ALOYSIUSI LIONEL
POLINTAN Reviews
Fault Setting by Joel Toledo
(University of
Philippines Press, 2016)
WHEREWITHALS FOR ASTOUNDING VERSES
The ratio of men perishing from
natural causes to those felled by internal conflict
is roughly the same.
—from “Tulips”
One prefers poems filled with silence that “crowds pages
and cathedrals” and slivers of breath “cutting into the rock”. Their brevity
challenges him to paint in his mind a singular scene, and the scarcity of
details renders him the freedom to explore what happened beforehand and what
would happen afterwards. Another reader prefers to pronounce poems which sound
like soliloquies of a soul searching for meaning, looking for words that would
suffice the thirst for relevance and significance. Award-winning poet Joel M.
Toledo gathered these reader responses and preferences and attempted to
redefine these forms of enthusiasm in his latest poetry collection Fault Setting (UP Press, 2016). Yes, an
intricate, exuberant attempt.
One of the wherewithals for astounding verses is the
poet’s knack of showing how an image moves and captivates the one looking
without compromising the willingness to admonish. Toledo, as the book unravels
this two-edged knack, proffers melody to what are deemed his caveats on reading
and writing poetry. An example is “Mirth” where he said: “Rub it on your
sleeve. / Shine and sheen, smooth, and do not / fall in love with the beautiful
line.” Many foreign and Filipino poets get away from poetry’s aim of seeing
marvel in the commonplace and take line cutting for granted in order to rant
about politics and shenanigans of colleagues. Notwithstanding this propensity
in contemporary literature, Toledo stood as one of the few poets who could turn
sermons on the mount into sweet murmurings gliding over the stream.
Toledo is not hesitant
to enumerate poet’s identities in this volume of verses. One might notice the
recurrent themes of presenting the poet as one seated on the riverbank and
lurking in hindsight, in contrary to other writers’ attempts to install the
poet’s linguistic excellence on the pedestal of philosophizing anything that
flows and twinkles. In “Forgery”, the glory and gore of poet’s workings on his
oeuvre is likened to fashioning a dagger out of fine wood, with hum and sparks
necessary to forge a creation longing for form. In the end, the blacksmith-poet
realized that “(h)e can make it happen, / of course, but he is / too busy
scribbling down / what could have.” The language in utility was direct but
contrived words and wrought pauses served as glimmering ruptures in the act of
versification.
There are two poems in the book that have the same title,
“Aubade”. The first poem is an ode to sunrise which illuminates man’s every
writing stint, the one which gives him sufficient light to scrutinize (and to
be scrutinized) every dewdrop and note requisite of poeticizing resentments and
reservations. While in the midst of musky pages, the persona in the poem
declared with sigh of relief that “there’s no narrative here, just shards of /
memory, a punctuation, failure, an aspect of lyric.” The power of imagery
brought by the literal sunlight is resonant in the second poem. “It’s the fish
seconds after / being taken out of the water, / the iris drying up.” This
dedicative poem demonstrates that, like dawn’s rays, a work of art should be
offered to one or all, rather than to the poet himself. Using the name for a
dawn song as a title of two different poems is an evidence to poetry’s way of
deconstructing coinage and imagination’s way of hammering aesthetic conventions
(if there is any).
The 65 poems, regardless of how they would want to assert
their individuality, constellate to attest that “(w)e need / what we cannot
hold.” This collection celebrates Toledo as a virtuoso of verse, and it mourns
man’s loss of control over the periphery of his world. The last lines in
“Celerity” could summarize the impetus of this book: “this task / would be less
/ about excavation / and more of / leaving be.”
Enough said, not only does Fault Setting prove that
Toledo has a way with words, this collection also attests that someone spending
his precious time “inspecting the syllables of rainfall” is one worthy of note.
*****
Aloysiusi
Lionel Polintan is a Senior High School Coordinator of Divina Pastora College
in Gapan City, Nueva Ecija. He loves reading and writing poetry, and everything
that ranges from Bob Dylan to Hozier, and from Mahalia Jackson to Christina
Aguilera. He is doing research on intangible cultural heritage of Southern Novo
Ecijanos. He maintains a blog: /react-text http://renaissanceofanotebook.blogspot.com
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