Ficcion

by Edel E. Garcellano

Unknown Binding

First published January 1, 1978

About the author

Edel Garcellano is, in the words of Dr. Caroline Hau, "one of the most influential Filipino writers of our time, one who has inspired generations of Filipino students (particularly from the University of the Philippines) to think, read, and write against the grain of mainstream Philippine literature, society, and Politics."

Another revered literary critic, Dr. Neferti X.M. Tadiar believes that Edel Garcellano is "one of the most influential and yet under appreciated Filipino intellectuals of the last few decades."

It is puzzling, really, how only a few Filipinos manage to read Edel Garcellano considering the fact that he is one of the most important writers this country has produced.

Edel's most recent works can be found at: http://theworksofedelgarcellano.wordp...

Reviews

[Ivan Labayne · Rating 3 out of 5]

From Edel Garcellano’s Ficcion: may mga naaninag ang tauhan, si Elias (kabilang-mukha ni Simon? kapwa sa nobela ni Edel at sa Noli at Fili ni Rizal): “Ilang ulit na ba niyang naisaalang-alang ang anyo ng kanyang pagkamatay? Noong hindi pa man siya nagagawi rito at dumaranas ng isang pagpapasakit, parang isang pangitain na gumitaw sa kanya ang nabubulok niyang katawang sinagpang ng lupa, at sa lupang yaon ay tumubo ang magagandang bulaklak” (nasa page 165). What cutting grasses will Pam help nourish? What plants would linger with Pam’s rest? What growth will take place, what flowers will bloom?

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From Ficcion: “Bakit mo mamahalin ang sanlibutan, hindi mo naman maibig ang iilan?”

Variations leading to Goethe’s Faust, as Berman walks us through in All That is Solid Melts Into Air:

Bakit mo mamahalin ang sanlibutan, kung sarili mo, hindi mo maibig kailanman?
Mahalin mo ang sanlibutan, sarili ‘wag gawing kulungan.


“At first, Faust is thrilled to be back in the world. It is Easter Sunday now, and thousands of people are streaming out of the city gates to enjoy their short time in the sun. Faust merges with the crowd—a crowd he has avoided all his adult life—and feels vivified by its liveliness and color and human variety” (45). It is the “angels sing[ing] soaringly on” that prodded Faust out of his lonesome loneliness, relinking him to the “floodgates of memory” of his childhood, in turn reminding him to keep in touch with his feeling, balancing his bookish pursuits of a modernizing culture. “He needs to make a connection between the solidity and warmth of life with people—and the intellectual and cultural revolution that has taken place in his head” (46). Not exactly about abolishing the self, but integrating it with its larger environment; not about cutting off all intellectual pursuits, but linking them with their larger formations.