in this talk I used the word POI as a

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figure for the writer as literary artist
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and the word poem or poetry as the
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generic term for all literary works I
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also distinguish between communication
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and expression in communication one
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conveys what one thinks and feels at the
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moment of speech with other speakers in
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expression one shapes the language to
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one's own perception or intuition about
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some aspect or feature of reality
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whether that reality has actually been
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lived or has only been imagined
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literature or imaginative writing is the
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field of expression its subject or theme
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is our humanity our experience as human
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literature itself like history culture
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and language is always in flux what we
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usually call fiction poem play or
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creative nonfiction or essay our only
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possible forms of expression shape or
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rot from a given historical language if
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so those forms already secret the rules
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and criteria of their past
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ability the writer as literary artist is
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always in quest of other forms of
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expression the imagination has infinite
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possibilities
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whatever kind or type a literary work is
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it enacts what we are as human beings
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what in our individual and in our common
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history we have become and maybe
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becoming a symbolic or imaginative
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enactment literary works are
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reinventions of the imagination we
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ourselves create the meanings that help
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us live we have them on the one hand
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what we call our world our reality
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nature people and their affairs and on
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the other hand language the human being
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alone it seems is conscious of death and
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so here's the great earning for this
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world this life he longs for the world
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and the living to be the meaningful word
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incarnate this impelled him to translate
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to carry the world over the language to
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vary across the words of the language
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the wonder of nature the miracle of
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living it is no accident we speak of
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language as a tongue the figure suggests
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that we would save her with words and
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words the joy of living
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The Fool any language in fact is by
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itself already translation from Latin
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trance ferry to carry across any
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language is a way of perceiving in a
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given culture give during a given
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historical period writing also is
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essentially translation with very across
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our words whether they are indigenous or
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adopted those thoughts and feelings we
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have not till then found our expression
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or with need again to be expressed in a
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new form that they perhaps may still
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live after our living what is expressed
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through words and the images or myths
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that they are made to evoke is an
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insight into our humanity that insight
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is the luminance of thought with no
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concept or idea conveys a regions of
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feeling with no thought catches if this
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is so then language is our first fiction
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and it's working it's being wrought into
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poem or story a second but which our
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humanity is as it were again created
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fiction I said but no less real because
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it is the imagination which makes real
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to the mind what it abstracts from our
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experience as teachers of English we
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want to privilege Filipino literature
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wrote from English as models of good
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writing
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precisely because one the culture and
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experience from which these points arise
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are our own history
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as a people and to this poem show how
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English as a medium of expression
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operates to shape our own thoughts and
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feelings as Filipinos by way of the
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imagination our poets have cleared a
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clearing of our own within that adopted
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language called English even us in our
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literary history our writers have done
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so with Spanish it may be remind that
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the Filipino experience can be expressed
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only in Filipino that is to say in
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Tagalog saponin iloko Hiligaynon but
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that is to misconceive language language
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shapes the things that it expresses
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language is as a given historical medium
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or cultural artifact language itself is
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already a fixed way of looking at
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reality therefore creating a version of
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that reality of course as the speakers
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and the readers outlook changes language
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also changes bit English there Tagalog
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language is always already a partial
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representation of reality and
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interpretation of the world and human
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affairs shared by the community of the
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languages speakers but the point like
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most everyone sees things through his
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own sensibility and imagination however
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his own self might also have been shaped
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by changes in his own time and culture
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he may see things differently from the
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way of looking that in years in the
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language he
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noise in that case he must work the
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language to make it express his own
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singing and feeling the workshop
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approach in creative writing maybe one
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effective way of teaching English
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through models of excellent writing by
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Filipino writers here the students are
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encouraged to express themselves
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imaginatively by probing their own
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experiences and exploring the resources
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and experimenting with the possibilities
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of English as the linguistic medium this
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workshop approach assumes that the very
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act of writing itself recreates the
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language the teacher therefore my show
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how this takes place he takes as a
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working hypothesis an interpretation an
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end or goal that the writer has set out
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to accomplish so he asks what is the
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point about that is to say it sparks a
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subject or theme what is the point point
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or inside its size I meaning
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significance next he asks about the
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poems final end or Gold read the points
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succeed in enforcing the theme in
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expressing that inside the story or poem
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itself shows how the language has been
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employed and deployed to achieve its
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effect on the sensitive reader that
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effect we call the thing the plumbers
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arrive but intellectual or emotional
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force or energy of the poem by which the
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poems end is achieved the teachers
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purpose here
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is to make the student aware of
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linguistic and rhetorical resources and
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their unlimited possibilities and
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therefore enhance the students sense for
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language this sense for language is the
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basic poetic sense which is nourished
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but the love of reading and it's the
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foundation of proficiency in any
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language the workshop approach requires
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close analytical reading of the literary
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text to open it for as you read you are
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not a passive consumer of a product
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you're an active producer of meaning you
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enter imaginatively the human experience
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that the poem depicts in the points
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world you are engaged with a way of
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thinking and feeling you see and feel
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the way the poems speaker or the
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characters in the story see and feel so
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that at the end when you make an
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assessment a judgement about the
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literary or points imagined experience
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your first lived as it were another life
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you have first considered the other
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imaginary person's viewpoint before you
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favored as it may happen your own
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interpretation by cultivating this
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sensitivity as one reads one can begin
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to appreciate what the writer has
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accomplished all that he has done with
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the sole means of language let us take
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two points by Edith El Tiempo
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lament for the littlest fellow and the
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poem
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bonzai lament for the littlest fell
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the littlest fellow was a marmoset he
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held the bars and blink his old man's
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eyes
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you said he knew us and took my arm and
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said my fingers round the bars with
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coaxing mimicry subs quick and Twitter
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now he thinks you are
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another marmoset in a cage approach the
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Nile set you - laughing shutting but a
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question far into my mind something
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enormous and final the question was an
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ask but there is an answer sometimes in
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your sleeping face upon the pillow I
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would catch our own little truant
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unaware he had fled from our pain and a
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dark room of our rage but I would snatch
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him back from yesterday and tomorrow you
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wake and I bruise my hands on the living
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cage that's worse in 1950 from sands and
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coral now the next point Banzai all that
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I love
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I fold over once and once again and keep
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in a box or a slit in a hollow post or
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in my shoe all that Ilah why yes but for
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the moment and for all time both
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something that folds and keeps easy sans
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note or done or dad's one gaudy tie a
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roto picture of a young Queen a blowing
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Jan Schall even a money build its utter
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sublimation a feat this hearts
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controlled moment the moment to scale
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all locked down to a cup hands
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the officials are broken pieces from
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God's own bright teeth and life and love
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are real things you can run and
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breathless hand over to the merest child
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that was in 1972 InFocus magazine now in
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the first poem what the question is and
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what exactly the answer to it both
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something enormous and final we would
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have to infer both from the imagery and
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the metaphor that suddenly limb or
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delineate the human situation the soul
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metaphor is the marmoset in a cage a
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monkey a monkey whose name
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etymologically suggests a grotesque
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mumbling figure when the husband mocks
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his wife the point speaker as resembling
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a marmoset which she proudly denies the
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resemblance had already been subtle in
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fakes by her own perception of the
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murmurs that are the littlest fellow
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with his old man's eyes with smart the
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animal as human the husband taunts his
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wife in forcing the resemblance by
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setting her fingers round bars as to
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simulate a prison cell for her and
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mimicking all the while a marmoset
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squeak and Twitter all male banter or
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monkey business for a moment merriment
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but it provokes in the wife a
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realization
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instantly suppressed because it is dark
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something enormous and
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final four nights afterwards whenever
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the wife would catch the image mama said
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in her husband's sleeping face she would
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only call it our own little true one as
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though to make light of it since in that
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past moment of truancy and banter in the
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zoo
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she had repressed a dark intuition the
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image had fled from our pain in the dark
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room of our range in the points human
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situation bedroom a sight of intimacy
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has become a variation upon caged and
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yet she would snatch him back the
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marmoset from yesterday and tomorrow
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because the image held the truth you
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wake and I bruise my hands on the living
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cage at the points and we might also ask
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why in the title of the poem why the
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main four is it because the truth is
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constantly denied so that its enormity
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the living cage might be lightened but
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light and indeed it is in a later point
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a later moment of enlightenment where
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the image of the poems inside appears
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only in the points title bonsai where of
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course assuming that the speaker in
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lament and the speaker in bonsai is the
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same way the poem bonsai is as it were a
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free-form because that moment where all
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love is gathered is all kind in fact it
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isn't so much image of bonsai as idea
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and feeling which the poems words in
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force
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box or slit in a hollow post or shoe it
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is in the image such as the marmoset in
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this cage which motivates or propels the
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pole but rather the idea of souvenir or
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memento by which one cherishes and
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nurtures life and love as real as real
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as any material thing like a blue engine
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shore this calls to mind Eduardo galeano
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wonders epigraph to his book of embraces
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in 1989 record dark he says to remember
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from Latin ray Cortese to pass through
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the heart so be it sans note or dad's
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one gaudy tie or even the most ordinary
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thing like a money Bill the revelation
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or insight about those my mentors is the
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point and it will be the highest art to
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state it quite simply without any
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rhetoric of irony and ambiguity so
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cherries in the new critical mode it's
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utter sublimation a feat this hearts
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control moment to moment to scale all
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not down to a cup and size yet the irony
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and the paradox are there in the very
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happiness of the world's scale and
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cupped hand so carefully chosen so that
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life and love as real things appear all
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the more magnificent till officials are
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broken pieces says the poet from God's
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own bright piece this for me is the most
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remarkable feat
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in the poem is making it is the poet had
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said for the moment and for all time
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both this keeping of mementos this
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folding over and scaling down to keep
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easy and cherish so then till specials
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encompasses all time and by invoking God
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suggests a divinity in that simple yet
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mysterious affection which sustains life
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and love as real the image of seashells
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glinting on a sunny beach evokes
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brightness and chair and so fulfills
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what the poet speaks of us hearts
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controlled but there is more seashells
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are broken pieces like souvenirs that is
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to say they are broken off as it were
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from those happy moments were life and
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love are real then indeed for souvenirs
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are deeply cherries there are things
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they are things that are very light so
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that you can run and breathless hannover
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to the merest child that truly is the
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very sign that it is real for a child
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needs no further proof of love than love
23:52
yeah okay thank you