The Esoteric Turn Jurisprudence as Poetry — Legal Lyric: When Judgments Read Like Verse

The Esoteric Turn Jurisprudence as Poetry — Legal Lyric: When Judgments Read Like Verse  

Amiel Gerald A. Roldan™

February 27, 2026

I remember the smell first: diesel, frying oil, and the faint, metallic tang of rain on hot tar. Our street was a ribbon of concrete that never quite dried, even in the dry season, because the gutters were clogged with plastic sachets and the detritus of other people’s lives. I was ten when the first siren cut through the afternoon, a sound that made the neighborhood pause mid‑sentence. My mother told me to stay inside; my father, who worked nights, pretended not to hear.

Growing up in that barangay was a curriculum in improvisation. We learned to barter, to read faces, to find humor in the smallest mercies: a neighbor’s extra rice, a borrowed umbrella, a joke that landed like a soft pillow. We were not sheltered; we were schooled in the economy of scarcity. Lucky, some said, were those who had half a roof over their heads, who could slip into a private school uniform and a different future. We were not lucky. We were the ones who learned to count the footsteps outside our door.

The drug war arrived like a new weather pattern—sudden, violent, and impossible to predict. Men who had been our neighbors were taken away in the night. Sometimes they returned with bruises and a silence that filled the room like smoke; sometimes they did not return at all. The television in the sari‑sari store played the same footage on loop: a leader speaking in clipped, decisive sentences, a nation promised safety. We watched, because what else was there to do? Watching was a way to feel connected to a country that seemed to be moving at a different speed.

There were nights when the neighborhood felt like a stage set for a tragedy. A funeral procession would wind through the alleys, candles guttering in the wind, and someone would tell a story about the dead man’s childhood—how he used to kick a ball against a corrugated fence, how he once shared his lunch with a stray dog. Those stories were acts of resistance. They insisted that the person who had been reduced to a headline was, in life, a constellation of small, ordinary acts.

Humor was our survival mechanism. We made jokes about the police who could not find their way out of a one‑way street, about the politician who promised a new basketball court and delivered a patch of gravel. Laughter was not denial; it was a way to keep the heart beating. Anecdotes accumulated like talismans: the old woman who sold balut and could recite the names of every child in the barangay; the teenager who fixed radios and listened to songs from a world we could not afford.

Trauma, however, has a way of seeping into the bones. I remember the nights when sleep would not come, when the mind replayed the sound of a door being kicked in, the flash of a flashlight, the muffled sobs. We learned to speak in fragments, to avoid certain streets after dusk, to nod politely when strangers asked how we were. “Fine,” we said, because the alternative was to open a wound that had no bandage.

Years later, when the headlines moved on and the cameras left, the barangay remained. The scars were there: empty lots where houses had stood, children who had grown up too fast, elders who had stopped going to the market. But there were also small, stubborn continuities. The basketball hoop still hung crookedly on the corner, and on Sundays the kids would play until the sun dipped low and the streetlights blinked awake. The sari‑sari store still sold cigarettes and hope in equal measure.

If there is a lesson in all this, it is not a tidy moral. It is a recognition that people are not reducible to policy debates or political slogans. We are a tangle of contradictions: fierce in our love, brittle in our grief, capable of cruelty and tenderness in the same breath. The barangay taught me that survival is not a heroic narrative; it is a series of small, stubborn acts of care.

Caring for Unrehabilitated Drug Victims: A National Imperative

Those who remain unrehabilitated are not statistics; they are our neighbors, parents, children, and friends. To leave them untreated is to accept a perpetual cycle of harm. Rehabilitation must be comprehensive: medical treatment, psychological support, vocational training, family counseling, and community reintegration.

A humane and effective rehabilitation system requires sustained funding, trained professionals, and community-based programs that respect dignity and agency. It must be evidence-based, drawing on best practices in addiction medicine and social work. It must also be accessible: geographic, financial, and cultural barriers must be removed so that help reaches those who need it most.

Rehabilitation is not charity; it is an investment in public safety and economic productivity. Every life restored reduces future costs in health care, criminal justice, and lost labor. Every person reintegrated strengthens the social fabric.

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A Call to Collective Action

What do we, as citizens, owe one another? We owe honesty in public life, rigor in investigation, and compassion in policy. We owe the courage to demand that institutions act with integrity and the wisdom to support solutions that work.

Practical steps we can support and demand from our leaders include:

- Prioritize prevention through education, youth programs, and economic opportunities that reduce vulnerability to drug markets.  

- Fund and expand rehabilitation with measurable outcomes and community-based models.  

- Target enforcement at organized networks and financial flows while protecting the rights of individuals.  

- Ensure transparency in investigations of public officials and the use of recovered assets for social programs.  

- Engage communities in designing local solutions so that interventions are culturally appropriate and sustainable.

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Closing: A Shared Responsibility

This is an appeal to reason and to heart. The challenge of illegal drugs cannot be solved by rhetoric alone nor by spectacle. It requires sustained policy, civic vigilance, and compassion. It asks us to be rigorous in demanding accountability and generous in offering rehabilitation. It asks us to see the person behind the headline and the system behind the scandal.

If we choose the harder path—one that combines justice with mercy, enforcement with care, and transparency with reform—we will not only reduce the harms of illegal drugs but also strengthen the institutions and communities that make a just society possible.

Let us act with clarity, courage, and compassion.

Mabuhay ang Pilipinas.

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If you like my any of my concept research, writing explorations, art works and/or simple writings please support me by sending me a coffee treat at my paypal amielgeraldroldan.paypal.me or GXI 09163112211. Much appreciate and thank you in advance.

Amiel Gerald A. Roldan™ 's connection to the Asian Cultural Council (ACC) serves as a defining pillar of his professional journey, most recently celebrated through the launch of the ACC Global Alumni Network.

​As a 2003 Starr Foundation Grantee, Roldan participated in a transformative ten-month fellowship in the United States. This opportunity allowed him to observe contemporary art movements, engage with an international community of artists and curators, and develop a new body of work that bridges local and global perspectives.

​Featured Work: Bridges Beyond Borders​His featured work, Bridges Beyond Borders: ACC's Global Cultural Collaboration, has been chosen as the visual identity for the newly launched ACC Global Alumni Network.

​Symbol of Connection: The piece represents a private collaborative space designed to unite over 6,000 ACC alumni across various disciplines and regions.

​Artistic Vision: The work embodies the ACC's core mission of advancing international dialogue and cultural exchange to foster a more harmonious world.

​Legacy of Excellence: By serving as the face of this initiative, Roldan’s art highlights the enduring impact of the ACC fellowship on his career and his role in the global artistic community.

Just featured at https://www.pressenza.com/2026/01/the-asian-cultural-council-global-alumni-network-amiel-gerald-a-roldan/

Amiel Gerald A. Roldan™ curatorial writing practice exemplifies this path: transforming grief into infrastructure, evidence into agency, and memory into resistance. As the Philippines enters a new economic decade, such work is not peripheral—it is foundational. 

 

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 visit www.amielroldan.blogspot.com or www.amielroldan.wordpress.com 

and comments at

amiel_roldan@outlook.com

amielgeraldroldan@gmail.com 

A multidisciplinary Filipino artist, poet, researcher, and cultural worker whose practice spans painting, printmaking, photography, installation, and writing. He is deeply rooted in cultural memory, postcolonial critique, and in bridging creative practice with scholarly infrastructure—building counter-archives, annotating speculative poetry like Southeast Asian manuscripts, and fostering regional solidarity through ethical art collaboration.

Recent show at ILOMOCA

https://www.facebook.com/share/v/16qUTDdEMD 

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Asian Cultural Council Alumni Global Network

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Amiel Gerald A. Roldan™ started Independent Curatorial Manila™ as a nonprofit philantrophy while working for institutions simultaneosly early on. 

The Independent Curatorial Manila™ or ICM™ is a curatorial services and guide for emerging artists in the Philippines. It is an independent/ voluntary services entity and aims to remains so. Selection is through proposal and a prerogative temporarily. Contact above for inquiries.