Lady Octopus

Poetry by | October 19, 2026

Inspired by Hokusai’s The Dream of the Fisherman’s Wife (1814)

She yearns for the sun
to hold its breath
and brace the current
above the sea floor
where kelp is a long strand of hair
lurching in the great depth of briny waters
she deems unforgiving like sweat
when dusk reaches oblivion
she dreams of shore and coastal sand
thereafter the tides and their sea foams
then the fishes over the reefs
then the sea grass on the sea bed
she remembers what was taken
yet she dreams of mollusks and shells
like a clam to its pearl
or a barnacle to the anchor
the waves take the form of an octopus
which tickles the heart of her own pacific
like how a touch is to the skin
the gold is to the chest
the gust is to the monsoon
and the blue is to the ocean.


John Mark G. Parlingayan is from Polomolok, South Cotabato. His works have appeared in Sulat Sox, Cotabato Literary Journal, Anak Sastra, KITAAB International, Philippine Daily Inquirer, and the Philippines Graphic Reader. He was a recipient of the Graphic Salute Award at the recently held 2026 Nick Joaquin Literary Awards. A finalist also in the 2022 Blue-White Dot Short Story Prize, his short fiction, “The Thumb Sucker,” was included in the anthology The Pathbreakers and Other Stories, published in Malaysia.

Metamorphosis

Poetry by | October 19, 2026

Laid upon our eyelashes
is the beginning of eternity.
A cluster of memories,
heaped fragments of imagination, fading eyes,
moths adrift in light, fireflies swallowed by darkness,

thorny stems of roses —
and there, in a single moment,
every fiber of our being was woven.
Our shadows vanished.
A threat etched into our palms,
or into the silent signal
of our spine and soles.
Blessed are we slaves,
mocked by the terror of fickle fate.
We are butterflies.
And before long, we too will surrender
to the sweetness of it all
and return again to the beginning —
to the dark chain of the womb,
and be born again as the likeness
of our former life.
And afterwards, we will once more be lured
by the sweetness of honey and the purity of flowers.


Leonel Quillo is a Mindanawon poet raised in Cebu. He is the Content Producer of Liwayway Magazine. A poet and filmmaker, he currently resides in Intramuros, Manila.

Reasons for Leaving

Poetry by | October 19, 2026

If it were sinful to leave one’s hometown,
we would all be sinners when we escape
the places that raised us,
where we first memorized the bends,
the ins and outs of every street,
dreamed to become someone
we barely understood as a child,
and learned to love without expectations.

We leave and betray the cities
that taught us to wipe our own tears
and wash off our bruises
whenever we fell off our bicycles.
We leave and carry our past mistakes,
disappointments, fears, and heartbreaks,
and pray to bury them somewhere.

If it were sinful to leave one’s hometown,
Caloy would be a sinner, too,
when he left Cotabato for wider skies.
It’s only a five-hour bus ride away,
yet two years have passed since
he last went home.

Here, he resides in a white concrete
apartment, a quiet space for devotion.
The soft foam bed lets him sleep
without other warm bodies
pressed against his, without the noise
of his neighbors’ karaoke
that wakes him at night.

Here, he can truly be himself.
There is no need to pretend,
to lower his voice to sound
as deep as his father’s and uncles’,
nor does he have to fear getting caught
watching two male lovers kiss
on his favorite TV series,
the way he used to hide in their bodega.

One hundred forty-five miles
to forget their empty pockets,
to forget home even for a moment.
Back in Cotabato, a cacophony echoes
through the dilapidated plywood walls
and patched iron sheet roofs.

From the siren-like cries
of his two-year-old brother
who begs for another bottle of milk,
to the ear-splitting screams of his mother
after a night of his father’s loss in sabong.
She fumes across an empty dinner table,
a helpless howl for her children
who probably dream of fried chicken
and spaghetti in their sleep.
If it were a commandment of God
to stay in one’s hometown,
Caloy would accept immorality
as the price of leaving
for the promise of relief.

He harbors his old hopes and dreams
as he takes to the road
through crests and steep slopes,
hoping the journey
leads him closer to the
horizon


Mark Lhoyd D. Tampad is a creative writing student at the University of the Philippines-Mindanao. When not staring at his unfinished readings and half-written poems and stories, he enjoys watching different genres of films and rating them on Letterboxd.

 

 

Exodus

Poetry by | October 19, 2026

I.
Dumduma ang pagwagtang sa mga sala.

Dumduma ang mga salbahe
nga nagpahilak sa’to tungod sa ilang
mga pait ug baliko nga pangsangyaw.

Dumduma ang mga lider sa’tong tinoohan
nga miluhod sa mga sapatos sa politiko.

Dumduma pud ang mga armas nga mikanta
sa ngalan sa Ama, sa Anak, ug sa Espiritu Santo
kon naay manambit og Ya Allah

Ug tanan santo ug propeta karon mosyagit
ug AMEN niining tanan.

II.
Unsaon nato mahimong instrumento
sa manunubos kon kita’y nagpuyo
sa sulod sa bulawan nga baka?

Unsaon nato paghigugma ug pag ampo
nga na’wa na ang mga rason sa’tong byahe
padung sa arka sa kasabutan?

Nakatog na ta sa kanindot sa mga kanta
nga gibuga sa’tong mga dalunggan… (pagmata)

III.
O dakbayan sa mga sayop
o dakbayan sa mga nindot nga kanta
ig-ampo mo kami.

Atong iselebrar ang mga bulok nga prutas:
o siya nga muhigugma sa aton
o siya nga mu-aprobar sa aton—
wala ta kabalo.

Dumduma dumduma ang pagwagtang sa mga sala

IV.
Atong ikompara ang mga kaugalinong mitolohiya:

Ingna ang imong mga igsoon
ipakita sa imong mga igsoon
ang mga sala nga nahimong bulak
sa imong pagsibat


Jeff Raiven C. Iway writes from Cateel, Davao Oriental.

Unsaon Pagkita og Tarong

Poetry by | October 19, 2026

Abri og dyutay ang purtahan
igo para makita tika
sa imong tinuod
nga porma.

Sa tanan nimong kahayag,
dili nila maklaro, ug tuod,
ang kangit-ngit sa imong palibot.

Adunay kalasangang gubot
sulod
sa imong pagpakabuhi.

Pero hinuon,
natural ang kangitngit.
Walay tinuod nga kahayag
kon walay musabwag niini

gikan sa akong mata.


John Vincent L. Pon, 21, is a budding writer from Santa Cruz, Davao del Sur, and a recent fellow of the Davao Writers Workshop 2026. Most of his work explores grief, love, and observations from his hometown.

dyutay lang ang maangkon

Poetry, Uncategorized by | October 19, 2026

Mao ni ang akong maangkon
sa maong umaabot na puhon;

Akong maangkon ang kadagatan,
akong maangkon ang kalupaan,

akong maangkon ang kabukiran,
akong maangkon ang kahanginan.

sa kadako sa maong kalibutan,
mamugna ang kamatuoran,

sa kalipay sa maong pagsulay,
lunlon kasakit nuon ang naangkon.

Maong unsaon ni sa pagkamatay,
kung saktong lupa lang maangkon

ra intawon niining ginagmay.
Dili na magmahay, di na magmahay.


Sherwin L. Aporbo, known by his pen name “Balak Ajan,” is a poet, writer, and Licensed Professional Teacher from Surigao del Sur. Graduate of Bachelor of Secondary Education major in Filipino, he is the author of BIGKIS: Isang Antolohiyang Hinabi ng Puso and a co-author of several literary anthologies. His works have received recognition through the Dalubhasa Award, Rio Alma Award, and Tula Táyo 2023 of the Komisyon sa Wikang Filipino, inspiring him to continue writing and contributing to Philippine literature.

kon ngaa may ara sang kalamay nga pula

Poetry by | October 19, 2026

sa mga silingang tindahan ubay ubay nagkumbitay
minudong pinutos nga kahiubos halin pa sa negros
kada kutsara sang katamis sa ila mga pangandoy
amo aton ginakutaw sa adlaw adlaw nga kapait
tani kada huyop kag suyop mo sa imo pamainit
matilawan mo man ang dugo sang mag uuma ka tubo
kay kon namit man lang gali tuod ila to nga kabuhi
ngaa pati mga pispis to kag kikik ganilagsanay
sa mga gapanglupok kag gatarabog nga mga bala
dumduma tanan to nga nangadula idalom sang duta
kay amo na kon ngaa may ara sang kalamay nga pula

 _________________________________________________________

Francis Kyle Madas is a BA in Literary and Cultural Studies student at Mindanao State University – General Santos. In this universe, Francis is constellated with literature as their cosmic purpose.

Dead Man’s Tales of Icepop

Nonfiction by | October 12, 2026

The ladies launched murmurs in the puroks Felomina, Saeg, Bayanihan, and Estrella. The habal-habal drivers marked in their minds the horrifying stories about the secluded shore of Icepop, or what locals call Ispaf or Spap. I asked my mother about the coast’s toponymy, but she, and the people of Barangay Calumpang, thought its name came from the sea there, which was as cold as an ice pop.

Since I was a kid, rumor has it that hundreds of dile-ingon-nato inhabited the trees, hills, and waters of Icepop. The sighting of santelmo, tree-dwelling agta, and processions of engkantos—name it, these stories live there. I had heard of such eerie encounters, and they always came from my father, Papa Nonoy. He was once the security guard of a private seaside property near Icepop. He had many spine-chilling experiences there, and this one was one of his most memorable.

One night, as he was heading home, he met a lady near the baybay. He did wonder why she was there, but he just shrugged it off since many people were using that property as a shortcut. Judging by her uniform, he thought it was a cannery worker on her way home after a tiring night shift at nearby canning factory. Innately kind, he offered the lady a ride. The lady was dead silent as she aboarded his motor. He pried into the lady’s life, asking why she was waiting in the dark, and why she left her work early.

Although he felt the weight of the woman and the coldness of her touch, he heard no sound but only the calm sea rustling from the clashing sea glasses. It was starting to become high tide, so he revved his motor.

They traveled the length of the shore. Since there was no other way to reach the common road but to take the sandy coastline, they took the risk as the water level rose. They did make it before the sea devoured them, but when he looked at his back, no traces of a being remained. Thinking the woman had fallen off, he went back. But he only saw the roaring high waves, and that’s when my father realized it was time to go.

Faster than the spread of the winning 4-digit lotto numbers, his nail-biting story coaxed the puroks and nearby. This had been a pulutan in every kanto, and words spilling over between sips of soft drinks in every sari-sari store.

My father’s name became the latest buzzword. He was a lay cooperator in Holy Cross Parish-Calumpang, and that story became his sermon in one of his bible services. Every time he reported to the church, the priests there would ask him about the white lady and his other supernatural encounters. And every story would always end with how his unwavering faith in God saved him.

I was always there, listening and taking it all in. Sometimes, my short temper got the best of me. I’d roll my eyes at every stop he made just to repeat his usual litany, asking when it would finally end. Little did I know, the end would come sooner than I anticipated.

A cold wind blew through the window in early June of 2017, just one week after my birthday. I was watching the raindrops slowly dripping down the glass as if they were in a race, trying to forget, even for a while, the quiet anguish of losing someone.

Papa Nonoy died a week ago in a vehicular accident. At first, he was fine since it was a sideswipe accident; however, his diabetes worsened his case, and his wound got infected. Papa had encountered many near-death experiences before, fighting every battle he had. But this time, death made sure to wipe its feet before coming in. I was not at the hospital when he bade his last goodbye because the school days had already started. I just woke up one morning, and my Ate’s husband told me Papa had already passed away.

That day, I felt the gravity gripping my back as a salt stream ran through my eyes. I was drowning as I washed the rice, still doing my household chore, believing he might come home hungry. I questioned everything. I even questioned my faith—the one that my father had left for me.

After several tormenting and nauseating visits to the funeral homes, the coffin of Papa Nonoy arrived. My family, religious yet superstitious, did not let the coffin enter where it would exit, or else my father’s spirit would be trapped in our house. So, they wrecked the wall of my room and removed my curtain-draped doorway to let him in. I chuckled at the thought of my father haunting us. That very man who had toughened himself all his life would scare the thing he had sworn to protect.

Just as we settled him in, people started to crowd his wake as if it were a mass event. I never thought that my father knew this many people. Although he was an ordinary man, everyone I talked with had always said that they knew my father through his words. They told me how his stories cautioned their children about the lady at baybay.

I would also chip in my father’s other tales that he had only shared with me. Since I was his junior, people were curious if I had experienced the same things. I told them about my fair share of nail-biting encounters. I realized, then, that I might never possess his bravery, but, no doubt, I was truly his successor—we were both tale-tellers.

It was a dismal morning of late June when the white hearse finally arrived. Before it even rained, people’s tears had already flooded our house. In the church, I heard the priest’s voice crack many times while trying to deliver his homily. He then called us, the family, to deliver a eulogy. My mother couldn’t speak between her heavy sobs, and my siblings were unable to find their strength. As my father’s namesake, I braved the podium with my somber eyes and recounted the life of my Papa Nonoy.

That’s when it dawned on me how ephemeral my days with my Papa were. Yet, if there was one thing that he taught me, it was that beautiful things are often short-lived, so I need to savor every moment they exist.

At the end of my speech, my heart is still aching for his presence, and I could not quite fathom how I’d live my waking days without him, and his silly little jokes, and his, of course, supernatural stories. I looked up at the stained glass depicting Christ’s crucifixion on the ceiling. In the light it beamed, I sobbed a sigh of relief.

My Papa was an unsung great rhapsode of our time, and I’ll be the epicist of his lore. I will continue his legacy of macabre tales as a security guard, a layco, and a father. I’ll live to revere him and continue our stories—heard and unheard, mundane and supernatural. I’ll blur his life with mine, and he’ll live forever in me.

I always imagined my father as a guardian of the living and the elementals. He was the real-life Edward Bloom, the protagonist of Big Fish. My Papa Nonoy was the manifestation of folklore meeting reality.

I stared at my father’s still face, for the last time, to etch what he had left, immortalizing him once more amid the black wicks and dissolved candle waxes scattered on his concrete boneyard. Truly, the dead man and his tales never died, and I was satisfied knowing that there was beauty in the weight of what remains.


Rogelio Jenson Jr., also known as Arshee, is a budding writer from General Santos City.