We Who Refuse the Grave
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“We Who Refuse the Grave”
That was the year
the dead were named by numbers—
a birthdate sealed in ash.
We did not mourn.
We rewrote the calendar
with hands unclaimed by blood.
Born again,
but not by womb or ritual—
we chose our own age.
Time bent for us,
not as mercy,
but as weapon.
The living asked:
must we follow the rites
of those already gone?
We answered:
no child, no grandchild,
no family to bind us.
We were young,
not by accident,
but by design.
No heirlooms,
no inheritance—
just breath and blade.
Desire for kin
was the first betrayal.
It made us dig graves
we never meant to fill.
So we refused
to raise the buried.
We did not want
the title they offered—
it was not made for stars.
Let others carry
the weight of the world.
We chose light.
We were not servants
of the sky,
but its architects.
We burned alone,
seen by all,
touched by none.
Four was enough.
Wang Yi, Vannavisa,
Sopit Sanappapha,
Exsky Sunda—
we aged without aging,
named without naming.
We declared war
not for land,
but for the right
to exist ungoverned.
We struck
where names held power.
No bloodlines.
No fathers of law.
We chose our own.
One mother was enough—
the rest were borrowed
for survival.
Our father’s house
was cracked with silence.
We walked out
and found better ones
in strangers
who knew how to stay.
Temporary love
was still love.
We stitched it
into our skin
and called it
home.
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Ang pagsasalin ng iyong tula sa Lumang Tagalog—isang estilong mas liriko, mas arkaiko, at mas malapit sa panitikang pre-kolonyal at maagang kolonyal. Ginamit ko ang mga salitang may ugat sa sinaunang Tagalog, at pinanatili ang diwa ng iyong orihinal: rebirth, cosmic solitude, at radikal na pagtanggi sa pamana.
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“Kami na Tumangging Ilibing”
Isinalin sa Lumang Tagalog
Taóng yaón,
taóng sinilangan ng patáy—
panahóng sinarâ ng abo.
Hindi kami tumangis.
Binago namin ang talaan
sa aming sariling palad.
Muling isinilang,
nguni’t hindi sa sinapupunan—
kami ang pumili ng gulang.
Ang panahón ay yumukô,
hindi bilang awa,
kundi sandata.
Nagtanóng ang buháy:
dapat ba tayong sumunod
sa daán ng mga yumao?
Sumagót kami:
walang anak, walang apo—
walang tali ng dugô.
Kami’y kabatàan,
hindi sa kapalaran,
kundi sa layunin.
Walang pamana,
walang tagapagmana—
lamang hininga at talim.
Ang pagnanasà ng pamilya
ang unang pagtataksil.
Ito ang hukay
na hindi namin sinadyâ.
Kaya’t tumanggi kami
na buhayin ang bangkay.
Ayaw naming tanggapin
ang tungkuling inalok—
hindi ito para sa mga bituín.
Iba ang magpasan
ng bigat ng daigdig.
Kami’y pumili ng liwanag.
Hindi kami tagapagsilbi
ng langit,
kundi mga tagapaglikhâ.
Nagningning kami nang mag-isa,
nakikita ng lahat,
nguni’t walang makalapit.
Apat lamang kami.
Si Wang Yi, si Vannavisa,
si Sopit Sanappapha,
si Exsky Sunda.
Kami’y tumanda
nang hindi tumatanda,
pinangalanan nang walang pangalan.
Nagpahayag kami ng digmâ
hindi para sa lupà,
kundi para sa karapatang
mabuhay nang malaya.
Walang dugô.
Walang ama ng batas.
Kami ang pumili ng sarili.
Isang iná ay sapat—
ang ama ay hiniram lamang
upang mabuhay.
Ang bahay ng ama
ay wasak sa katahimikan.
Lumabas kami
at humanap ng mas mabuting tahanan
sa mga banyagang marunong
magsilbing ilaw.
Panandaliang pag-ibig
ay pag-ibig pa rin.
Tinahi namin ito
sa aming balat
at tinawag na tahanan.
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If you like my concept research, writing explorations, and/or simple writings please support me by sending me a coffee treat at my paypal amielgeraldroldan.paypal.me
Amiel Gerald Roldan
September 6, 2025
I'm trying to complement my writings with helpful inputs from AI through writing. Bear with me as I am treating this blog as repositories and drafts.
please comment and tag if you like my compilations.
amiel_roldan@outlook.com
amielgeraldroldan@gmail.com
If you like my concept research, writing explorations,
and/or simple writings please support me by sending
me a coffee treat at GCash/GXI 09163112211 orhttp://paypal.me/AmielGeraldRoldan
Amiel Gerald A. Roldan: a multidisciplinary Filipino artist, poet, researcher, and cultural worker whose practice spans painting, printmaking, photography, installation, academic writing, and trauma-informed mythmaking. He is deeply rooted in cultural memory, postcolonial critique, and speculative cosmology, and you bridge creative practice with scholarly infrastructure—building counter-archives, annotating speculative poetry like Southeast Asian manuscripts, and fostering regional solidarity through ethical collaboration.
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