


Jastin C. Fronteras is an educator who occasionally likes to write poetry. He draws inspiration from nature, religious iconographies and ideologies.