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Katipunan

Katipunan

English Title

you is trippin’ if you still believenarratives are powerful

Abstract

Ang pagsusulat ay palaging paghahalughog ng sarili. Hindi matigil, hindi masagad. May natayang tradisyonal na henerikong anyo ng pagaakda na inaaral sa mga pamantasan ng malikhaing pagsulat. Hindi ba ito puwedeng basagin? Dapat bang idikit sa ganitong pormula ang pasusulat ng maikling kuwento? Paano kung hindi akma ang materyal sa mismong proyektong inaakda sa pagsunod na tradisyonal nitong anyo? Dapat bang banggitin ang wakas sa dulo? O hindi dapat banggitin hanggang dulo? Ang kuwentong ito ay pagsubok ng manunulat na basagin ang kaniyang sariling paraan ng pagkukuwento at pag-aangkop ng materyal sa napiling estilo.

English Abstract

Writing has always been a process of self-excavation. There’s a certain standard of Creative Writing taught in universities where form, as well as aesthetic, is confined to say it’s “okay” based on these standards. There’s a traditional form to write short stories. As a product of an institution, I, as the writer, am conscious of it. Should we always subscribe to this traditional form of the short story? Shouldn’t we divert from this traditional form, even if the writer’s material is not aligned with this form? Should the denouement be seen always at the end of the short story? Should the writer wait and place the denouement at the end of the short story, so it is earned? This short story is an attempt of the writer to stow away from his institutionalized way of storytelling learned from the university and writing workshops while trying to appropriate his material on the chosen style.

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