I’ve always had trouble with titles. Finding a word or phrase that encapsulates a broad spectrum of ideas never failed to prove itself a difficult task. What pains me is the reduction process, which thereby eliminates any other ideas that may flow with what you began or later on proceed to adhere to, not necessarily parallel, sometimes even running askew. I’d also hate to resort to long ones, defeating the very purpose of the act. And yet, you’d want to endow it with a name that entices the reader to take a closer look, without preempting anything. Neither would I want to abstain from the act and leave it untitled. It just reflects indecisiveness and an escapist attitude (no offense, just a personal opinion). Then there are the rules of common grammar which forbid the use of prepositions at the beginning of a sentence or phrase, but we all know I always disregard that.
What I hate most, however, is having to live with a bad title. You and your work are tainted by its inadequacy. And readers will have to contend with the burden of deciphering whatever the hell you were thinking at that moment. The frightening thought is that all your ponderings for that moment are locked in that title — a time capsule of sorts. It’s a clandestine peek into the soul, something I’m very protective about, never mind about how many masks one wears. My editor would always come back to his works often with new, very different titles for what he has previously written. He always preferred that a third party entitled his work, even if it was bereft of Latin. “You always grasp the subject better when you’re outside of it.” — the difference of a mystery and a problem (ah yes, philosophy). Himself, confessing the temporality-linked titling dilemma.
The same holds true for our own titles — reducing us to one feat, whether great or a source of embarrassment, a time capsule of that fateful moment that can either make or brake us. It’s the reduction and temporality of it all that is troubling.
I’ve been told finalists in the Palanca awards were selected by virtue of their titles and first lines — a rather superfluous process of elimination that always disgusted me.
I always feared my work would be skipped (should I finally sum up the courage to enter) because of its title. Perhaps we trouble ourselves in finding a metaphor, double meaning, or just something profound all too often. It’s the piece that says it all, in the end.
I ought not to complain. It’s those very titles that have helped me get to where I am; titles that, ironically, grant me license to shitty titles, if you think about it.
I’ve had a couple of nice ones. But it would still be nice if I could have a little more consistency.
