Under the city’s mercies

Before midnight leaves her with this creeping termite-like impression that says it doesn’t matter what happened anymore, just what she’s becoming in a breathing place called a city where a face must have been breathing life into her words, yet to no hold when her core’s such a chore to shelter and choosing happiness isn’t a reflex—she chokes in her clouded, spacing-out mind so used to make sense of the heart’s splinters and nothing else. Now where does she go from here, where does she go from here?

Whatever that/those is/are

It’s a sign of having aged eyes, you know, that shift of fixation from what cannot be yours—look at you and your tight-clenched fist that can neither give nor receive—to the very sight you overlook, say, the gray curtain before your window that promises great outdoor views and never seems to break it. And so you start seeing, an act of a reaching kind of attention almost too late, till you gaze enough at the bare thing, whatever that is, that has always been a part of you all along like a deep end, a hit home, sending you back to yourself. You then open that hand to release grasped nothingness for more, only closing it to rub your eyes.

Dear friend,

I just finished writing something on MS Word, explaining everything that happened. It ran ten pages. There were movie references (even screenshots), from Shoplifters and Anomalisa to Chungking Express and Comrades. For I-don’t-know reasons, Castlebeat – I Follow from this YouTube channel “i’m cyborg but that’s okay” also helped me throughout the process. (I love those fusions of movie clips and music.) There were songs as well—everything’s centralized heavily on Alan Isakov Gregory’s “Words.”

But I chose not to because it can be useless at this point. I guess Sufjan Stevens is right. Words are futile devices, especially when it comes to what just happened.

I’m sorry. I take everything as my fault. It’s easy to say the fact that you’re the first person who’s able to enter my apartment room—all the more narrate the rise and fall of the whole story—but it’s more difficult to tell you what’s happening to me, which I think I should do. If you will really stick to your promise that you will be my friend, then you at least deserve this explanation from me.

I’m sorry. It took a while to reach out to you more formally because I lingered on three things I heard from you: (1) “You’re lonely”; (2) “But you arrived too late”; and (3) “What do you want?”

(1) It’s been a while of admitting to two of my closest friends that I’m tired of being Andrea. When one of them asked what’s wrong with being Andrea, I just told her in the simplest sense, trying not to emulate Woolf (“Someone has to die in order that the rest of us should value life more. The poet will die, the visionary.”): “Her self-awareness robs her of happiness. She’s heavy. She always almost dies when she confronts all the pain. She would like to believe there’s beauty in catharsis, but the end of the line seems to always be underwhelming. Crossroads feel like edges, and she concentrates on seeing and treading even if it hurts. That’s her wiring. She knows herself so well and she can see through people that it’s getting so hard to function. She sees through people’s nuances and intentions to hurt as if she hasn’t had worse.”

I’m resigned, not lonely. Troubled, not unlovable.

For a person who fights for her happiness each day, it can be unfair to be described as lonely, but don’t worry. I don’t take it against you. I wasn’t at my best shape that night, so it’s okay.

(2) For a Chinese girl who grew up with one-hour-advanced living room clocks, this is funny, arriving late. Tig-abri man kos Chinese school namo sa una. I’m accelerated, skipped Kinder Two after taking this assessment test. I went to college at fifteen, worked before turning twenty. Ana ka-early. But okay, I’m sorry, self, for arriving late. I’m a disgrace. Kidding. It’s all right. I’m happy you’re happy. Happy is such a cheap word. I’m just glad you are in a better place. I find an old, wise soul who is still in touch with his inner child. I can sense you survived something—a lot of things—in the past; I sense enough hope in you, in the way you talk and weave your words, even in your silence.

I can manage.

(3) That’s the termite-like question that eats me inside no matter how high-functioning I seem to be. I have an answer, of course. It’s in that MS Word file, but it’s a kind of answer that’s scarier than my past. It becomes real if I say it. It has to be contained if I don’t want it to be the real thing that can kill something in me. I want us to be friends. I find you cool, and I think we read and watch movies a lot. There are these pieces that fit. I’d rather stay that way. The kindness and respect you can give me will never save me (no one can), but it can let friendship thrive. So I’d rather, I’d rather, I’d rather accept that than ruin something nice.

I’m sorry. A person can’t save much and it is not even one’s job to do so, but I am indebted to your kindness that night (or mor-night); I decided to not face life alone, at least for a few unholy hours, and I thank you for deciding to stay for a bit even what I did to you was way uncalled for.

I’m sorry. More than anything, I’m apologizing again because I’m trying my best to feel too guilty, but at twenty-three, right and wrong become more of a spectrum, and sometimes, the colors change places. I feel heavier than ever, but it’s not because of my choices that night. It will take more time for me to fully understand this, but perhaps it’s true that there will never be this straight-up right and wrong sa ubang mga butang sa kinabuhi. Only what is and what isn’t. So I will keep that MS Word file; making sense of an eternal fondness or, let’s say, a kept empty room just in case, is then again futile when two people just can’t.

I’m still aware, however, that we will still never be excused from the real-life consequences of our decisions. Whatever weight I’m carrying? It’s the remnants of the aftermath, obviously of the absence of what I can’t have and the choices that only count for one side. The last thing I want to happen, believe me, is to overstep boundaries. Even after doing so. Obviously everything sounds contradicting. I just hope we’ll turn out fine. I don’t know what to say anymore. On a lighter note, I also hope we can talk over coffee because you also need to see for yourself my kind of humor, ha-ha-ha. I mean this. As a peace offering, I’ll give you a book. If you want to read some of my published poems, feel free to ask. There’s this Chinese poem I wrote, and I think—just think—you’ll like. (Also, Chapter 1 sa akong MA thesis, ganahan ka? Ha-ha-ha.)

Don’t worry lang rin about me. So what if morning and rain came and nothing’s washed away for me? I’ll clean unsettled dust myself, rid me of myself, and breathe acceptance myself.

July 13, 2019

What we are having

Maybe I just find it easier to be hopeful than happy. Scary, scary happiness—an acquaintance, way less than familiar.

How I wish I can tell you without a strained face and heavy nothingness that I know it by heart, that it’s in me, that I don’t have to try too hard for it to stay. How I wish that I can let you see through the cracks to show lit rooms, but all reveals empty spaces.

I can point you to presence, but it’s part of memory, and both haunt and betray.

All I have is this hope of breaking through. All you have for now is this breaking.

Overtaken

Not sure if around two or four o’clock in the morning, but I just woke up overtaken with this feeling of being important yet unloved, like a must-have book according to many finally acquired yet untouched, staying on the topmost corner of a bookshelf, lying lonesome with all these words . . . and so the dust settles in my walls and my system.

About Andeng

Andrea D. Lim, 23, is currently a graduate school student in the Masters in Literature program of the University of San Carlos and an editorial manager in a local publishing house somewhere in the Queen City of the South. She writes poems and literary essays on faces, places, and spaces, no matter the extent of fill and emptiness, the height of insecurity and self-doubt.

Friends tend to ask for her “external reading” services as well, and she has yet to be fully aware as to why they trust her with their material or literary works too much. She’s pointing this out because, for sure, the content in Andeng shows all the whatnots that have led to the evolution of her taste and take on anything under the weather. Her hopes are up that whatever’s posted here will make her more confident in her impressions and preferences, more comfortable in trusting her guts, instincts, and long-held truths.

This blog is her second. (The first blog page is tucked in privacy through a pseudonym ala Pessoa.) She decided to create a new one after seemingly countless attempts to achieve mindfulness and take more creative plunges in the depths of life. Also, writing here will help her combat the looming stress and depression as she finishes her thesis in the graduate program and put restlessness to sleep.

And, oh, her first love in high school calls her Andeng. She hates being called that, really. The only people who had the audacity to do so were the former college dean back in Silliman University and another guy she does not want to recall.

But if she hates it so much, why use “Andeng” as this blog’s site title? you might ask.

A quick Wikipedia search will show you that Andeng is one of the many characters in Philippine National Hero Jose Rizal’s Noli Me Tangere. She is the kinakapatid ni María Clara na mahusay magluto (Maria’s friend who’s almost like a sister and is good in cooking); María Clara has known her for a long time, sharing the same nurse when they were still infants. (Don’t worry, this blog site owner does not use Wikipedia as a main source for her thesis.) She still doesn’t get why she finds this information personally substantial, but she thinks she wants another take on an annoying endearment. This fact is another string attached to Andeng, the happiness-inducing string she now chooses to hold on to.

She believes she can do more decision-making and sorting out in this blog. As for the magaling magluto part, she hopes her baking skills can live up to it. (And her capability of whipping pasta helpings too.)

But this is not a self-serving blog. She writes not just for herself but for those whose voices are refused to be heard by those in power, whose circumstances make dreams harder to attain, and whose specific realities deprive them from being human or being in touch with humanity.

Andeng also thinks this space is an intimate response to those rooting for the success of her attempts to attend to her further queries answered by motion alone. Attempts, attempts, attempts in various forms. Here’s to the beauty that lies in the process of believing in the power of words again, never letting the thoughts on futility of all efforts get the best of her.