ANNOTATED BIBLIOGRAPHY

Aubrey Joy T. Salvador

ABE4-5

Neruda, Pablo. “A Dog Has Died-Poem by Pablo Neruda”. Poem Hunter, 13 January 2003,

www.poemhunter.com/poem/a-dog-has-died/

This poem is one of the classic poems of Neruda which anyone who is a dog lover can relate. In

this poem, he tells about the trustworthiness and his relationship to his dog, who has died. He

started the poem with the expression of distance from the dog but intimacy and love the author

feels for his dog have been evident at the end. I found the author’s trustworthiness to his dog and

firmness of their relationship really evident in these lines at the last part of the poem which says

“There are no good-byes for my dog who has died, and we don't now and never did lie to each

other.” In the first two stanzas of the poem, he also explores about his own mortality by

discussing his own views and doubts about the after life.

Neruda, Pablo. “Your Laughter – Poem by Pablo Neruda”. Poem Hunter, 3 January 2003,

www.poemhunter.com/poem/your-laughter/

The poem “Your Laughter” by Pablo Neruda is one of his late poems and was published in the

year 1972 as part of a collection entitled “Captain’s Verses”. In this poem, he was able to look

back to his past struggles he has been through. Being a Communist, Neruda had had to escape

from his motherland and live exile for sevral years. Through all of those hardships, he had

endured simply because of love. “Your Laughter” is written in free verse just like his other love

poems. The use of free verse is conducive to the lyrical quality of his love poems. However,
since we can only access his poems in translation, and because free verse has automatically been

adopted by his various translators, individual translations do not merit too much comment on

rhyme scheme.

Neruda, Pablo. “The Most Famous Poems of Pablo Neruda: If You Forget Me”. Culture Trip,

Elizabeth Trovall, 9 October 2017, theculturetrip.com/south-america/chile/articles/the-most-

famous-poems-by-pablo-neruda/

In the poem “If You Forget Me”, Neruda emphasizes the need of reciprocity in his romance,

though the subject of the poem isn’t completely clear. Some readers got say that this poem is

pertaining to Neruda’s lover but according to the analysts, the poet is speaking of his home

country Chile – as the poem was written during Neruda’s exile at the time of Pinochet’s coup –

though he could easily be referencing his lover and third wife, Matilde Urrutia. Capturing the

emotional intensity of love along with its insecurities, perhaps Neruda is commenting on both.

His roots in Chile and his relationship with Urrutia impacted him greatly and had a profound

affect on his identity. One thing is for sure, Neruda’s words will never be forgotten.

Neruda, Pablo. “The Most Famous Poems of Pablo Neruda: Everyday You Play”. Culture Trip,

Elizabeth Trovall, 9 October 2017, theculturetrip.com/south-america/chile/articles/the-most-

famous-poems-by-pablo-neruda/

The poem “Everyday You Play” includes one of Neruda’s most iconic lines, “I want to do with

you what spring does with the cherry trees.” It’s a very romantic poem, like many of Neruda’s

most famous works. In this poem, the author implies a great and intense sensuality and fertility

as the poem includes references to the spring season. The textual eveidences are the use of the

words flowers, butterflies and fruits.

Neruda, Pablo. “The Most Famous Poems of Pablo Neruda: Tonight I Can Write the Saddest

LInes”. Culture Trip, Elizabeth Trovall, 9 October 2017, theculturetrip.com/south-

america/chile/articles/the-most-famous-poems-by-pablo-neruda/

In this poem, Neruda comapres the tragic aspect of love to the solitude of the night, specifically a

night once filled with the presence of a lover. This poem also includes one of the most iconic

lines when it comes to love which is “Love is so short, forgetting so long.” Along with the night

imagery throughout, this poem sticks with the reader thanks to the repeated line, “Tonight I can

write the saddest lines,” which feels very immediate, final and strongly connected to Neruda’s

inner life at the time he wrote the work.

Reyes, Soledad S. “A Dark Tinge to the World: Selected Essays (1987-2005)”. Quezon City:

University of the Philippines Press, 2005. 295 pages

Reyes, Soledad S. “From Darna to Zsazsa Zaturnnah” Desire and Fantasy: Essays on Literature

and Pop Culture, Anvil Pub., 2009. 306 pages

The book "From Darna to ZsahZsha Zaturna" is composed of three popular culture specifically

Philippine comics, films, FPJ [the late actor Fernando Poe Jr.], Pacman [boxer Manny Pacquiao],

television shows, etc.) and two essays on literature (novels in English and Tagalog). This great

anthology of Reyes focuses systematically on the effects of colonialism neocolonialism, and

dictatorship in the development of Filipino novels in English and Tagalog languages. She has

outlined the shifting strategies, tradition, and broad thematic elements of these novels through

the years, including the different modes of their production. This book aims to make us learn

how to be critical in examining a text for it has deeper meanings and we'll be able to diacover it

when we scrutinize it and study it systematically. There are things that cannot be said, couched in

words and images that with closer examination which will lead us to chains of meanings.

Reyes, Soledad S. “The Romance Mode in Philipine Popular Literature and Other Essays”. De

La Salle University Press, De La Salle University, 1991. 309 pages

Soledad Reyes writes that Filipinos favored Philippine Literature written in the Romance mode.

Reyes argued that preference to this mode is consistent with the people’s desire to make sense of

their lives as they consume literature with conventional formats. Yet most literary works in the

Philippines are evaluated against their closeness to reality. As for Philippine realities not

reflected in Romance novels, Reyes notes this may be the case on the surface. But she adds, “The

text is never free for it is determined by the writer’s historical conditions and is therefore not to

be banished into a realm outside time… the people who responded to the texts, and who were

themselves producers of meaning are also bound to a definite historical moment.