On July Twenty-Five

Sittie Raihanah Macaager

(For Ina, my grandmother)

When did you arrive?
Have you eaten yet?
Where are you?

You used to ask me those questions
like they were part of breathing.
Now I ask the wind,
and it answers with nothing.

You died right after I graduated.
Right after the one moment
you waited your whole life for.

I wore that gown with pride.
Now it feels cursed.
Heavy with the silence of
what I never got to say.

I didn’t even get to tell you I made it.
That I did it for you.

Why does love stay so long,
only to tear itself away
in one violent second?

You were beautiful,
not in a delicate, storybook way.
You were beautiful in how you stayed.
Through hunger.
Through illness.
Through whispered prayers
when the world forgot to listen.

And now you’re gone.

I cry when no one’s watching.
Not to be seen,
but as if the ache
might bring you back.

Instead, it soaks my chest in salt,
chokes my throat with
everything I never said.

The tears are heavy,
not because I’m weak,
but because
you took a part of me with you.
And I didn’t get to choose.

You gave love
that asked for nothing.
Unconditional. Unshaken.
And all I gave you
was a goodbye you never heard.

I saw you leave,
not just the body,
but your soul
slipping out
like breath in winter air.

And I just stood there,
alive,
but empty.

They buried you,
as if any grave
could hold what you were.
But no grave is deep enough
for this kind of love.
This kind of loss.

If love could raise the dead,
I’d scream it into the sky
until my voice shattered.

But you’re not coming back.
And I am left
with a hundred memories,
a thousand regrets,
and a silence too loud to name.

I miss you in ways
language cannot carry.
And it hurts
more than anything I’ve ever known.

Ina, this is my ode to you.

My gown,
the one you longed to see.
My success,
your ever dream.

I got it.
I did it.
And it was all for you.

 

Pass the baton

Raihana K. Lamalan

Every time na mag-sine ako, I always bring my mini blanket with me.

Sa among kultura, we call it malong—my cousin used to call it “lulababay”, something that doesn’t have a direct translation; but it means something along the lines of a mother’s warmth that brings you comfort. Malong is widely known for our traditional clothing and dances, but technically, we also have malong where we use it for sleep. We pull the end of our malong, step in the center to wear it like a tube skirt until it reaches our chest or shoulder or depending on our liking, then wrap ourselves in it. We almost look like we’re vermiculated—but at least it feels like a warm hug from our mother, or grandmother. My cousin, she further explained how her lulababay has its own unique and specific texture compared to other malong we carry in our bed. The chill seeps in her skin yet there’s an impeccable warmth that soothes her to sleep.

It feels like home.

Dada, my father, once stitched from one end of our malong to another. As someone who’s taller in our household, Dada feared that I might catch a cold, so he often kept my feet warm—hence, lengthening the blanket. But since the fabric was too soft, and the scent too familiar—no matter how desperate he tried to wash it away he couldn’t resist the haunting familiarity lingering around him, I wasn’t surprised when he took the malong for himself. I thought that maybe he missed his old home before us—maybe his Ina, too. I can see how he longs for her, the way he melts down when we run out of bigas, or buys the whole ice drop (as what he calls the ice candy) from a manlalako that reminded him of his father, a principal who also vended ice drop during his childhood. I can smell the child in him; it’s rotting, writhing in agony as he hugs his new favorite malong around him, longing for a parent’s love.

Dada used to say na pinaglihi ako sa depresyon.

Because when Mama was pregnant with me, their Ama lay among our ancestors. She hated dogs and cats—and anything that came down with rabies—which was the cause of Ama Lukés’ death; something I resented about her when growing up. I was a child who nurtured the simple things around me and it broke my heart knowing I couldn’t shelter them all. To think that the model I should look up to was a complete opposite of who I am and who I’m going to be was… disappointing. It all rooted back to when Dada said I was “born under a cloud of depression,” because after Ama Lukés passed away, less than six months later, her Ina passed on too. In a way, it seems to me that the first thing I inherited from Mama was her deep, aching longing beyond her fingertips.

Dada mentioned that no amount of bulawan would make her happy. I find it almost impossible, because Mama will be happy to receive gifts from her husband (as any woman raised in a rural area would be). Having to grew up in around the Red Sea, I knew gold wasn’t impossible to buy as a gift—but with our financial struggles, her pregnancy with me, and the recent loss of her parents, these burdens became overwhelming for her. It was under these circumstances that Dada said I was an unplanned child, almost the unwanted one. And I couldn’t blame him. I was too difficult during my teenage years as to why he suddenly blurted that out. He once told me that no one could possibly fathom the way I am—that I am not meant for weak hands. Each pulse a verse, each would wound a different line, and I beat in language that no weak minds can utter.

As time goes by, I’m in awe of how mama never gave up.

Instead, she would wrap herself in malong and think of it as her Ina’s embrace, her Ama’s comfort. She would wipe her tears on it; the same way I muffled the sound of my silent sobs nowadays. The piece of fabric that held together assures her their presence despite being worlds apart from each other. And it makes me wonder, as to how I’m able to understand what she was going through. I long for our parents’ presence though they are right beside me, preparing our meals or reckoning our budget for tomorrow’s allowance. It sickens me. To watch them inhabit the life that owes them more. Then, guilt consumes me; I reckon my childhood that watches them doing the math all over again, the same picture I’m witnessing today. At that age, I couldn’t name the feeling—but now I recognize it as grief. Maybe I was pinaglihi sa sama ng loob, I was born with my Mama’s vulnerability, her fear of losing, her longingness. I was born with my Mama’s wistful sentimental yearning, sometimes it eats me alive—wondering whether it’s a gift or a curse.

In the same line, my cousin is on her malong’s five hundred and ninth sew. She said, her lulababay is on the brink of scraps—in fact, it’s almost beyond repair, “sukong-suko na nga,” she quotes. For some reason, her malong is dripped in memory, it was her handomanan from her Ina Lukés that was passed down to her, so she keeps it close to her even if it has a five hundred ninth jagged tear all over the seam.

Because it does feel like home.

So, I always bring my malong with me every time I watch cinema and, the thing is, I hate being inside the theater. It’s frustrating when you don’t hold the power to take a pause and search for the symbol’s implication, or to replay the scene because the humor was outrageous, or when you realize the importance of easter eggs from previous movies, series, and theories. It feels silly, whimsical even. These two unrelated rituals carry the same architecture of memory. The cinema is a dark room that suspends the world, it helps me escape for the next 2 hours from my lifelong painstaking responsibilities. Malong is threaded to pull my family into that silence. It’s a reminder that despite the moments for entertainment, there’s a story beneath my skin that still wants to be held. Cinema helps me forget, but the malong brings me back to who I am.

The movie was playing before me but the scene wouldn’t register in my mind, all I could hear was my Mama’s silence. My Dada’s stitching. The ache I inherited from them. There was a pang of guilt as I held my malong closer to me, lifted my feet from the ground and kissed my knees as it reached my chin. It’s nostalgic. Pagdamdam gani, ana sila. They passed me the baton I carry from my mother’s fears and my father’s grief, and all the quiet things they never said, but stitched into me anyway.

The sea is their home

Fatimah Rafeeda Tajeer

Allaw pasakat muwan danta ma kalumaan ma Tawi-Tawi. The morning sun rose slowly over the sea and spread its light across the small Sama village floating quietly along the coast of Tawi-Tawi.

Tahik masi, sussi toongan a tandah leh ta deng ma reyoh kalumaan. The water was still, clear enough to see the fish gliding beneath the bamboo houses, while narrow wooden boats swayed gently, as if breathing with the tide.

Tima sat at the edge of their hut, her feet swaying in mid-air above the water. She was fourteen and infinitely curious about everything. Her family was Sama Dilaut, or Badjao – people of the sea. To them, the ocean was not a frontier, but home.

Her father, Akbar, prepared his small lepa, a slender boat carved from a single tree. He checked the fishing nets with practiced hands. Inside, her mother, Sitti, was boiling panggi, that’s what they call cassava, while humming a lullaby she had learned from her grandmother. Life was simple yet steady, like the rhythm of the waves below their home.

Tima loved mornings like this. Men paddling into deeper waters, disappearing against the endless blue; women behind, mending nets, washing clothes, or taking care of small children. The village smelled of salt and coconut-husk smoke, and though the world beyond the horizon felt far, their floating community felt complete.

Still, Tima often wondered what lay beyond the line where sea met sky. She saw kappal or bigger ships passing by filled with traders, visitors, or families leaving for city life.

“A pabalik bahah sigiya?’ Do they ever look back? She once asked her mother.

Sitti smiled softly. “Sampurahan a pabalik, sampurahan a maha na. Damikiyan, tahik mag pa saplag bang amin ingga sigiya.” Some do, some don’t. But the sea always remembers who belongs to her.

That answer stayed with Tima. The sea was gentle but could be cruel. Many villagers carried quiet stories of loss, like a father who never returned, a home destroyed in storms, a child taken by sickness when no doctor was near. Yet the Sama people endured, as they always had.

One afternoon, dark clouds gathered over the horizon. The once calm water shifted into restless waves. Akbar recognized the signs. “A ilu na baliyu. Engkotan bi lepa bi. A pasod bi kaanakan ni jalom.” A storm is coming. Tie the boats. Bring everyone inside.

Rain pounded upon the roofs of nipa and bamboo. The waves lashed at te stilts of their houses. Tima clung to her mother while thunder rumbled above. Outside, she heard her father giving commands as he battled the wind, securing their boat. Then a towering wave crashed into the side of their house, shaking it violently. Wood cracked. Sitti screamed for Akbar.

“Akbar! Akbar!!” But when the storm finally passed, he was nowhere to be found.

The sea was grey and dolorous for two days. Men searched coves nearby, calling his name. Only his small lepa was found half-broken, washed up among mangrove roots. The village grieved in silence. The Sama people never cried loudly, only praying in hushed tones, their eyes reflecting a pain each of them knew well. They lived with the sea, knowing the perils.

Tima sat by the shore, staring at the horizon beyond which her father once crossed. The water glittered under the sun, beautiful yet unforgiving.

“Anggay leh nu nga amah ku?” Why did the sea take him? She whispered. Sitti rested a hand on her shoulder.

“Halam bay ah leh tahik.” The sea never takes, she said softly. “A leh na ngalaynganan lang pabalik anu bay min iya.” It only calls back what has always been part of her.

In the weeks that followed, Tima helped her mother fish near the shallows. She had learned to steer the lepa and read the tide, and listen to the sea’s quiet warnings. The work was tiring, yet its rhythm soothed her. With every pull of the paddle came the soft splash of water. At such moments, she felt her father nearby, guiding her through the currents. At night, stars reflected on the water like scattered pearls. Tima thought of how her people had lived this way for centuries. The Sama Dilaut were born on the sea, lived on the sea, and returned to it. Their stories told of islands that lay afar, of storms that were survived, of love found between waves.

The sea was home and the teacher. It wanted patience and modesty. And, little by little, Tima understood that each tide carried not only sorrow but also strength. Months passed, and she grew into her role. Few girls her age could dive as fearlessly as she did, her body moving through the water like the fish she chased. She gathered shells and sea cucumbers to sell or barter for rice in the Bongao market. People said she had her father’s courage and her mother’s heart.

One evening, at sunset over the sea, Tima stood outside their home. The call to prayer floated from the small masjid, mingling with the soft slosh of water beneath the houses. Sitti joined her with a surian lantern.

“Amah nu war pamung na hadja na tahik bateh kaulluman baybay majatah, baybay madeyoh, sumagawa pabalik du iya.” Your father used to say the sea is like life, it rises, it falls, but it always returns.

Tima nodded. “A pabalik du kita.” And we return with it.

The Surian flickered across the village that night, their reflections trembling like stars on the water. And life went on fragile, yet strong, humble, yet full of grace. The sea had taken a lot, but it was still giving all: food, faith, rhythm, purpose. Tima’s eyes locked with the horizon, steady as the heartbeat within her. The sea whispered back, endless and unbroken, as always. Claiming her father had shaped her. To the Sama, the sea was not the end of life but life itself, boundless, mysterious, and eternal.

“Dikayuh ullow, mag andah du kita balik, Amah!” One day, we will see each other, Father!

Fi Amanillah – May Allah protect you.

My Path Home

Nelson Dino

I gazed at the sea sparkling under the evening light. The lepa that is my home swayed gently with the Sanga-Sanga waves. The breeze brought the salty tang of the sea and the earthy scent of thatch, but my heart felt heavy. I am only seventeen, yet my eyes hold a sadness too deep for someone my age. Today, the news reached me—Sulu is no longer part of BARMM. We are separated. Like a blade piercing my soul, the sense of loss cuts deep. My mother sits beside me, mending the nets we just repaired, smiling, yet her eyes are sorrowful. I know she feels the same, though she says nothing.

“Lantri,” my mother’s voice is gentle, “don’t be too sad. But I understand… it’s heavy.”

I lower my head, my long black hair fluttering in the wind. “Inah… why must we be separated? Aren’t we part of the same history and the same culture?”

She sighs deeply. “This is the decision of people in the big cities. They don’t see what we feel. They don’t know how the lepa and this sea have shaped us. They only see maps and political lines.”

I look at the sea again. In my mind, I remember my grandmother’s stories of old Sulu—Sulu before all the modern laws and regulations. About small boats leaving the harbors carrying spices, salt, and cloth. About how our people sailed not just for trade, but to uphold dignity, and to defend our honor.

Since I was little, I have learned this history from a kissa—my grandmother’s narratives full of laughter, war cries, and tearful farewells. But now, that history feels hollow. Political lines separate us from the identity we have always preserved.

At school, I feel the change too. My friends speak of BARMM, of new identities, of opportunities, and limits. But I feel as if my soul has been sidelined. I have lost more than regional administration; I have lost a part of myself.

One night, when the moon reflects on the sea, I climb onto the deck of the lepa. My heart is too heavy to sleep. I gazed at the sky, as if seeking answers among the stars. The night wind carries my grandmother’s whispers, a voice that always calms me.

“You know, Lantri,” the voice echoes in my mind, “sometimes the world forces us to accept separation. But remember, this sea is still ours. Our traditions still live. Political lines may divide maps, but they cannot divide our souls.”

I lower my head, tears dripping onto my hands as I grip the edge of the lepa. I feel the warmth of the history my grandmother passed down, and slowly, my sadness is no longer pure despair. There is anger, yes, and loss. But there is also resolve.

In the days that follow, I begin to write. In a small notebook I carry everywhere, I write about the sea, about the lepa, about Sulu, and the homeland I love. I write for myself, for my grandmother, and for everyone who feels lost. The words become both a release for my grief and a bridge.

At school, when my teacher asks us to write an essay about our identity, I write wholeheartedly. I write about Sulu, maritime history, culture, kulintangan music, pis siyabit weaving, and how every lepa rowing at sea carries the stories of our ancestors. My friends listen, and some cry along. My teacher looks at me with admiration.

One afternoon, while sitting on the lepa, watching the orange-hued evening sky, I hear my mother calling from the stilt house. “Lantri! Come eat before nightfall!”

I stand, take a deep breath, and look at the sea. A cloud passes, briefly covering the sun. But beyond the cloud, light still shines through. I smile faintly. So too is our life—though separated, the light of our culture and history still shines.

I know the journey to accept this separation is far from over. The sense of loss still presses on my soul. But I also know that in every word I write, in every song I sing on the lepa, in every weaving I learn from my grandmother, Sulu remains alive. Sulu remains whole, even if the lines on the map have changed.

And that night, as the moon reflects on the sea, I write to the wind, to the sea, and to history: “You may separate us from BARMM. But you will never separate our souls. I will remember. I will write. I will carry this story, even alone.”

The lepa sways gently with the waves. The sound of water and wind becomes a lullaby for my soul. And for the first time since the news arrived, I feel a small peace. A peace born not from accepting separation, but from the resolve to protect my heritage, to ensure Sulu lives on in every story told, and in every pair of eyes that gaze upon the same sea.

I look at the sky once more. The clouds move, leaving a gap for the moonlight to shine brighter. As if nature itself writes, “Souls cannot be divided. Stories cannot be erased.”

And I know, even if the world separates us on the map, I will never allow our history and culture to be separated from my soul. Sulu remains mine. The lepa remains my home. The sea remains my path home.

Mailay Ko

Aleah Sulaiman Bantas

Moamina was the first girl I saw
aaaaaaaasoftly arched brows,
a look you catch
in those brief intervals of movement
aaaaaaaawhen you look too long at someone,
and just stare,
aaaaaaacompelled,
thoughtless, as if
aaaaaaaabeing carried away
aaaaaaaaaaaby the current of an alep river,

the kind where it hasn’t been raining for days on end,
aaaaand the water runs cool at your feet,
watching pebbles settle in the shallows—
aaaaaaaaaweathered, polished smooth.

How you call a river twice:
aaaaaaaafirst in your tongue alep,
then again river,
aaaaato remind yourself
it must flow
 aaaaa somewhere.

Her frown and smile
aaaaamerge, soft creases forming
aaaaaaaaat the corners of her lips,
aaaaaaaaaaforehead,
aaaaaassssssdd& cheeks.

What I wanted to say
was her eyes were the certain virtue of stillness—
the ease I could have held onto,
    like holding a tasbeeh
          to which I recite,
mouthing forgiveness.

I remember her voice trailing off,
half-breath,
the sound of sleep and distance
aaaaaprayers dissolving,
aaaaaaaaaaaa steady cadence.
blending into the ripple of water.

Her kindness was the first
dddI understood,
next to wanting.

When she was near,
aaaaI forgot
aaaaaaawhat anger meant.