Karaniwang inilalarawan ang karagatan sa mga malikhaing akda bilang espasyong pasibo, hindi maarok, nakasisindak, at antitetikal. Subalit may limitasyon ang nasabing mga representasyon lalo kung nagmumula sa terestriyal na pang-unawa. Inilangkap ang historikal at heograpikal na mga paliwanag sa pagsusuri ng mga piling akda ni Gremer Chan Reyes upang palutangin ang ontolohikal, metaporikal, at transgresibong dagat. Isinusulong ng papel na makapagpapayaman sa pag-aakdang literari ang pagkakagagap sa likido at gumagalaw na kalikasan ng karagatan. The ocean is typically represented in creative works as a passive, unfathomable, terrifying, and antithetical space. But such depictions can be somewhat lacking if formed from a terrestrial point of view. Drawing on history and geography, selected works of Gremer Chan Reyes were analyzed to illustrate the significance of the ontological, material, metaphorical, and transgressive sea. The paper argues that understanding the fluid and moving nature of the ocean can enrich literary representations.
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