Category Archives: books

Qwertyman No. 176: Remembering CAB (1929-2025)

Posted on by
Reply

Qwertyman for Monday, December 15, 2025

THE DEATH last week at the age of 95 of Cesar Augusto Buenaventura—known to his friends and associates as CAB—marked the passing of yet another member of that golden generation of Filipinos who lived through the Second World War and almost literally built and shaped Philippine industry and society in its aftermath. An engineer by training, CAB was also a management pioneer, a business leader, a civil libertarian, and a valued adviser to presidents. (As a former member of the UP Board of Regents, CAB would often text me for news about goings-on in Diliman, concerned as ever with the state of Philippine higher education and of UP’s role in it.)

I had the privilege of writing a yet-unpublished biography of the Buenaventura siblings (Cesar was followed by social worker Elisa, lawyer Chito, and banker Paeng). And while Cesar chose to self-publish his own three-volume biography a few years ago (I Have a Story to Tell), the original draft has many interesting anecdotes worth sharing with young Filipinos who barely know their economic history. Let me pull up this except you can keep in mind the next time you gas up at a Shell station, visit the UP Chapel, or see a DMCI building.

As soon as he graduated from UP in 1950, Cesar started looking for a job, and almost immediately found one with a man who would become an important influence in his life and a titan in the Philippine construction industry, David M. Consunji. Right after the war, Consunji began building houses—a skill then in high demand in the war-ravaged city—competing on the principle of “price plus quality.” David also made sure that he got the best people and paid them the best wages. And so a strapping 21-year-old named Cesar Buenaventura, fresh out of college, strode into Consunji’s office and got his first job, as Consunji himself recounts:

“In 1951, I hired my very first engineer, Cesar Buenaventura. He was then a young civil engineering graduate from UP who was waiting for the results of the board exams he had just taken. It was my brother Raul, his classmate in UP, who told him to see me because I was starting my own construction company. I thought he was very capable so I hired Cesar. 

“Soon after, we started doing our own projects, and among Cesar’s first assignments were three houses we were building in Forbes Park. Forbes was not yet a posh village then; land there was selling at just P4.00 to P6.00 per square meter. After that, Cesar and I did some more houses. I made Cesar the cost engineer and field engineer for our various other projects. He also took care of the payroll, which amounted to P15,000 to P20,000 a week.

“It was in the Laguna College project that Cesar took on greater responsibilities. While we were doing the plans, Cesar said, ‘Don’t bother hiring a structural engineer, I’ll do it. I asked him if he was sure he could do it and he said ‘Yes.’ Every time I would see him, long after the building was finished, I would tell him that it was still standing intact, even after several earthquakes, without a single crack on a wall.

“Cesar was my very first assistant, and even then, I could see that he would go far. I wanted him to stay with us, but he decided to go to the United States for graduate studies in 1952.”

(Upon returning from Lehigh University with his MS in Civil Engineering), Cesar rejoined Consunji for some work on the UP Chapel, which had been designed by a young architect named Leandro Locsin. Locsin had impressed Fr. Delaney with a small church he had designed in Victorias, and now he took on what would become one of his signature pieces, the UP Chapel. Fred Juinio served as structural engineer, with Dave Consunji as the builder. 

But armed with his Lehigh degree and eager to make full use of his new learning, Cesar could now consider more options. And the offers came. UP, for one, wanted him to teach, and was willing to pay him P400 a month. But a big petroleum company offered him P300 more, with his salary to be raised upon completing probation as an executive trainee. In 1956, Cesar went with Shell—a decision that would define the rest of his professional life.

In 1975, Cesar Buenaventura achieved what no other Filipino had up to that point by becoming president of Shell Philippines and Chief Executive Officer of the Shell Group of Companies.

Cesar’s rise to the helmsmanship of Shell also got the attention of someone in great need of executive talent: Ferdinand E. Marcos, president of the Philippines and, at that time, the country’s martial-law ruler. With the global oil crisis still hurting the Philippines in the wake of the Arab-Israeli war, Marcos put up the Philippine National Oil Company to explore for oil and develop alternative energy sources, and was scouting for the right man to head it. His eye fell on Cesar, who had just stepped up to the Shell presidency; surely such a man had the skills and the vision to head the new PNOC. Marcos had Buenaventura called to Malacañang. 

While he may have been honored to be offered the position, Cesar remembered his father’s admonition against serving in government. He went to see Marcos in the Palace. Luckily, before Marcos could make his pitch and demand Cesar’s commitment, a phone call from the First Lady, who was in New York, interrupted the conversation. Cesar used that break to gather his wits and to come up with the argument that such a move to government would be premature, coming so soon after his appointment as the first Filipino head of a major multinational company. Cesar suggested that he could serve the country’s interests better if he were able to persuade Shell to search for oil in the Philippines—which they eventually did. Marcos did not press the point, and Cesar was spared.

Yet more of Cesar’s friends would join Marcos’s Cabinet: David Consunji, as Secretary and later Minister of Public Works, Transportation, and Communication, then by Dean Fred Juinio in the same post, followed much later by Totoy Dans, when the Cabinet post was divided into two departments—Public Works, and Transportation and Communications. Consunji labored mightily to fight corruption in that notoriously graft-ridden department, only to find himself unceremoniously removed for refusing to play along. Dans followed the same straight and narrow path when took on the job in 1979, but he would later be, in Cesar’s eyes, unjustly vilified for his association with Marcos, even if he hadn’t enriched himself. 

So instead of taking what could have been a personally and politically costly detour into the Marcos government, Cesar Buenaventura managed to stay on at his beloved Shell, in a position he would hold with distinction for the next 14 years. 

Qwertyman No. 173: A Page from 1937

Posted on by
Reply

Qwertyman for Monday, November 24, 2025

I”M NOT a historian, although there are times I wish I were, and at an early crossroads in my youth, I actually had to choose between Literature and History for my major, settling for the former only because I thought I could finish it faster. But I’ve retained a lifelong interest in history, for the treasure trove of stories to be found in the past and for what those stories might foretell of the future. 

I’m particularly fascinated by the prewar period—what Filipinos of the midcentury looked back on as “peacetime” and what Carmen Guerrero Nakpil called our “fifty years in Hollywood,” which were enough to occlude much of the influence of our “three hundred fifty years in a convent” under the Spanish. It was an age of many transitions, from the jota to jazz, from the caruaje to the Chevrolet, from tradition to that liberative and all-embracing buzzword, the “modern.” Much of that went up in smoke during the Second World War, but you can still catch the ghost of this lost world on the Escolta, among other vestiges of our love-hate affair with America. (You might want to visit the Art Deco exhibition at the National Museum of Fine Arts, ongoing until May 2026; I have some items on display there.)

So entranced have I been by this time that I decided, during the pandemic, to set my third novel in it, at the birth of the Commonwealth and upon Quezon’s assumption of ultimate power, an upstairs-downstairs narrative about the comprador upper class and the world of the Manila Carnival set against the embers of the Sakdal uprising, the fuming and scheming Aguinaldistas, and the netherworld of printing-press Marxists and tranvia pickpockets. Progress has been slow because novels always take the back seat to life’s more pressing needs, but I still hope to get this done if it’s the last thing I do.

The research for the book, however, has brought its own rewards. Among my main sources for the background has been a slim volume—long out of print and now very  hard to find—titled The Radical Left on the Eve of War: A Political Memoir by James S. Allen (Quezon City: Foundation for Nationalist Studies, 1985). Allen (actually a pseudonym for Sol Auerbach) was an American scholar and journalist, an avowed Marxist who traveled to the Philippines in 1936 and 1938 with his wife Isabelle, also a member of the American Communist Party, to meet with local communists and socialists (then headed by Crisanto Evangelista and Pedro Abad Santos, respectively) and to get a sense of the Philippine situation under American rule. 

Even that early, the threat of a Japanese invasion was already looming on the horizon and causing great anxiety in the Philippines; Japan had earlier occupied Manchuria and as much as a quarter of the entirety of China by 1937. It seemed like a confrontation between Japan and the United States was inevitable, although some Filipino nationalists—fiercely anti-American—preferred to ally themselves with their fellow Asians than with prolonged white rule. At the same time, others like Pedro Abad Santos feared that the independence Quezon sought would be granted prematurely to give the US an excuse to abandon the islands and avoid confronting the Japanese. 

This is where I tell you why I’m bringing up James Allen’s memoirs this Monday—because of our present situation vis-à-vis China and (in one of history’s ironic reversals from victim to victimizer) its growing domination of the South China Sea. In Quezon, Filipinos had a leader who was deeply mistrusted and opposed by many; the United States’ willingness to defend the Philippines was in doubt; and the threat of a foreign invasion was clear and imminent. 

Allen actually sat down with Quezon for a long interview at the latter’s invitation, and was impressed by the man’s grasp of politics and his singular ambition. But the article that came out of that encounter displeased MLQ; Allen, after all, was still a communist at heart, which makes the following quotation—from a letter Allen would compose and send to his American colleagues in October 1937—even more interesting. I’ll leave it to you to observe the parallels, and to cast them against the Marcos-Duterte issues of our time.

“Filipino Marxists and radicals need to relate independence from the United States to the world crisis created by fascism. The immediate concern in the struggle for an independent and democratic Philippines is to safeguard the country against the threat of Japanese aggression. The objectives of complete independence from the United States and the internal democratic transformation must be obtained without endangering such gains as have been made or subjecting the country to new masters. The people must be awakened to the prime and pressing danger to their national existence. The United States is moving toward alignment with the democratic powers against the fascist bloc, albeit slowly and indecisively.


“Roosevelt is shifting somewhat toward the Left of Center to keep pace with his mass support from the surging labor movement and anti-fascist and anti-war popular sentiment. The national interests of the Philippines call for vigilance and precautions against Japanese aggression. This coincides with the interests of the United States in the Pacific area, and it would be folly not to take full advantage of this concurrence. In the broader perspective, the outcome of the struggle in China will be crucial for all the peoples of the Far East, and if the United States were to withdraw from the Philippines this would be a serious blow against China and encouragement to Japan’s designs upon Southeast Asia and the islands of the Pacific. The cause of Philippine independence at this time can best be served by cooperation with the United States.


“The situation also requires a change in the attitude toward Quezon, from frontal attack to critical support. Unprincipled opposition for the sake of opposition-as with some leading participants in the Popular Alliance is dangerous, for it plays into the hand of pro-Japanese elements and sentiments. Quezon certainly is not an anti-fascist, but he is not intriguing behind the scenes with Japan. The greatest opposition to his early independence plan comes from the landed proprietors, particularly the sugar barons, while it enjoys support among the people. The Popular Alliance should also support the plan, including provisions for mutually satisfactory economic, military and diplomatic collaboration after independence. Though Quezon is far from being a Cardenas or Roosevelt in his domestic policies, every effort should be made to move him away from his pro-fascist and land baron support by providing him with mass backing for such pro-labor and progressive measures as are included in his social justice program. In sum, the Popular Alliance should encourage a national democratic front devoted to the preservation of peace in the Pacific, the safeguarding of Philippine independence, and defense and extension of democracy in the country.”

Penman No. 479: Postscript to Frankfurt

Posted on by
Reply

Penman for Sunday, November 2, 2025

IT WILLl be remembered as one of the largest, most complex, possibly most impactful—and yes, also most expensive and controversial—showcases of Filipino cultural and intellectual talent overseas, and above and beside all else, that fact alone will ensure that few things will remain the same for Philippine literature after Frankfurt 2025: it will be remembered.

Last month—officially from October 14 to 19, but with many other related engagements  before and after—the Philippines attended the 77th Frankfurter Buchmesse or FBM, better known as the Frankfurt Book Fair, in a stellar role as its Guest of Honor or GOH. Accorded yearly to a country with the talent, the energy, and the resources to rise to the challenge, GOH status involves setting up a national stand showcasing the best of that country’s recent publications, filling up a huge national pavilion with exhibits covering not only that country’s literature but also its music, visual art, film, food, and other cultural highlights, presenting a full program of literary discussions, book launches, off-site exhibits, and lectures, and, of course, bringing over a delegation of the country’s best writers and artists. 

It’s as much a job as it is an honor. Past honorees have predictably come mainly from the West, such as France (2017), Norway (2019), Spain (2022), and Italy (2024); only once before was Asia represented, by Indonesia in 2016. Little known to many then, Sen. Loren Legarda—the chief advocate for the arts and culture in the government—had already broached the idea of pushing for the Philippines as GOH in 2015. It took ten years, with a pandemic and two changes of government intervening, but Legarda finally secured the funds—coursed through the National Commission for Culture and the Arts and the National Book Development Board—for us to serve as GOH this year, announced a year earlier.

The Filipino delegates, over a hundred writers and creatives and as many publishers and journalists, took part in a program of about 150 events—talks, panel discussions, demonstrations, book launches, and performances—and ranged from Nobel Peace Prize winner and journalist Maria Ressa and National Artists Virgilio Almario, Ramon Santos, and Kidlat Tahimik to feminist humorist Bebang Siy, graphic novelist Jay Ignacio, poet Mookie Katigbak Lacuesta, and fellow STAR columnist AA Patawaran.

It was my third FBM, having gone for the first time in 2016 and then again last year, when the German translations of my novels Killing Time in a Warm Place and Soledad’s Sister were launched. This year, it was the Spanish translation of Soledad that was set to be launched at Frankfurt’s Instituto Cervantes. 

Those two previous exposures allowed me to appreciate our GOH role for what it was—a once-in-a-lifetime opportunity to put our best foot forward on the global stage. What began in the 1980s as a tiny booth with a few dozen books—which it still was when I first visited nine years ago—had become a full-on promotional campaign, not for the government (which did not object to outspoken critics of authoritarianism being on the delegation) and not even just for Philippine books and writers but for the Filipino people themselves. 

Six out of my eight events took place outside the FBM—two of them involving side-trips to Bad Berleburg in Germany and Zofingen in Switzerland—to bring us closer to local communities interested in what Filipinos were writing and thinking. Indeed my most memorable interactions were those with local Pinoys and with ordinary Germans and Swiss who asked us about everything from the current state of affairs (the resurgence of the Right in both the Philippines and Europe, Marcos and Duterte, the threat from China, the corruption scandal) to Filipino food and culture, the diaspora, the aswang, and inevitably, Jose Rizal, who completed the Noli in Germany and in whose tall and broad shadow we all worked.

Everywhere we went, in Frankfurt and beyond, the local Pinoy community embraced us, eager for news from home and proud to be represented, to hear their stories told in words they themselves could not articulate. “I’ve been living a hard life working here as a nurse in Mannheim,” Elmer Castigador Grampon told me, “and it brings tears to my eyes to see our people here, and to be seen differently.” 

A German lady accosted me on the street outside the exhibition hall and asked if I was the Filipino she had seen on TV explaining the Philippines, and we had our picture taken. A German author in his seventies, Dr. Rainer Werning, recounted how he had been in Manila during the First Quarter Storm and the Diliman Commune, had co-authored two books with Joma Sison since the late 1980s, and had described the Ahos purge in Mindanao and similar ops in other parts of the islands as the most tragic and saddest chapter in the history of the Philippine Left . A sweet and tiny Filipina-Swiss lady, Theresita Reyes Gauckler, brought trays of ube bread she had baked to our reception in Zofingen (the trays were wiped out). Multiply these connections by the hundreds of other Filipinos who participated in the FBM, and you have an idea of the positive energy generated by our visit.

From our indefatigable ambassador in Berlin, Susie Natividad, I learned about how Filipino migrant workers have to learn and pass a test in German to find jobs in Germany, a task even harder in Switzerland, where Swiss German is required. Despite these challenges, our compatriots have done us proud, as the maiden issue of Filipino Voices (The Ultimate Guide to Filipino Life in Switzerland) bears out. 

The FBM was as much a learning as it was a teaching experience for us, for which we all feel deeply grateful. By the time our group took our final bows on the stage in Zofingen—a small Swiss city that hosts writers from the GOH after the FBM as part of its own Literaturtage festival—I felt teary-eyed as well, amazed by how a few words exchanged across a room could spark the laughter of recognition that instantly defined our common humanity. 

I am under no illusion that GOH participation will dramatically expand our global literary footprint overnight, but it has created many new opportunities and openings for our younger writers to pursue in the years to come. It is a beginning and a means, not an end. The greater immediate impact will be to spur domestic literary production and publishing, to have a keener sense of readership, and to encourage the development of new forms of writing.

Sadly, a move to boycott the FBM by Filipino writers protesting what they saw to be Germany’s complicity with Israel’s genocidal war in Gaza has also impacted our literary community. (For the record, there were Palestinian writers—and even an Iranian. delegation—at the FBM, with whom Filipino writers interacted in a forum. There was also a Palestinian book fair across the fairgrounds.)

I have long taken it as my mission to promote an awareness of our work overseas and had opposed the boycott from the very beginning for reasons I have already given many times elsewhere. Many hurtful words have been spoken and many friendships frayed or broken, to which I will add no more, except to quote the Palestinian-Ukrainian refugee Zoya Miari, who visited the Philippine pavilion and sent our delegates this message afterward:

“I’m on my way from Frankfurt back to Zurich, and I’m filled with so much love that I can’t stop thinking about the love I felt in the Philippine Pavilion. I came back today to the Pavilion to say goodbye, not to a specific person, but to the whole community. This space became a safe space for me, one where I deeply felt a sense of belonging.

“I’m writing these words to thank you and your people for creating a space where

I, where we, felt heard and seen. That in itself is such a powerful impact. I know some people decided to stay in the Philippines to show support for the Palestinians, and I want to say that I hear and see them, and I thank them. And to those who decided to come, to resist by existing, by speaking up, by showing up, by connecting the dots, by being present and by sharing stories, I also hear you, see you, and deeply thank you.

“We all share the same intention: to stand for justice, to fight against injustice, and we’re all doing it in the best way we know how. I truly believe that the first step to changing the world is to create safe spaces where people are deeply heard and seen. When stories are heard and seen, we begin to share our vulnerabilities and showing that side of ourselves is an act of love. Through this collectiveness, this solidarity, we fight for collective liberation.”

Penman No. 478: Best Foot Forward in Frankfurt

Posted on by
Reply

Penman for Sunday, October 5, 2025

ON MONDAY next week, several hundred Filipino writers, publishers, artists, journalists and other workers in the book trade will be flying off to Germany for the Frankfurter Buchmesse (FBM), better known as the Frankfurt Book Fair, running this year until October 19.

Led mainly by the National Book Development Board (NBDB) and the National Commission for Culture and the Arts (NCCA), it will probably be the largest cultural mission ever sent out by the country to an international event—the equivalent of an Olympic delegation—and for good reason. This year, the Philippines is the FBM’s Guest of Honor (GOH), an annual distinction designed to draw attention to that particular country’s literature and culture, chiefly through its books. 

As GOH, the Philippines will have its own pavilion of curated exhibits highlighting our literary history and production, as well as the diversity of our works from historical novels and crime fiction to children’s stories and comic books.

Going back over 500 years, the Frankfurt book fair is the world’s largest gathering of publishers, authors, and booksellers, drawing thousands of attendees from all over the world to what is essentially a marketplace for publishing and translation rights. For countries like the Philippines, far away from the global publishing centers in New York and London, it is a matchless opportunity to showcase the best of one’s work. 

Looming largely over our GOH presence will be the work and legacy of Jose Rizal, whose deep personal ties to Germany—where he studied ophthalmology and completed Noli Me Tangere—continue to inform our relationship with that country. Indeed, our GOH slogan—“The imagination peoples the air”—is drawn from Rizal’s Fili, turning Sisa’s frantic search for her missing sons into a metaphor for the power of words to create moving realities.

There are hundreds of events on the Philippines’ official FBM schedule, both onsite and off-site. They range from panel discussions on “Our National Literature: Filipino Spirit and Imagination” with Merlie Alunan and Kristian Cordero, “Women’s Fiction from the Global South” with Cecilia Manguerra Brainard, Jessica Zafra, and Ayu Utami, and “Dismantling Imperial Narratives” with Filomeno Aguilar Jr., Lisandro Claudio, and Patricia May Jurilla to performances by National Artist for Music Ramon Santos and the Philippine Madrigal Singers, a demonstration of Baybayin by Howie Severino, and a book launch of the German editions of the Noli and Fili with historian Ambeth Ocampo. (For the full program, see https://philippinesfrankfurt2025.com/events/)

I have eight events on my personal calendar, ranging from the launch of the Spanish edition of my novel Soledad’s Sister to readings at the Union International Club and Bad Bergleburg, so it’s going to be a hectic time for this septuagenarian. This will be my third and likely my last sortie into the FBM, and I know how punishing those long walks down the hangar-sized halls can get. 

Practically all aspects of Philippine art and culture will be on display in Frankfurt, going well beyond books and literature into theater, film, music, dance, food, and fashion. In short, we will be putting our best foot forward on this global stage, although there will be no papering-over of our political and social fractures and crises. (Journalists Maria Ressa and Patricia Evangelista will be there to make sure of that.)

As with any large-scale national enterprise, our GOH effort has not been without controversy. A campaign by cultural activists to boycott the FBM—premised on Germany’s and the book fair’s perceived support for Israel in its genocidal war on Gaza—took off earlier this year and gained some traction, leading to the withdrawal of some authors from the delegation. There was spirited and largely respectful debate over this issue, but it was clear to both sides from the outset that a complete disengagement from the FBM—for which we had planned for many years running—was not going to happen. (I argued, like many others, for our critical participation, minding Gaza as one of the foremost issues facing humanity today. Not incidentally, on the Philippine program is a panel on “Writing Through the Wounds: Filipino and Palestinian Literatures in Relational Solidarity” with Nikki Carsi Cruz, Dorian Merina, Tarik Hamdan, Atef Abu Saif, and Genevieve Asenjo, among other initiatives in support of Palestinian freedom.)

Another criticism raised was the cost of our GOH participation—an effort bannered and sustained by Sen. Loren Legarda, the chief and most consistent supporter of the arts and culture in the Senate. Why not just pour all that money, some have said, into publishing and printing more books for Filipinos? There’s no argument that Philippine education needs more support (the trillion-peso infrastructure scam tells us the money was always there) but the targeted exposure that the GOH opportunity provides comes once in a lifetime, and Sen. Legarda wasn’t about to let it pass. 

As she noted in recent remarks, “When I first envisioned the Philippines as the Guest of Honor at the Frankfurter Buchmesse, some felt that it was far too ambitious, that we were too diverse and too complex for the world’s largest book fair to embrace. But I believed then, as I believe now, that our diversity is our greatest advantage, a gift and never a hurdle.

“The Philippines is more than an archipelago of 7,641 islands. It is a vast constellation of ideas and innovation, of ingenuity and distinct cultures and traditions joined together by the tides of hope and resilience. The 135 languages identified and described by the Komisyon sa Wikang Filipino turn into the voices and stories of Filipinos resonating around the world, reaching across cultures, transcending borders, challenging assumptions, and expanding the boundaries of human empathy.”

Let those voices and stories fill the air in Frankfurt, and spread around the planet.

Qwertyman No. 162: Honor Among Thieves

Posted on by
Reply

Qwertyman for Monday, September 8, 2025

A FRATERNITY brother—even older than I am and a longtime emigrant—asked in our group chat, “Didn’t we have corruption before? Why all this outrage now?” So I had to bring him up to speed. “It’s the scale, brother. We’re talking billions, possibly even trillions of public funds being pocketed by contractors who don’t deliver the goods and put people’s lives at risk, in cahoots with politicians they’ve bought or are related to.”

I told him the story of Rudy Cuenca, the self-confessed Marcos crony and boss of the Construction and Development Corporation of the Philippines, which built some of the largest infrastructure projects under martial law, including the North and South Expressways and San Juanico Bridge, and made Rudy a very rich man. 

I happened to co-write Cuenca’s biography (Builder of Bridges: The Rudy Cuenca Story, Anvil Publishing, 2010, unfortunately long out of print), after initially refusing to do so. “Why should I write your book,” I told him at our first meeting, “when your boss put me in prison?” “I have stories to tell,” he said, and did he. It wasn’t the money—which ironically was a pittance—but the curiosity that got me on board. And just to show it wasn’t a hack job on my part, the book became a finalist for the National Book Awards for that year.

Rudy—who died two years ago—wasn’t an engineer and didn’t even finish college, but he learned the ropes of contracting doing small bridge projects under the watchful eye of US Army engineers who had him redo the job at a loss if it was substandard. Because American reparations money was involved, the Americans made sure it was well spent. 

Cuenca soon learned the other, non-technical aspects of the business. To move up, you had to pay up. I interviewed him in 2009-2010 in his modest office along EDSA near Guadalupe—any aura of big wealth and power had long been dimmed by years of exile and dealing with lawsuits—and at that time, he lamented the fact that corruption had gone over the top. A cool and down-to-earth kind of guy, he told me in so many words that (and I paraphrase) “In my time, nobody asked, but you gave. The amount was reasonable, and you dealt with just one person. Today, you’re told up front how much to pay, an outrageous sum, and you keep paying up the ladder.” 

While his statements may be self-serving and certainly liable to be interrogated, they should and do raise eyebrows:

“In the late ‘60s, we were looking for funding and supplies for the food terminal. We talked to a bunch of German suppliers, and during our discussion they asked us, why is it that the Japanese get called to work with Philippine projects? I said, you know, the Japanese have a style of business that you don’t understand—they know how to give gifts. And they don’t give gifts before, they give gifts after. But you guys are so decent, that’s why you don’t get jobs here. 

“There was already corruption at that time, but it was not rampant and as grossly done as it is done now. If before people would overprice by about 5 or 10 percent, now it’s about 30 percent. 

“You know, construction is the best source of graft. What Imelda did were seven-day wonders. I didn’t want to have anything to do with those. I was only involved with the reclamation of the area for the Cultural Center. They paid us, but her manager wanted his kickback. Imelda had her own group of contractors, and that’s where they all made money.

“But it wasn’t just then. Do you remember when Pinatubo erupted? The job then was to clear lahar. Now there’s a place in Daly City, San Francisco, that’s known as Lahar City. The people who live there are Pampangueños who earned lots of money because of the lahar. 

“Also during Ramos’ time, Ambuklao Dam was silting. As the dam silts, the ground level goes up, and the water gets smaller, so you have to desilt it. Here comes the contractor with a dredger. But instead of doing a proper sounding first, they raised everything, so that difference got factored into the job. 

“I don’t have any concrete proof of corruption in the current administration, but I think it’s safe to say that graft and corruption will always be present, especially in our government. I have heard that contractors—my brother is still a contractor himself—supposedly deliver money to a Cabinet member, who then turns it over to someone in the Palace. But nobody can say that. If you’re at the top, you have a fence, and only the closest people should be able to touch you so that you’re isolated. 

“I once told Secretary Vigilar that to reduce corruption in Public Works, they should follow a 10-year plan for big projects, meaning that you will pay the contractor 10 years after the project has been completed to your satisfaction and has been transferred to you. That way the contractor will not be as willing to pay off anyone while the project is ongoing because if he does, he’ll be liable for the quality of the work that he has done.”

When I asked him why the roads in places like Malaysia seem much better than ours, he said: “It’s simply a matter of greed. In Malaysia there’s also corruption—I’ve lived there, I should know—but the thieves there make their money by overpricing the materials. Here in the Philippines people are extraordinarily greedy. Not only do they overprice, they also steal the materials. The cement’s deficient, the gravel’s deficient. So the thing crumbles that easily.” In other words, there was honor among thieves; sure, they stole, but at least they built up to spec.

That was 15 years ago, back when the Discayas and their like were probably driving around in Toyota Corollas and buying microwaveable meals at the 7-11. 

One day Rudy got up from our interview and said he was going somewhere—to meet up with the new DPWH secretary, Rogelio “Babes” Singson, to offer some unsolicited advice on how to reduce corruption in his department. I don’t know if that meeting or that chat ever happened, but barely a month ago, in a TV interview, Singson was quoted as saying that “In my full six years at the DPWH, I spent only P182 billion for flood control. Look at the 2025 budget with this insertion—where did the P350 billion go?” 

I never thought I’d miss a Marcos crony, but I’m missing Rudy Cuenca now, as an expert witness to help us sort out this sordid mess. 

Qwertyman No. 158: Other Battles to Fight

Posted on by
Reply

Qwertyman for Monday, August 11, 2025

A LOT has been said this past week about the 12-0 decision of the Supreme Court on the impeachment case against Vice President Sara Duterte essentially supporting her contention that the one-year rule against bringing up new impeachment charges had been violated by the House of Representatives, and pushing back the earliest date for any resumption of such charges to February 6, 2026.

Predictably, the decision raised a storm of protest involving no less than former Justices of the Court, our top legal luminaries and lawyers’ organizations, and key media and political personalities who accused the Court of judicial overreach. On the other side were somewhat more muted voices calling for respecting the Court’s judgment—including, surprisingly or otherwise, a very sedate Sen. de la Rosa, now all flush with legal wisdom and temperance; to be fair, some of these people were hardly Duterte fans, but likely just citizens tired of all the bashing going on. (The Senate’s subsequent vote to “archive” the impeachment complaint would catch even more flak.)

However this issue is ultimately settled, one thing is clear: the Filipino public’s trust and confidence in their political institutions has hit a new low. And contrary to certain suggestions, it’s not because of journalists and gadflies like me who seem keen on tearing the house down, but because, well—it’s in the nature of the beast (or the human) for something so supposedly venerable as our Supreme Court to behave strangely in certain situations. 

The controversy stirred up by the Court in the Duterte case reminded me of a passage that I quoted in my recently published biography of retired Associate Justice and Ombudsman Conchita Carpio Morales, who has also manifested an opinion contrary to that of her current peers. The quotation comes from the former law dean and legal scholar Pacifico A. Agabin, who wrote in his book The Political Supreme Court (Quezon City: UP Press, 2012):

“The Supreme Court, like the US Supreme Court, is both an appellate and a constitutional court. Unlike most countries in Europe, we do not have a constitutional court, and so our high tribunal performs these dual functions under the Constitution. And when it decides constitutional cases, it becomes a political body, just like the executive and legislative branches. ‘Political,’ as used here, means that it acts as a legislature, according to Richard Posner, in the sense of having and exercising discretionary power as capacious as a legislature’s. According to Posner, ‘constitutional cases in the open area are aptly regarded as ‘political’ because the Constitution is about politics and because cases in the open area are not susceptible of confident evaluation on the basis of professional legal norms.’ Thus, when the court decides constitutional cases, it becomes a political organ. Like a chameleon, it changes color and assumes a different role as a political body.

“To repeat, I use the term ‘political’ here not in its partisan sense, but more in its ideological connotations. Unfortunately, there is no dividing line between the ideological and the partisan meanings, and sometimes, these blur into each other. The court itself sometimes fall into the partisan trap.

“This holds especially true in a personalistic culture like ours, where values like utang na loob and pakikisamaare embedded in the Filipino’s subconscious.”

Now, that’s all still very high-minded, but another memory that’s even more disturbing comes from a book that I edited (anonymously, because I didn’t want to be saddled with a libel case—as its author inevitably was): Shadow of Doubt: Probing the Supreme Court (Newsbreak, 2010), written by my friend, the prizewinning journalist Marites Vitug. In her prologue, she recalls this incident:

“During an interview, after I asked an aspiring candidate to the Supreme Court about the unsavory realities of the appointment process, he advised me to tread carefully. The candidate, a Justice of a mid-level court, was fearful of the effects of a book that would pry into the sanctuary of the Supreme Court and ruffle the institution. 

“Over an oatmeal breakfast (mine) and coffee (his), he worried that the public may lose their confidence in the Court. He then told me the story of a staff member of a Supreme Court Justice decades ago. This man had access to confidential information and, after learning of Court decisions, immediately approached winning litigants and informed them that he could work on their cases and get favorable results. He asked for money—and, voila, delivered them the good news when the decisions were promulgated. He always had happy clients.

“The Justice I was speaking with was, at the time, working on the Court. Disturbed by the corrupt behavior of a colleague, he reported this to the Chief Justice. However, the Chief Justice took a benign, almost indifferent view. He told the young lawyer that this would soon come to an end because the erring staff member was about to leave the Court; he held a post co-terminus with that of his boss, an associate Justice. 

“It was best, the Chief Justice said, to let it pass. He feared that if the Court acted on it and the anomalies became known to the public, confidence in the ‘last bulwark of democracy’ would wane. It was paramount to keep the institution pristine in the eyes of the public, never mind if wrongdoing was gnawing the Court.

“The Justice looked back at this moment and narrated the story to impress on me how important it is to protect the institution. For him and the Chief Justice who initiated him into this misplaced patriotism, strengthening the institution meant glossing over grave offenses.”

I’m not a lawyer (something we very often hear these days, followed by some legalistic opinion), but my pedestrian sense tells me that this Court and this Senate aren’t going to dig themselves out of the hole they’ve jumped into. Pinoy officialdom never admits mistakes and apologizes, like the Japanese do; we love to brazen it out with the thickest of cheeks. 

Given that, let’s not hang our expectations on this one peg of VP Sara Duterte’s impeachment. Whether she gets impeached or not, she’ll still have to answer for the serious charges brought against her, perhaps with even more finality than her removal from office will bring. 

February 6, 2026 is less than six months away. Let the prosecutors use the time to prepare an airtight case that will secure a clear conviction, in the court of public opinion if not in the Senate tribunal—a case so compelling that it will embarrass any senator-judge who will ignore its logic (and let’s face it, there will be many), and hold him or her accountable to the people at the next election.

In the meanwhile, we have many other and far more consequential battles to fight—our bloated budget, our growing debt, the illiteracy of our youth, the hunger and homelessness of our poor. These can’t be “archived,” and the “forthwith” on these issues came and went a long time ago.

Qwertyman No. 153: Our Literary Fathers

Posted on by
1

Qwertyman for Monday, July 7, 2025

THE RECENT announcement of the impending sale of the Solidaridad bookshop in Ermita owned and run by the family of the late National Artist F. Sionil Jose understandably triggered a wave of nostalgia for the place, the old man, his dear wife Tessie, and for a bygone era when people strolled into book stores over their lunch break or after work to browse and pick up an Updike, a Le Guin, or a Garcia Marquez—and, of course, a Sionil Jose, and get it signed by the man himself if he was luckily around. Five decades ago, as a writer for the National Economic and Development Authority just a couple of blocks away on the same street, that browser would have been me, for whom Solidaridad and the equally legendary Erehwon nearby were a godsend, an unlisted perk. 

Indeed Solidaridad and FSJ (or Manong Frankie, as we his juniors called him) were inseparably conjoined in the public’s imagination of a man who was not only our most productive and best-known novelist but also an indefatigable purveyor of great literature and critical if occasionally controversial thinking, through his journal Solidarity and his long-running column “Hindsight,” this very space I was honored to have inherited.

Like many others—even those with whom he had quarreled fiercely—I was deeply saddened when Manong Frankie passed away three years ago. It was particularly bittersweet for me because we had become quite close in his last years, after having been somewhat estranged for the longest time. 

He had taken me under his wing on a writers’ conference in Bali in 1983, in a group of young, aspiring writers finding their way in a broadening literary world. But shortly after, in an interview with National Public Radio in America where I had gone to study, I offered my rather injudicious opinion of his prose—not mine alone—which he must have gotten wind of and found disparaging, because he gave me the cold shoulder afterwards. Like other younger writers, I would bristle at his hectoring moods—which I would better understand as I myself got older—during which he lamented the seeming alienation of the Filipino writer from his or her own social and political reality. 

It was a concern we happened to share, and he began to know and appreciate me as someone who eschewed academic snobbery as much as he did, having transitioned to fiction from a background in journalism rather than the writers’ workshop system that he was deeply dubious of. In other words, we had more in common than each of us thought, and our work in the Akademyang Filipino brought us closer together. At one time I gifted him with the very first issue of Solidarity—Vol. I, No. 1—which I had found, and which he had not seen for ages; he was happy. After my speech at the Palancas in 2017, he came up to shake my hand.

Ironically, this happened at a time when FSJ, ever strongly opinionated, turned off many of his readers with his pro-Duterte sentiments, his putdowns of Nobel prizewinner Maria Ressa and others he thought undeserving of their fame, and his acerbic loathing of certain families he considered oligarchs despite their long having been supplanted by new and far more ravenous overlords. I did not share these views, and he knew that, but I think we had quietly decided that our friendship was more important than our politics. Shortly before he died, he sent me a brief letter that will be a cherished secret to keep until I myself pass on.

I didn’t learn writing from Manong Frankie; rather, I observed and admired his persistence and perseverance, literally writing to the last on what turned out to be his deathbed. I enjoyed his stories more than his novels, but in the end my own preferences don’t matter. He left a sprawling, robust, and indelible body of work that for many readers here and overseas will define Philippine literature in English for the latter 20th century. He led what our mutual friend the novelist Charlson Ong called “a well-managed life,” building a legacy partly through Solidaridad, Solidarity, and Philippine PEN which he led for a long time, apart of course from his work, and making sure he was heard when he spoke. 

His passing reminded me of the other members of his generation—his seniors and juniors by a decade or so—whom my generation in turn looked up to and at the same time, in that perpetual cycle of revolt and renewal, sought to depose. Nick Joaquin we adored as much for his prose as for his prodigious drinking (and seriously, for putting as much of his heart and craft into his journalism as into his fiction). NVM Gonzalez, who happened to have been born in Romblon (and not in Mindoro as many think) several kilometers away and forty years ahead of me, had that common touch many citified writers lost. Edilberto Tiempo I owe for urging me to return to school and devote my life to studying and writing rather than to bureaucratic servitude. 

Bienvenido Santos, twinkly-eyed and gently smiling, was my favorite of them all in terms of the quietude but also the emotional resonance of his stories, so graceful and yet so powerful. If I were to think of a literary father, it would have been Franz Arcellana, whose work may have been so vastly different from mine and yet, as my mentor in school, was the one I sought to please, slipping my story drafts under his office door and praying for his approval. Gregorio Brillantes, the youngest of them and perhaps more properly belonging to the next generation along with Gemino Abad, has been my writing hero for his superlative technique and unfailing sense of character. All these men (and women as well, for whom a separate story should be told) have taught me and my peers much, not just about the craft of writing but just as importantly the writing life, this vocation of books and words we have ddevote ourselves to for the bliss and yet also often the anguish of finding meaning in life through language.

Manong Frankie has passed on and soon so will his fabled bookshop, but his words, as well as ours, now have a life of their own.

Qwertyman No. 152: A Probinsyana from Paoay

Posted on by
Reply

Qwertyman for Monday, June 30, 2025

IT WON’T officially be out for another couple of weeks, but I’m happy to announce the publication of my latest book, the biography of one of the Philippine judiciary’s most fearless and remarkable women, former Supreme Court Justice and Ombudsman Conchita Carpio Morales. Begun during the pandemic, Neither Fear Nor Favor: The Life and Legacy of Conchita Carpio Morales (Milflores, 2025) traces the journey of a probinsyanafrom Paoay, Ilocos Norte to the country’s highest court, followed by an even more distinguished period of service as “the people’s agent” at the Office of the Ombudsman.

I’ve written a number of biographies of outstanding Filipinos before—among them the accounting titan Washington SyCip, former UP and Senate President Edgardo Angara, and the renowned economist Leonides Virata, as well as the revolutionary Lava brothers—but this was different in many ways. 

Foremostly, it was because my subject was a woman working her way up a heavily male-dominated system, constantly challenged to adhere to her fundamental values and principles in an environment of corruption, intimidation, and political accommodation.  For the men—given that they had the talent and the grit, and possibly the right connections—success was practically a given; for such women as Conchita, proving oneself worthy was often doubly difficult.

Since the Supreme Court of the Philippines was established in 1901, almost 200 justices have been appointed to that exalted bench; only 18 have been women as of 2023, and it wasn’t until 1973 that the first female justice, Cecilia Muñoz Palma, took office. After Morales was appointed to the SC by President Gloria Macapagal Arroyo in 2002, among the first cases to fall on her lap was the impeachment of no less than Chief Justice Hilario Davide, brought on by pro-Estrada congressmen who believed Davide had misused the Judiciary Development Fund. A fellow Justice approached the novice to ask her pointblank, “Chit, do you think you can handle this?” Inhibiting herself from the case would have been the prudent option, but she took it on, and wrote the decision disposing of the complaint.

She would soon be known for her fierce independence. Despite death threats—a grenade was once left outside her Muntinlupa home, along with a threatening message—she worshiped no sacred cows, spared no one from judicial scrutiny when the situation demanded. This was even much clearer when she retired from the Supreme Court and was appointed Ombudsman, in charge of investigating and prosecuting high-profile cases of graft and corruption in government. Among the cases that crossed her desk were those against PGMA, President Noynoy Aquino, former Senate President Juan Ponce Enrile, and former Vice President Jejomar Binay.

While most of a Justice’s or Ombudsman’s work is done quietly, away from public view, occasionally they come into the limelight even against their wishes because of our fraught political environment where issues often end up in court. One such case was the 2011 impeachment of Chief Justice Renato Corona, a highly significant and contentious case that centered on serious allegations of corruption and betrayal of public trust. 

Then the Ombudsman, Morales engaged a former Supreme Court colleague, Serafin Cuevas, in what came to be known as the “battle of retired justices. “I had been summoned as a hostile witness by the defense,” Conchita recalls. “I sensed that the defense wanted to embarrass and humiliate me even. They thought that my alleged opinion that Corona had millions of dollars in undeclared deposits had been based on the three complaints filed before the Office of the Ombudsman. But it was the Anti-Money Laundering Council that had furnished me with the CJ’s record of bank transactions. I had requested their assistance as reported by the media even before I was summoned to testify. The three complaints filed at the OMB never mentioned any dollar deposits. If the defense counsels had been insightful enough, they should have figured that out.” Corona was eventually impeached on a vote of 20-3.

Her confrontations with former President Rodrigo Duterte—a distant relative, through the marriage of her nephew Manases Carpio to presidential daughter Sara—were also the stuff of theater. At the 2016 wedding of Manases’ brother Waldo, the President and the Ombudsman walked down the aisle together arm in arm—he in a cream barong and she in a bottle-green gown—and appeared friendly, making small talk. The cordiality would not last long.

One year later, in October 2017, President Duterte challenged Conchita to resign as Ombudsman, claiming that she had exercised “selective justice” in asking her deputy, Arthur Carandang, to investigate his unexplained wealth. Duterte suspended Carandang, and threatened to impeach Conchita. “Resign now,” he told Morales, “at kung hindi, huhubaran kita!” The last line—which literally translates into “or else I’ll strip you naked”—was egregiously coarse, but came as no surprise to audiences familiar by this time with Duterte’s tough-guy and often misogynistic language.

Morales promptly hit back, vowing not to be intimidated. “If the President has nothing to hide, he has nothing to fear,” she coolly told a press conference.

What most people never saw was Conchita’s lighter side. The first time she went to Broadway in 1981, she watched Evita with her sister Vicky. Before watching, they had dinner at Gallagher’s, where the size of the steaks made Conchita’s eyes pop. She couldn’t finish her portion and, ever the Ilocana, wanted to have it wrapped to take home. Her sister told her not to do that, so Conchita went to the ladies’ room, got some tissue paper, and wrapped the steak. The following day, they went to Washington, where they went to dinner and had shrimp cocktail. Conchita then took out the previous day’s steak to the shock of Vicky, who said, “Don’t bring that out. Don’t embarrass me!” The steak ended up in the wastebasket. 

Lawyer Ephyro Amatong and others who trained with her were privy to Conchita’s moods and modes. “When she was in her ‘Justice’ mode, she was very strict, very sharp, very hard to read, with an incredible poker face. I knew lawyers like the co-head of litigation at a big firm who thought that she was scary,” Eph says. “But while she could be reserved, she could also be very charming and accommodating. She had a great sense of humor. I remember when she had to attend an en banc meeting or when she had a ponencia for deliberation, just before she went out the door, she might be laughing or making jokes about the grilling she might get, or mention what she was wearing and how fashionable she was. But once the door opened and once she stepped out, her ‘Justice’ face came on, ready for battle.”

You can read more about this feisty Filipina, the Ramon Magsaysay awardee for public service in 2016, in the book. Neither Fear Nor Favor: The Life and Legacy of Conchita Carpio Morales will be available on Shopee and Lazada or from milflorespublishing.com very soon.

Qwertyman No. 147: Literature Has Many Flags

Posted on by
Reply

Qwertyman for Monday, May 26, 2025

IT WILL be a tempest in a teapot to most Filipinos still caught up in the aftermath of the midterm elections, a topic of interest to a limited few, but I’m bringing it up this week because it’s important enough for larger reasons.

The Philippines will be Guest of Honor (GOH) at this October’s Frankfurt Buchmesse (FBM), the world’s oldest and largest book fair. Being GOH means that the Philippines—its literature, culture, history, and politics—will be foregrounded in Frankfurt, through the dozens of writers, thousands of books, and the many exhibits and presentations that will be brought over to the FBM, through the combined efforts of the National Book Development Board (NBDB) and the National Commission for Culture and the Arts (NCCA), among other organizations. 

Much of the groundwork for this initiative, which began well before the pandemic, was laid by Sen. Loren Legarda, the principal advocate of arts and culture in the Senate. GOH status is an honor given every year to a different country, but it doesn’t come free; the project involves hundreds of millions of pesos, which its proponents see as a worthwhile investment in raising the global profile of the Philippines through its culture and expanding the international market for Philippine books and authors. The past two years have seen intensive efforts made by the NBDB and the Philippine GOH Committee to prepare the program, select the delegates, and arrange the logistics for our historic participation in October at the FBM.

Comes now a move, led by some prominent Filipino writers and activists, to boycott the FBM for various reasons, including what some see as the government’s misplaced priorities in funding our GOH participation, but primarily in protest of the FBM’s alleged support for Israel in its war in Gaza, and also of Germany’s complicity as an Israeli ally in that conflict. At the moment, it hasn’t gained much traction, but I wouldn’t be surprised if, in the intervening months between now and October, it gathers some steam—likely not enough to stop us from going, but enough to cause some dismay and dissension within our ranks.

I’m not in favor of this boycott, for reasons I’ll shortly explain, but first, full disclosure: I have been formally invited to attend the FBM as a delegate, and have accepted the invitation; I will be involved in several events—a launch of the new Spanish translation of my second novel Soledad’s Sister, several book readings, and possibly some panel discussions. All my expenses will be answered for. This will be my third (and at my age, likely my last) participation at the Frankfurt book fair, as an author whose books have been translated into Italian, French, German, and Spanish editions. In other words, I have a vested interest in going to Frankfurt. (To those who have never been to the FBM, it is no junket; expect long hours manning the booths, talking to people, selling book rights, and walking kilometers of hallways on the enormous fairgrounds. Frankfurt is not a particularly scenic city, although a side trip to nearby Heidelberg and its Rizal connections will be a welcome break.)

Some readers might find the connection between the FBM and Gaza tenuous and the call for a boycott bewildering, but it does have some basis worth serious consideration. The relationship between Germany and Israel, or the Germans and Jews, is long and complex (highlighted by the Holocaust before Israel even came to be, and the 1972 Munich Olympics massacre, among others), but the immediate trigger for the outcry was the FBM’s controversial cancelation of an awards ceremony for the celebrated Palestinian writer Adana Shibli in the immediate wake of Hamas’ attack on October 7, 2023. 

The outrage is justifiable and widely shared. In this column and other media, I myself have written against Israel’s assault on the Palestinian people (see “The Country I Wanted to Love,” from April 19, 2024), as have many other commentators. Indeed, I know of very few Filipino writers who have cheered the onslaught on—typically those holding orthodox Catholic views upholding Israel as God’s chosen nation. 

Israel’s relentless pounding of Gaza, resulting in the wanton slaughter of innocents, has long outlived its excuse of neutralizing Hamas. It is genocidal butchery by any standard, this calculated starvation of Gaza’s remaining residents, the killing of aid workers, and the mechanical attribution of atrocities to “operational errors.” Netanyahu’s encouragement of Trump’s crass and bizarre proposal to depopulate Gaza so he can turn it into “the Riviera of the Middle East” reveals the utter moral depravity of these two men. 

Israel’s barbarism in its campaign of terror and annihilation has now exceeded Hamas’ own (yes, unlike many protestors, I hold Hamas accountable for its own brutality—something that will surely not endear me to the far Left on this issue). Those of us who study Elizabethan revenge tragedy know this only too well: the line beyond which the revenger no longer seeks justice but mindless retribution, and becomes a horrifying, blood-soaked caricature of the very object it opposes.

The question for us writers is: will any of this be helped by withdrawing our participation from one of the world’s largest (if arguably not freest) exchanges of ideas through books? Will we prevent ourselves at Frankfurt—should the need and opportunity arise—from expressing our opinions on Gaza, among a host of other global issues concerning human rights? (Current German rules restrict financial support to artists seen as anti-Israel, especially those identified with the Boycott, Divest, and Sanctions movement or BDS, among other repressive measures.)

My answer is no. I stand for peace and justice for both the Palestinian and Israeli people—indeed, for all oppressed peoples of the world, including our own. But divesting ourselves of a historic opportunity to express our collective resistance to injustice—not just in Gaza or over this one issue, no matter how pressing, will only be counter-productive. Unless it catches fire (other prominent authors elsewhere, as in Indonesia—which was GOH some years ago—have expressed support), a symbolic boycott will be as deafening and as consequential as a tree falling in the forest.

In the end, this will come down to an individual act of conscience, however one decides, for which we must reserve our respectful acceptance. Whether one goes or stays, one’s reasons or motives have to be clear, so the gesture will not be wasted. I will go to Frankfurt proudly, with neither guilt nor shame, to speak about our people and our struggles for freedom through my books. Engagement, not withdrawal, will be the best service writers can perform for their country and for all oppressed and silenced people everywhere. 

Politicians like to wave one flag—Filipino, American, Israeli, Palestinian. Literature, like all art, has many flags: peace, justice, freedom, equality, truth, love, beauty, and harmony. Let all these fly in Frankfurt.

(Image from Studio Dialogo)

Qwertyman No. 140: The City of Stories

Posted on by
Reply

Qwertyman for Monday, April 7, 2025

THIS PAST weekend, I was down in Dumaguete City with National Artist for Literature Resil Mojares, historian Ambeth Ocampo, and scores of other writers for the 2nd Dumaguete Literary Festival. At my age, I’ve frankly tired of going to literary festivals, conferences, and workshops, preferring to work quietly at home—Dr. Mojares apparently feels the same way—but we couldn’t resist the allure of Dumaguete, a city central to the development of Philippine postwar literature, and always well worth visiting on its own for its gentle charms.

I personally have much to thank Dumaguete for, for what it contributed to my own budding literary and academic career. Early in 1981, shortly after I had returned from my first visit to the US, I received an invitation from Dr. Edilberto Tiempo to join the Silliman Writers Workshop which he and his wife Edith—the poet and future National Artist—had started two decades earlier upon their own homecoming from America. 

I had dropped out of college for a decade by then, and was working at NEDA, which had sent me to the US for an observation tour. What that trip to the American Midwest—mainly the campus of Michigan State in East Lansing—did for me was to rekindle my interest in learning. Dr. Tiempo’s invitation could not have come at a better time: a summer devoted to talking about poetry and fiction at Silliman University felt dreamlike, and by the time the workshop ended, my head spinning with magical lines from Robert Graves, I had resolved to quit my job, go back to UP, and just study, write, and teach for the rest of my life. And that’s what happened.

I wasn’t alone in that kind of transformative experience; as the country’s oldest writers’ workshop, the Silliman summer workshop became a virtual rite of passage for young writers, especially in English (some writers in Filipino have also attended, with works in translation). Silliman itself (older than UP by several years) has produced many of the Philippines’ finest writers, aside from the elder Tiempos—among them Ricaredo Demetillo, Aida Rivera-Ford, Merlie Alunan, Leoncio Deriada, Cesar Ruiz Aquino, Elsie Coscolluela, Rowena Tiempo-Torrevillas, Marjorie Evasco, Lakambini Sitoy, Artemio Tadena, and Myrna Peña-Reyes. It also has a strong performing arts tradition, contributing the likes of National Artist Eddie Romero, Gilopez Kabayao, Amiel Leonardia, Junix Inocian, and Elmo Makil, among others.

For all these, Dumaguete has been formally nominated to be designated as a UNESCO City of Literature—one of many such distinctions listed under UNESCO’s Creative Cities Network program that was launched in 2004 to recognize and celebrate cities around the world—350 of them form more than 90 countries to date—for their signal achievements in Crafts & Folk Art, Design, Film, Gastronomy, Literature, Music, and Media Arts. So far, 53 cities in 39 countries have been named Cities of Literature—among them Barcelona, Heidelberg, Iowa City, Lahore, and Norwich. (Iloilo has already been named a City of Gastronomy, and Quezon City is vying to be designated a City of Film.) With the Philippines serving as this year’s Guest of Honor at the Frankfurt Book Fair, Dumaguete’s recognition as a UNESCO City of Literature will raise our global cultural profile even higher, and let the Philippines be known for more than Boracay, Manny Pacquiao, and Imelda’s shoes.

Leading that charge for Dumaguete is Silliman University literature professor Ian Rosales Casocot, one of our best fictionists and co-director of the festival with Gayle Acar. Working with the Dumaguete City government, the Department of Trade and Industry, and the Buglas Writers Guild which Ian heads, Ian notes that aside from developing writers, “Dumaguete itself has been a constant subject of many literary works, from novels to poetry, from essays to plays. It is high time that Dumaguete is recognized for its role in shaping literature in our corner of the world.” The well-attended Dumaguete Literary Festival, now on its second edition, offers proof positive of that city’s continuing centrality to our literary life and culture. 

We had been invited to share our views on various aspects of Philippine literature in this age of artificial intelligence. I joined a panel of writers dedicated to that specific topic—or, as they put it, “Can AI Win a Nobel Prize for Literature?”—which happened to be something I’ve given much thought to.

Understandably, there’s been a lot of fear and anxiety—even outright hostility—generated by the emergence of AI in nearly every aspect of human life and society. Studio Ghibli’s Hayao Miyazawa, for example, has forsworn the use of AI in his work, calling it “an insult to life itself.” While it has been hailed for its contributions to such fields as medicine and criminology—shortening diagnostic procedures and sharpening digital forensics—AI’s application to less mechanical endeavors is more fraught with both ethical and technical questions. 

In previous lectures and again in Dumaguete, I showed how—at this point—AI poses little threat to the writer of truly good and imaginative literature, by yielding execrable responses to such prompts as “Write a paragraph about a summer night in Spanish Manila in the style of Nick Joaquin.” It’s worth a laugh, but I’m not sure how long we’ll be laughing; AI’s present ineptitude simply means it has a lot to learn—and it will, with the kind of training it’s being fed off our books, our texts, our manner of writing. It will only be a matter of time—I’d say less than a decade—before AI can mimic the best of global writing. For me, the best response is neither to hate nor to ignore it, but to understand it and employ it for helpful uses we have yet to find. (We’re already tapping AI every time we use Google, and no one seems to mind.) It should even be possible for authors to creatively interact with AI in what I’m calling a game of prompts.

What we can reasonably certain of is that while literary styles can be copied, the human imagination is far richer and stranger than we think. AI tends to homogenize; the good creative writer strives to be unique. Like Dumaguete, there’s a whole city, a labyrinthine cosmopolis, of stories in every writer’s mind to be discovered and explored.