Penman No. 308: A Respite in Luang Prabang

27677144927_4dbfae4e9c_k

Penman for Monday, June 25, 2018

 

 

I TRY to give my wife Beng a birthday treat abroad every year—a small price to pay for her manifold acts of kindness and generosity, not to mention her 44 years of patience in sharing a bed with a snorer—so early this June, we flew out to Luang Prabang in Laos. Why Luang Prabang? Because I couldn’t think of a place with a more musical name, and because we’d never been to Laos, and because it had come highly recommended by a dear friend Julie Hill, who’s been all over the planet but who considers Luang Prabang one of her favorite haunts.

With atypical optimism, I’d booked our trip eight months earlier. There are no straight flights from Manila to Luang Prabang, so we spent a night in Kuala Lumpur before making the short hop to LP.

Street

As in much of Southeast Asia, things were cheap, easy, and infinitely interesting the moment we landed. The local currency is the kip, of which you’ll need about 8,400 to buy one US dollar, but for the princely sum of 50,000 kip or $6, we were brought by an airconditioned van to our digs, the comfortable, two-story Villay Vanh Guest House about 15 minutes away. Like many lodging houses in LP, the Villay Vanh was a largely wooden house—shoes off, please—that had been converted into a hotel, and it maintained that homey ambience without sacrificing modern necessities like airconditioning, hot water, and wi-fi.

Of course, you don’t really go to Luang Prabang for the airconditioning, the hot water, and the wi-fi. As it happened, our hotel was a few steps away from a large Buddhist temple on the left, and a river on the right. And should I say that our four-night stay, including breakfast with about a dozen choices from pancakes to beef fried rice, cost all of $52 (that’s for all four nights)?

Market

Beng, of course, made a beeline for the night market, which was also just a short walk away, but not before we made the obligatory climb up nearby Phousi Hill, which offered a 360-degree view of the city, the Mekong River, and the misty mountains in the distance. We love to travel around Asia for the markets, the museums, and the food, and LP delivered wonderfully on all accounts.

The night market, where lavishly woven textiles abound, stands right in front of the museum, which is also right next to the food stalls in the public market. I know that many travelers are queasy about eating with the locals, but that’s what Beng and I did, stuffing ourselves on broiled chicken, mudfish, and the sticky rice that’s a staple in Laos, for another 50,000 kip (that’s 300 pesos to us, including a soft drink). Over the next few days, we would discover that Laos has some of the sweetest and smoothest mangoes, which could well put ours to shame. (As well as Laos’ worst-kept secret: all wi-fi passwords are the same anywhere you go.)

The National Museum used to be the palace of the Laotian kings, the last one of whom was deposed in a communist takeover in the mid-1970s. Amid the slightly musty regalia hangs an unspoken horror, that the king and his family, much like the Russian Romanovs, were murdered a few years after they gave up power.

Shrine

More uplifting was the tour I truly wanted to take—a day trip involving cruising down the Mekong, visiting a Buddhist shrine up a mountainside, having lunch at an elephant sanctuary, then taking in the fabulous Kuang Si waterfalls. At just $40 per person, including a nourishing lunch, it was a bargain.

The Mekong in Laos is the same immutable, undulating, coffee brown that it is in Thailand and Cambodia, but the boats are long and narrow, often painted in pink and blue, somewhat echoing the Laotian flag. Stately villas and temples overlook the river, and now and then elephants peek through the bushes along the banks.

Falls

Luang Prabang stands at the confluence of two rivers, one that started out in China and the other in Vietnam. So far from the ocean, it thrives on water—and tourists like us, willing to go the extra mile from Bangkok and KL.

BINONDO 1 - FLOYD TENA, SHIELA VALDERRAMA MARTINEZ, ARMAN FERRER

Speaking of China, my wife Beng and I were having lunch at a Megamall restaurant a week ago when we suddenly heard mellifluous operatic voices singing in the lobby nearby. I took a peek and discovered that it was a mall tour to preview Binondo, a Tsinoy musical that’s opening on June 29, Friday, and July 1, Sunday, 8 pm at the Theatre in Solaire.

I got curious enough to seek out its publicist, Toots Tolentino, who told me that this was a love story, set in Manila’s Chinatown ca. 1971, involving a love triangle consisting of Lily, a night club singer and hopeless romantic; Ah Tiong, a scholarly cynic; and Carlos, a childhood friend. With book and lyrics by Ricky Lee and directed by Joel Lamangan, I can predict only good things for this musical, which is being produced by Synergy 88 Digital and Rebecca Chuaunsu Film Production. Rebecca, a theater artist in her own right, also wrote the original story.

I’ll take Chinese love triangles over Chinese island-hoppers anytime!

 

 

Penman No. 307: Minding the Magazine (2)

TwoMags.jpg

Penman for Monday, June 18, 2018

 

LAST WEEK, I wrote about acquiring copies of English magazines from the 1770s so my students in English and American literature could see what people in those days actually read, and what “entertainment” may have meant to them. I noted how magazines are arguably better chroniclers of everyday social life than books, especially since they also came to be profusely illustrated, and may even have sold copies more on the strength of their illustrations than their text.

This was certainly true for Ilustracion Filipina, an illustrated magazine that came out twice a month between March 1859 and December 1860—a pitifully short life-span for such a glorious publication. Not to be confused with the similarly titled La Ilustracion Filipina, published between 1891 and 1905, Ilustracion Filipina featured exquisite lithographs depicting scenes and aspects of Filipino life, produced by such renowned artists as Baltasar Giraudier and C. W. Andrews. I have yet to be so fortunate as to find even one copy of this magazine, which was bought by subscription and lasted for no more than 44 issues. (An 1859 compilation with 14 lithographs by Andrews sold in Spain in 2013 for 1,400 euros.)
LosBanosIlustracion.png

What I did come across in my near-daily trawlings of eBay a few weeks ago were issues of The Filipino People (Vol. 1, No. 12) and Lipang Kalabaw (April 9, 1949). In all these years of looking at hundreds of publications, I had not seen these two magazines.

When I got my hands on them, the older magazine proved particularly interesting, because it was published and edited in Washington, DC by none other than Resident Commissioner Manuel L. Quezon (who would have been about 35 then), “as an official medium for expressing the views of the people whose name it bears.” The magazine is “devoted solely to… the fair and truthful exposition of the relations between the Philippines and the United States, with a view to hastening the ultimate establishment of Philippine independence upon a self-governing republican basis.” Tellingly, its masthead contains a quotation from (of all people) McKinley: “Forcible annexation is criminal aggression.”

As a political magazine, it’s full of polemical articles, not very interesting today to anyone but historians, and brief biographical profiles of Apolinario Mabini, Sergio Osmeña, Emilio Aguinaldo (whose doorkeeper informs the American interviewer “If the American gentleman would be pleased to wait but a moment he would be joined by the master of the house”). It contains a Spanish section, basically a translation of the English pages. While I was hoping for a poem or a short story, the only touches of art in the magazine were a photograph of a majestically clean San Sebastian Church, and the cover (sadly only in black and white) by Fabian de la Rosa.

Lipang Kalabaw, as it turns out (and many thanks to Crispin Ponce for the source material), went through three incarnations—first as a weekly owned edited by Lope K. Santos between 1907 and 1909, with caricatures drawn by Jorge Pineda. This first version struck hard at its political targets, which struck back even harder, forcing the magazine to shut down. Santos revived it in 1922 under banner of Bagong Lipang Kalabaw, promising to be gentler in its tone—but it zeroed in on Governor-General Leonard Wood, and also closed shop after two years following a libel suit. Its third, last, and supposedly most tepid version came out in 1947. (The “lipa” refers to a big-leafed tree.)

My 1949 issue curiously has few real bylines and no editorial board, just pseudonyms like “Binatang Balo” and “Igueng Bel-Bel”—probably the smart thing to do if you were skewering President Quirino and the Congress, with jibes like “Paligsahan sa Pagnanakaw: Ngayon, sa ating Kongreso, and mga usapan ay hindi na ukol sa ‘kung sino ang magnanakaw at sino ang hindi,’ kung di ay ‘sino sa ating lahat ang nakapagnakaw ng lalong marami.’ Samakatwid, lumalalabas na ‘todos na parejo, camaron y cangrejo.’”

Perhaps this magazine deserves a fourth incarnation?

If it’s not too late to dream, one of the things I’d like to do in my impending retirement is to create and edit a magazine—even just an e-zine—I’ll call The Filipinist, devoted to antiquarian books, periodicals, paintings, sculpture, photographs, prints, maps, coins, stamps, and historical memorabilia—anything and everything having to do with the Filipino past. It won’t be for scholars (we have enough of those) but for enthusiasts, although scholars would of course be welcome to contribute their insights. I think I should be able to assemble a pretty credible team of editors and writers among like-minded friends and fellow collectors, and in the very least, The Filipinist should fill a gap in media overloaded with articles about tomorrow, technology, and the world out there. And just in case these musings become more than an idle wish, I’ve set aside the domain name for filipinist.ph, as my small personal investment in the future of the Pinoy magazine.

Penman No. 306: Minding the Magazine (1)

IMG_6689

Penman for Monday, June 11, 2018

 

IF YOU collect old books like I do, the chances are that you’ll be picking up more than books as you scour the Web, garage sales, and library throwaways for that elusive first edition or that childhood textbook. I’m referring, of course, to other printed matter such as magazines journals, posters, and maps, but also to manuscripts, letters, and such other ephemera as restaurant receipts, plane tickets, and school report cards (yes, I collect those, too).

Books—especially good ones—tend to exude a certain timelessness about them, maybe because they’re meant to be read beyond the present. They like to lay down general (and, authors like to think, immutable) principles of life, of art and science, of philosophy. The characters of fiction may live in the moment—whether it be in Charles Dickens’ London or William Gibson’s matrix—but the context, implicitly, is forever.

Magazines, on the other hand, are typically meant for no higher purpose than to capture the instant—this week, this month—in all its topical and pictorial variety. When I pick them up, it’s not because they’re going to reveal to me some eternal verity (although that might sometimes happen), but because they’ll show me exactly what people were wearing on June 11, 1898 or what the price of a Parker 51 was in August 1947. Newspapers, of course, can bring everything down almost literally to the very hours and minutes of what eventually becomes history, but magazines have just a bit more of a leisurely sweep, making them ideal for doctors’ and dentists’ waiting rooms, beauty parlors, and barber shops.

IMG_6723

It was in a barber shop in Pasig, back in the mid-‘60s, that I first got to read about people like Jose Garcia Villa in The Philippines Free Press while getting my head shaved for PMT. I didn’t understand his poetry then (and maybe I still don’t), but I was mighty impressed by what I remember him saying, in so many words: “There’s only one literary genius born every thousand years, and I’m sorry for everyone else, but for these thousand years, that’s me.”

The Free Pressand its literary pages became staple reading for me, but I also devoured the Graphic, the Sunday Times Magazine, Life, TIME, Newsweek, National Geographic, and whatever I could get my hands on at the public library (including, away from prying eyes, women’s magazines—and a bit later on in life, magazines with, uhm, women).

These memories came swarming back to me a couple of weeks ago as I received several bound collections of magazines from the 1960s—the Mirror Magazine, the Manila Chronicle Magazine, and Action Now, among others. They’ll join a large pile of Sunday Tribune Magazine issues from the late 1930s and 1940s that I’d acquired more than 20 years ago from a seller who was disposing boxes of them. Sadly, most of them have crumbled (this was before I became more serious about collecting and more organized). While I’ve gently turned away people offering busloads of National Geographic and LIFE (just as I routinely decline offers of family Bibles, law books, and encyclopedias), I’ve sought out samples of historically important or just plain interesting magazines to round out my collection.

One of the reasons I began my antiquarian collection was to be able to show my literature students—in real life, and not just in some Googled picture—what people were reading way back when. For example, when we discuss American literature during the time of the Benjamin Franklin, what would the literate Bostonian or Philadelphian have held in his or her hands?

IMG_6691

As it happens, I have the answer to that, thanks to a bit of instruction from my professor in Bibliography back in Wisconsin, Dr. James Kuist, whose type of final exam was to ask us (in those pre-Internet, pre-Google days), “If the year is 1662, and I’m a member of the Royal Society, what books would I likely have on my shelves?” Jim did his doctoral dissertation on the history of one particular publication—indeed, the very first one of its kind to call itself a magazine (derived from the French for “storehouse”)—The Gentleman’s Magazine, founded by a cobbler’s son named Edward Cave in January 1731. It became immensely popular, made Cave (also known by his pen name Sylvanus Urban) a rich man, and was published uninterrupted until 1922.

I pretty much forgot about Dr. Kuist and The Gentleman’s Magazine until recently, when I realized that there were actual copies (not reproductions) available on eBay. The issue I secured comes from November 1773, and is a special issue devoted to “The FRUGAL HOUSEWIFE, Or Complete WOMAN COOK…. including various bills of fare for dinners and suppers, in every month in the year, and a copious index to the whole.” (And before you think otherwise, The Gentleman’s Magazine did not have a centerfold or anything of the sort; it would have been, well, ungentlemanly.)

I was searching for issues ca. 1763-64, which should have had reports on the British occupation of Manila, and I do have two issues of The London Magazine, from September 1763 and February 1764. But while they have gruesome stories about Englishmen being captured and burnt by the Indians (“The blood which flowed from him almost extinguished the fire”), and other reports from the empire, they say nothing about the Philippines.

Next week, we’ll look at two Filipino magazines from August 1913 and April 1949.

 

 

 

 

 

Penman No. 305: More Autographs and Memories

Romulo

Penman for Monday, June 4, 2018

 

FOUR YEARS ago, I wrote a column-piece titled “Autographs and memories,” largely about a visit that Beng and I made to an exhibit of autographs at the National Archives in Washington, DC, where I ogled the signatures of such as Ezra Pound, Adolf Hitler, Albert Einstein, and a score of American presidents and notables. I wished loudly that we would have a similar exhibit curated and mounted, say, at the National Museum.

Having ventured into collecting mid-century genre paintings, I’m slowly building up a digital archive of artists’ signatures. Those of our National Artists are pretty well covered by numerous coffee table books (so well that I’m sure some enterprising souls have made an industry out of copying them), but I’m more interested in the less-known likes of Serafin Serna, Gabriel Custodio, Crispin V. Lopez, Ben Alano, Jose D. Castro, and Fortunato Jervoso, among others—painters born shortly after the turn of the century and who may have studied under Fernando Amorsolo, or been influenced by his style.

When it comes to literature, however, then I do feel happily obligated to collect works signed by our National Artists, and have shamelessly invoked the privilege of friendship to solicit signatures to go with the books of Virgilio Almario, Bien Lumbera, and F. Sionil Jose—and, when they were alive, NVM Gonzalez, Franz Arcellana, Edith Tiempo, and Nick Joaquin. I’ve just as assiduously sought out those of such estimable and historically important writers (apart from my close personal writer-friends) as Carlos Bulosan, Zoilo Galang, Bienvenido Santos, Aida Rivera Ford, Tita Lacambra Ayala, Greg Brillantes, and Resil Mojares. On my wish list remain the autographs of Manuel Arguilla and Stevan Javellana, ideally on their books—and dare I even add Jose Rizal?

I never was his student (although Jimmy Abad and Luigi Francia were, half a generation ahead of me), but I had always wished to meet Jose Garcia Villa. The closest I would get was a signed copy of his 1949 book, Volume Two, courtesy of eBay.

Villa.jpeg

The Web may be the bane of many a bibliophile yearning for the tactile pleasures of typeset pages and deckled edges, but it also happens to be a nearly inexhaustible trove of hidden treasure, like the seabed where gold-laden galleons li

It was where, a couple of weeks ago, I chanced upon a book inscribed by the late dramatist and poet and National Artist Rolando Tinio to a “Lito, Lito,” whom he gently urges to move away from English, like Tinio himself did. Tinio had directed one of my plays in the late 1970s, but I must have been so awestruck that I never got to ask him to sign anything, not even the playbill.

That reminded me of another departed National Artist I wouldn’t have been too shy to swipe a signature from—but also never did. Lino Brocka and I collaborated on about 14 movies, and I corresponded with him frequently, especially when I was sending him scripts and storylines from graduate school in the US in the late 1980s until he died in 1992. But I don’t recall that he was ever the writing kind. (Instead, unmindful of time zones, he’d call me at 3 in the morning.) For all the work we did together, I can’t locate a single note from Lino.

I did secure an autographed book and a note—neither of them meant for me—online, signed by another National Artist for Literature (yes, the one we very often forget about, perhaps because he distinguished himself in so many other fields): Carlos P. Romulo, who received that honor in 1982.

My only encounter with Gen. Romulo was through a speech of his that I memorized and declaimed in grade school—the one that describes Filipinos as “short sunburnt men who love to fling the salty net” (I must’ve flung that net a thousand times in my impassioned recitations)—but I knew him to be a personage so highly accomplished and acclaimed that one university wag would claim that CPR had “more degrees than a thermometer.”

The book, Crusade in Asia, was inscribed by CPR to a “Howard W. Ashley” of Jacksonville, Florida, and was accompanied by a typewritten and signed letter also dated April 17, 1958 on the letterhead of the Philippine Embassy in Washington, DC, where CPR was serving as ambassador between 1955 and 1962. In the note, Romulo thanks Ashley for meeting him at the airport at midnight—a gesture that had unintended consequences, as CPR writes that “I am still worrying about the $127.00 that you have to pay for the repair of your Cadillac.”

Rebuke

Speaking of CPR, by coincidence—the kind that antiquarian collectors tend to run into more often than others—I came across an article by E. R. Rodriguez, Jr. in the Aug. 19, 1967 issue of The Chronicle Magazine.It details a mortifying exchange of long letters between a younger CPR and his boss, President Manuel L. Quezon, who delivers a stinging rebuke to his irrepressibly articulate aide for going on a private book tour while serving as a government official. That deserves its own column one of these days—but what I’d give for a signed original of what MLQ said!