Kawon

Poetry by | December 22, 2025

Su lukës ta i nagayun
Apiya di ta galiliyag
Apiya di ta pakaulalëng
Na da lëkita a ungangën.

Namag su kabamaluy sa lëkita
Uway na niyapan a mailay ko sëka
Mana aku manuk a di pun bamitas
Muna pan sa wata a di mataw mëdtas.

Saguna na pëdtindëg ta sa hadapan nu Tuhan
Manguda su mga pamikilan
Bagibi si dalëm
Lagid di gaanup su lalan.

Migkalëbug i kapëgkailay ku
Sabap ku mga lu
Pakailing sa pulangi sa Pikit
a di pëndëgka i kabagukit
Banalus–
Bangilay sa gadsabpan.

Taliman ka niya i kulis
Apiya maibped pa su mga lu migis–
Sabap ku simba
Sabap ku agama
Na da manggula. Continue reading Kawon

Dakbayan sa Sabaw

Poetry by | December 22, 2025

Balbacua diri
Kabaw-hinalang ngadto
Mga giabog nga paisano
Paghigop ang gi-ari

Mao kini ang Dabaw
Dakbayan sa Sabaw

Lagpad nga dalan
Kapingis sa pag mantinir
Pirti pang laplap sa mga engineer
Dayong busina sa baratong borikat
Ngisi gamay, gakos sa asawa’g anak.

Kamot nga mangumot sa hanggaw
gahulma sa dakbayan sa sabaw.

Ang boang nga gatiniil,
gitiunan og pusil.
Ang buotan nga ikaw, imbis
magpalambo; magpatubo
susama nalang sa pulis.
Dayong human sa adlaw
pil-on na ang bughaw
‘nya diha sa unahan:
mantikaong sabaw.
Higop, amaw.
Ikaw gipakatawo sa Dabaw,
Ang Dakbayan sa Sabaw.
Ang oyok nga nahilis
sa ibabaw sa tubig nga kaniadto tin-aw
karon mas lami pa sa dagat
kay ang iyang kaparat
‘di ra gumikan sa asin
‘duna pa’y tunga sa kilong bitsin.

Mao na, pahong
padayon la’g higop
imong mata tabuni
sa gasebo nga yahong.
Bahala’g hunghongan kana og,
“hunong!”

Mao mani imong tuyo bitaw
muburot, mu-tiurok, ug malanag sa kalami
sa balbacua, bulalo, ug pares
nga ang kaledad di jud malalis

Mga bulawan sa Dabaw,
Ang Dakbayan sa Sabaw.


Kuda Bux (b. 1991) crawled out of the concrete spill of Talamban. He’s been running around aimlessly, chasing approximations of whatever art is—scraping together near-zero-budget productions under  Corner House Productions, feverishly dreaming up scrap videos, junk stories, and other peculiar accidents. These days, he rolls through the streets and mountains of Mindanao.

Learning an unfinished recipe for 蛋炒饭 (egg fried rice)

Poetry by | December 22, 2025

  1. Begin with the rice.
    Day-old, cold, waiting in the bowl.
    Grains cling to each other as I press them with my fingers.
    They never loosen the way yours did.
    Set it aside.
    We learned to wait for the small, stubborn hope
    that someone might still return
    after the burial.
  2. Rinse it gently.
    Run your fingers through water.
    The water clouds.
    It smells faintly of the kitchen you left behind.
    Swirl. Lift. Swirl again.
    The motion should be ordinary, but my arms ache.
    There is no instruction for how long this takes.
    The grains never remember your hands.
    The water never clears. 
  3. Crack the eggs.
    Beat them slowly, coax them together.
    Add garlic, sliced thin.
    Add ginger.
    Scrape the memory from the edge of the knife.
    Spring onions. Soy sauce.
    There is no measure, no recipe, no certainty.
    Your hands knew.
    Mine only tremble.
    I whisper your name over and over
    and still nothing answers. 
  4. Heat the wok.
    Oil shimmers and waits.
    I pour it too fast.
    The flame jumps.
    The metal looks at me with patience I do not deserve.
    I want to be steady, useful,
    to hold something without breaking.
    Ahma, I want to move like you moved,
    to meet heat without fear, to meet life without trembling.
  5. Pour the eggs.
    Fold them gently against the pan.
    Lift. Push. Stir.
    They break anyway.
    Add the rice.
    Fold it in, separate the grains.
    Add everything else.
    Push and fold and lift.
    The spoon clangs against the pan.
    It is loud enough to remind me
    I am learning in the dark.
    Ahma, I want your hand over mine,
    even for a second,
    to guide me on what I do not know how to do.
  6. Taste.
    It is warm. Only warm.
    It fills the stomach but not the room.
    The color you coaxed from white things
    does not come.
    It stays muted, shy, unfinished.
    I swallow anyway.
  7. Fold, stir, fold again.
    My arms ache. My hands fail.
    Everything responds to heat except the one who taught me.
    This kitchen knows.
    The wok knows.
    The rice knows.
    I still refuse to know.
  8. Ahma, if you can hear me,
    Come back long enough to teach me
    what Mama refused to learn.
    Come back so my hands can finally be good
    for something that matters.
    Come back so this recipe
    does not end here,
    so I do not have to learn alone.
    Come back so this rice finally knows
    what it was meant to become.

Alyssa Ilaguison is a media producer and, at times, a writer, from Davao. Her works have appeared in MindaNews, Sunstar Davao, and Dagmay.

Kalaw Street

Poetry by | December 15, 2025

I went back to this place in Tangub,
 where I could still hear the beeping of tricycles,
 smell the smoke from the Libot Tangub vehicles,
 and watch the golden shower leaves brush gently along the streets.

The place is still the same — simply home.
 Nothing has changed, except for Manong selling malunggay pandesal
 And the tarpaulins on the street corners printed with Bible verses.

As I walked, I found myself standing before a familiar name — “Kalaw Street”.
 Memories came rushing in like lightning.
 I remembered everything that happened here, 

the laughter and the tears we shared,
 the one piece of “kwek-kwek” we bought from Kuya Suki,
 the five-peso buko juice from Manong George.

It has been eleven years since I last came here — nothing has changed.
 It is still the old street that holds the memory of you — of us.

This street witnessed the crash of your red Yamaha motorcycle.
 the place where your body fell to the ground,
 and where your blood was scattered across the road.

It was on Kalaw Street where I last held you in my arms,
 and looked into your eyes —
 before you said goodbye.


Aaron Diapana is a Literature instructor from Northwestern Mindanao State College of Science and Technology. He considers writing nonfiction, poetry, and essays in his leisure time.

Halok Wanpipte

Poetry by | December 15, 2025

Kapila gipasundayag sa salida og sonata sa radyo—
ang tawo dili buot mag-inusara,
sama sa tihilap ug maya nga mobayaw sa lagyong kahumayan,
makatagbo og pares nga makigdalit:
sa pagbukot og habol, sa kabugnawon sa kagabhion,
sa pagpamainit og tabliya sa sayo sa kabuntagon,
sa panag-uban, sa pagpaulipon, sa pagkamalipayon.

Apan subo pamalandungon:
basta bayot o tomboy, taman ra’g huna-huna og damgo.
Kinahanglan kwartaan,
kinahanglan nindot ang lawas,
kinahanglan mahal ang mga butang.
Ako nga uyamot pa sa pit-os, niundang na’g damgo—
kay wala’y tinuod nga mohigugma, ako nakaamgo.

Hangtod nga niabot siya sa akong kinabuhi—
lagom pero baruganan,
pobre pero nag-uros-uros ang kakugi,
di himansinon pero hitsuraan,
sama sa libro nga nibag-o sa akong tinoohan mahitungod sa gugma.
Wa nako damha, nga ako iyang giilad og gipangwartaan ra.

Sakit, pero nganong wa nako tagda ang iyang mga ‘pero’?
Sakit, pero di angay katingalahan.
Sakit, pero akong sala kay akong gitugyan, bisan kabalo na daan.
Wanpipte, kung halok.
Tripipte, kung hikap.
Paybpipte, kung tibuok lawas.
Pero kung gugmang tinuoray,
nganong naay presyohay?


Carlos Martin Benanwa is an Iliganon writer whose work revolves around gender, Indigenous lives, memory, and the quiet violences that shape everyday life. Grounded in the landscapes of Northern Mindanao, his writing reveals how survival, tenderness, and identity are intricately connected in the stories of the communities he calls home.

Surely, The Cosmos Was Made By Someone

Poetry by | December 15, 2025

I write all my marrow-deep desires
in a tender list, cast it into
a prayer, a super-condensed,
nuclear hope, ready
to welcome me—once truly
answered—as a surprise,
in a gentle, slow gust,
an anti-explosion, in a big
crunch, towards the singularity,
that is me, like a hug, in the warping
of matter around the Maker’s cosmic
finger as They tap
on the wishes that I held
inside my clasped palms,
like the first nucleus, to reveal
the grandest evanescence,
that is
this life.


James Bryan Galagate Delgado is a fourth-year Medical Biology student at Mapúa Malayan Colleges Mindanao. He is also a fellow of the 2018 ADDU Summer Writers Workshop and the 2025 Davao Writers Workshop.

Jokes You Can Use When You Have A Dead Father

Poetry by | December 8, 2025

  1. Have you seen my dad? I haven’t either, ever since he followed the light.
  2. My dad always preached about Jesus when I was young. He kept telling stories about the goodness of that son of God. He was dying to be with him. So, once the two of them met, he never came back.
  3. I have been taller than my father since I was 11 years old. He didn’t have a condition that restricted him from growing; he was just six feet under the ground. 
  4. I haven’t been able to contact my father lately. Perhaps they ban phones in heaven.
  5. My old man would not be proud of who I am today. But I don’t mind. What is he going to do, rise from his grave? 

When your audience hesitates to let out a laugh or even a chuckle, as if you can pluck the expression of pity from their faces, you can throw these lines to dispel the tension in the air: 

  1. Don’t feel bad. 
  2. You can find it funny. 
  3. It doesn’t bother me anymore. 
  4. Anyway, he was gone longer than the time we shared together.
  5. My dad will not haunt you. He doesn’t even visit me in my dreams. 

Laurehl Onyx B. Cabiles is a writer from Cotabato, Province. He has been a fellow of the Sox Writer’s Workshop (2023), NAGMAC-YWS (2024), and Ateneo de Davao Summer Writers Workshop (2024), and Davao Writers Workshop (2025). 

 

Babae, Baril, at Baybay

Poetry by | December 8, 2025

Ang distansya sa pagitan ng babae at baril
ay pinananatili ang diwa at igting
ng himagsikan at labada.
Siya ang rebolusyon ng pag-aalimpuyo ng mga kalan;
ang sigaw ng katipunan.

Ang pagitan ng babae at bibig ng makata
ay laway at tinta—
minsan, bala ng colt at asin.

Ang pagitan ng pag-ibig at babae
ay hindi bugbog at pasa,
hindi birhen at imahen
kundi ang baybay at himig ng apoy
at hindi ang bigat ng taludtod
na nakakahon sa dibdib
ng bayang paulit-ulit na sinusunog
ngunit ayaw maging abo.

Bago ang huling bigwas
ng buwayang nakakulong sa kusina.
Ang kanyang katawan ay kanya.
Sa sigalot ng karit at bigkis ng ani. 


Aleah Sulaiman Bantas is a queer Maguindanaon writer who hails from the floodplains of Datu Paglas, Maguindanao del Sur. A fellow of the SOX Writers Workshop (2025), her works have appeared in the Bangsamoro Literary Review, Dagmay, and SunStar Davao. Her zines and poetry anthologies have been published under Tridax Zine, Cotabato Literary Circle, and the Socsksargen Writers Collective. She is currently studying at the University of Southern Mindanao.