Category Archives: books

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.

Penman No. 473: New Light on (and from) the Philippine Short Story

Posted on by
Reply

Penman for Sunday, April 6, 2025

FEW MAY have noticed, but this year, 2025, marks the centenary of what has been widely acknowledged to be our first classic short story in English, Paz Marquez Benitez’s deathless “Dead Stars.”

As I’ve often observed as both a writer and teacher of Philippine literature, there’s probably no literary form more popular among Filipinos than the short story and its predecessors—myths, legends, folktales, and such stories that draw on the power of narrative to tell and teach us something about human life. 

A lot of this has to do with the fact that people and cultures everywhere have made use of stories to make sense of things—to establish causality in human actions—often as a way of prescribing and also proscribing certain behaviors. Stories were there to learn from, like the biblical parables, Aesop’s fables, and the creation myths. The more exciting and entertaining the stories were, the easier the learning happened. Even the mere recognition of oneself in a story that could have taken place a thousand years ago in a place across the planet makes our lives seem more meaningful.

In the Philippines—as it did in the West, where the modern short story took form—the short story was a staple of prewar weekly magazines like the Sunday Tribune, where a story written by an American author would be matched by a local story during what our early literary scholars like Leopoldo Yabes would call our period of apprenticeship. This was in English, but the short story in Filipino (then Tagalog) and other Philippine languages had developed even earlier, and continued (as it continues) to explore new forms and material.

Why the short story and not the novel? That’s another long discussion to be had, and I’ve addressed it in a lecture titled “Novelists in Progress,” but the short of it is that, well, we Pinoys like things in small doses (think Nick Joaquin’s “heritage of smallness”), and the short story satisfies our craving for a touch of fiction and fantasy in our ordinary lives. We’re not marathoners, but great sprinters; we’re not summiteers or navel-gazers, but masters of the street and alley. 

And so, over the past century, important anthologies of the Philippine short story have been published, tracking the development of the genre and its practitioners, from Yabes’ landmark Philippine Short Stories 1925-1940 (a project continued by Gemino Abad for 1956-2008) to Isagani Cruz’s Best Philippine Short Stories of the Twentieth Century (2000). Outside of English, Mga Agos sa Disyerto edited by Efren Abueg came out in 1964, proclaiming new directions for Tagalog short fiction, and the much-needed Ulirat: Best Contemporary Stories in Translation from the Philippines was published in 2021, edited by Kristine Ong Muslim.

But the 21st century is now a quarter of the way through, and just in these past two decades or so, a fresh bumper crop of brilliant new stories has built up, awaiting harvest.

Five years ago, an American friend named Gerald “Jerry” Burns—a fellow academic and a scholar of Philippine literature in English, now Emeritus Professor at Franklin Pierce University in New Hampshire—decided to do just that: review the best of the newest Philippine short stories and produce a selection with which to introduce them to the world. He needed a collaborator, and having worked with Jerry earlier when he was a Fulbright professor at our English department in UP, I agreed to co-edit the volume with him. Because of our backgrounds, our stories would be mainly those written in English (and the excellent Ulirat had already covered much more ground in the other Philippine languages than we ever could) but Jerry wisely insisted that we should have at least some representation of non-English stories in translation in the book, if only to lead the reader to explore more in Ulirat.

The selection process was predictably long and bruising, with all the political, aesthetic, and practical considerations that go into anthologizing, but in the end we came up with 18 stories written by both familiar and fresh names, from within and beyond the Philippines, including the diaspora: Dennis Andrew Aguinaldo, Dean Francis Alfar, Mia Alvar, John Bengan, Ian Rosales Casocot, Richard Giye, Vicente Groyon, Ino Habana, Carljoe Javier, Monica Macansantos, Perry Mangilaya, Doms Pagliawan, Ma. Elena Paulma, John Pucay, Anna Sanchez, Larissa Mae R. Suarez, Lysley A. Tenorio, and Socorro Villanueva. We also found an agreeable and supportive publisher, Milflores Publishing, fortuitously run by Andrea Pasion-Flores, herself a fine fictionist who understood the need for a new anthology like this, especially on the threshold of the Philippines’ participation as Guest of Honor in this year’s Frankfurt Buchmesse.

The book’s title, What Light It Can Hold: The Philippine Short Story in the Twenty-First Century, was suggested to Jerry by an encounter with the piña weavers of Kalibo, Aklan, and a caption he saw that said: “How fragile a single thread of piña is, how delicate, but look how much light it can hold.” He explains that “What Light… is intended to recognize the limited capacity of the Philippine short story in this period to offer any widespread or definitive illumination of the nation’s life and culture. At the same time, a more expansive understanding of that title is possible. For the short story, as will be suggested in the next pages, is a signature Philippine product, too. And these slender narratives, fashioned by their makers with a skill, patience, and devotion comparable to the piña weavers’, bring what light they can hold to vital areas of contemporary Philippine and larger human experience.”

No anthology project will be without its perceived failures and omissions, and Dr. Burns and I remain fully open to criticism in that respect. But we believe the sympathetic reader still stands to profit from both the selections and the introduction, penned largely by Jerry, that makes salient observations on the changes that have taken place in this most favored literary form of ours over the past century. Happy reading! (What Light It Can Hold is available on Lazada and Shopee.)

Penman No. 471: A Promise to Keep

Posted on by
Reply

Penman for Sunday, February 9, 2025

Now and then we come across stories of foreigners who fall under the spell of the Philippines so completely that wherever else they go, the Philippines and its panoply of wonders—its mangoes, its waters, its sunsets, and above all its smiling people—stay with them, urging them to return, in spirit if not in person.

One such visitor was my good friend Julie Hill, who with her late husband Arthur first came to Manila in 1968 on a mission to help improve Philippine education, among other concerns. Almost six decades later, after having traveled the world and settled in America, Julie’s thoughts and affections remain bonded to this country and to its future. In the twilight of her life, she has decided to gift poor but bright young Filipinos with a life-changing opportunity to study at the University of the Philippines, from the forthcoming sale at auction of two paintings by National Artists HR Ocampo and Ang Kiukok.

Born in Alexandria, Egypt to Greek parents, Julie Hill went on to a fulfilling life in the United States and around the world with Arthur, who represented the Ford Foundation in the Philippines. Forced to leave Egypt when Nasser took over, Julie found a scholarship for her master’s degree in chemistry at the University of Minnesota. There she met Arthur, an Australian taking his PhD in Education and Mathematical Statistics. 

The two fell in love, married, and embarked on a lifelong adventure around the world—to Western Samoa, Thailand, Indonesia, and Afghanistan, where Arthur’s expertise in education and agricultural development was much sought after. Arthur passed away in 2002, but Julie went on to her own career as an international marketing executive for Lucent and later AT&T. Since retiring at their home in Rancho Sta. Fe, California, she has written and published five books of travel and memoirs—all of which I edited after being introduced to her by our mutual friend Jimmy Laya, turning our business connection into a long and dear friendship.

From the first of those books, A Promise to Keep (2003), come many vivid impressions of a country and society transitioning to modernity, troubled but brimming with energy and promise. Arthur got busy working with UP and the International Rice Research Institute, among others, and the Hills became good friends with the rising technocrats of the time—Cesar Virata, Gerry Sicat, and Jimmy Laya. It was Laya—who remains close to Julie—who introduced her to the local art community.

“The art scene was vibrant,” Julie would write. “Manila, a centuries-old entrepot, was rich in art and culture, and we were privileged to visit many private art collections….

“Art galleries flourished. A self-exiled painter stormed into town and set new price ceilings. The audience increased. So did the column inches devoted to art in the newspapers and magazines….

“The Luz Gallery in Makati was run by Arturo Luz, a leading painter, known for his high standards of professionalism. His gallery gained the trust of the public and the artists. The Solidaridad gallery and bookshop was located in Ermita, run by novelist Frankie Sionil Jose. Solidaridad was the middle ground between the established artists exhibiting at Luz and smaller galleries where new talent was championed. You could find superb examples of prints, drawings, miniatures, relief metal sculptures, collage, photographs, and paintings all over Manila.

“We were interested in meeting the artists and visiting their studios, but were reluctant to pay the gallery prices. If we liked the work of a particular artist, why not buy directly from him or her? This was how we searched for and found the home of Hernando Ocampo.”

“Hernando Ocampo was a pure abstract expressionist with a daring originality in his paintings. His work was unmistakably Filipino, ascribing this national character to his unique, tropical colors. A typical Ocampo painting is not unlike a honeycomb, a complex weave of color and tone with each individual cell suggesting a large, more real life form. His work is tropical and warm and suggestive of symmetry. The colors and shapes seem to dance before the eyes. His home in Maypajo was a mecca for friends, admirers, and collectors. He had an open house on Sundays. Good food and hard and soft drinks were ready for guests. Visiting Ocampo, we felt welcomed not only by the artist but also by his family. We commissioned a painting. Sketches were drawn; we followed the progress of our painting with our weekly Sunday visits, and sampled the wonderful pancit, that ubiquitous Filipino noodle dish, that was offered. We photographed the progress of his work. He completed the ‘Song of Summer’, a mastery of color in 17 different shades of red. It would hang proudly in our home in California, and continue to provide intense, pleasurable excitement, another reminder of our times in the Philippines.” (Note: Ocampo’s sketch and color guide for the painting will go with the artwork at auction.)

The Hills left Manila for Indonesia shortly after martial law, but on a return visit in the early 1980s, their old friends at the Ford Foundation presented them with another painting by another Filipino master, Ang Kiukok.Julie recalls seeing several works by accomplished Filipino painters in the foundation office, purchased back when they were far more affordable, and this may have been one of them. Like the Ocampo, it traveled with the Hills around the world all the way to Rancho Sta. Fe, where I have been visiting Julie over the years (our daughter Demi conveniently lives nearby in San Diego).

It was during our most recent visit there that Julie brought up the idea of donating her two paintings for the benefit of poor UP students. A lifelong but quiet supporter of students as far away as Mindanao and a staunch believer in the transformative power of education, Julie also honored me by anonymously (but no more) endowing the Jose Y. Dalisay Jr. Professorial Chair in Creative Writing at UP, over my embarrassed pleas to put it in her name.

This time, she wants the money to go to UP’s poorest—specifically, those exceptionally bright and mainly provincial students who, against all odds, pass the UPCAT but fail to enroll, lacking the means to afford the cost of living on a UP campus. We’ll need to work out the mechanics, but this will go much farther than professorial chairs in changing Filipino lives.

“I had a privileged education in Alexandria and was fortunate to receive a scholarship for my graduate education in America,” Julie says. “During our years in Manila, Arthur and I developed a deep affection for the people of the Philippines, and I am hoping that this donation will contribute to creating a generation of talented and hopeful Filipinos who will serve their country well.”

The Ocampo and Ang Kiukok paintings will be sold at auction by Leon Gallery on February 22. I pray that generous buyers will help Julie keep her promise to the Filipino people.

Qwertyman No. 131: A Relentless Questioner

Posted on by
Reply

Qwertyman for Monday, February 3, 2025

I DON’T know if there’s a Marxist heaven, but if there is, then Dr. Francisco “Dodong” Nemenzo, who passed away recently, must be smiling up there because of the forthcoming launch of his book Notes from the Philippine Underground (UP Press, 2025).

It’s too bad that Dodong won’t be around to see the book and sign copies for his legions of friends and comrades—many of them like my wife Beng, who remember him as a dashing and persuasively articulate professor of Western Thought, despite the Cebuano-accented English he was sometimes laughed at for by the ignorant. He never became my teacher in college, and oddly enough—because I was out of UP Diliman for most of the time he was teaching there—I never really got to know him closely as an activist and ideologue.

I did know him as a boss—he took me in as his Vice President for Public Affairs when he was UP President—and in that capacity I learned to respect and admire him as a man who held firm to his principles while finding practical and effective solutions to UP’s problems. This was especially true of our campaign to revise the outdated UP Charter, which eventually succeeded under President Emerlinda Roman, but which he tenaciously pursued despite the insults of spiteful politicians. 

Throughout his adult life and to the last, Nemenzo remained a professed and unapologetic Marxist—a word that would seem Jurassic in these post-Soviet and Trumpian times, but which he saw and lived in a different light. 

As the preface to his book by Prof. Patricio “Jojo Abinales” explains, “Dodong’s engagement with Marxist theory wasn’t an academic exercise. For him, Marxism was a living, breathing framework—a summons to connect theory to the existing conditions of everyday life. He wasn’t content to theorize from a distance; with a scientific mind, he dug into the realities of Philippine society, always interrogating its dominant ideas, structures, and contradictions. His writings speak to this dual commitment: the rigor of his analysis is matched by an acute sensitivity to the concrete lives of real people whose struggles he sought to illuminate. He distrusted all dogma, and sought to validate all received knowledge.

“Francisco ‘Dodong’ Nemenzo’s life and work resist easy categorization. He was a Marxist thinker, a revolutionary activist, an inspiring academic leader, and a mentor to generations of scholars and radicals. But more than any of these roles, he was a relentless questioner of the world as he found it—and a passionate believer in its potential to be different, if not better.”

Indeed the book shows how sharp, even scathing, Dodong could be in his opinions of how his idea of Marxism remains relevant and useful despite how it has been misused by many of its adherents and misunderstood by its opponents. 

He writes: “We must struggle against their misconception of Marxist theory and practice (e.g., equating Marxism with Stalinism and totalitarianism) and point out that humanism is inherent in the Marxist worldview. Going through the basic documents of Filipino social democratic groups, it is obvious that, even as they try to distance themselves from Marxism, their analysis of present conditions and their historical roots is almost entirely based on a Marxist framework.” 

He acknowledges the flaws and failures of Marxist parties caught up in internal conflicts (Dodong himself was once ordered to be executed by the party he belonged to, ostensibly for treason): “Can people be blamed for suspecting that communists are motivated by cynical calculations of what would bring them tactical advantages? Their loud and monotonous protestations ring hollow in the absence of inner-party democracy. The authoritarian and repressive character of the regimes their comrades established wherever they gained the upper hand reinforced this impression. This stigma they must shake off; otherwise they would remain at the periphery in the continuing struggle for democracy.”

He is not without wry humor. Reflecting on the ultimate folly of a revolution being led by a highly secretive, centralized, and “conspiratorial” party, he notes: “This is difficult to implement in the Philippine cultural milieu. A code of silence—what the Russians call konspiratsiya and the Mafiosi call omerta—is impossible among people who take rumor-mongering as a favorite sport. Our irrepressible transparency is a weakness from one point of view but a virtue from another. Our legendary incapacity to keep secrets is probably the best guarantee that no conspiratorial group can stay in power long enough to consolidate a dictatorship.”

Even for those disinclined or even hostile toward the Left, Notes from the Philippine Underground offers many valuable insights from one of that movement’s “OGs,” in today’s youth-speak. Nemenzo may be highly critical but he remains ultimately hopeful that positive and deep social change will happen, if the Left learns from its mistakes and finds new ways to engage society. Listen:

“There have been many pseudo-united fronts put up by the vanguard party. They consist of party-led mass organizations that simply echo the party line. None ever grew into a genuine united front, although they did attract a few prominent individuals who had no organizational base whatsoever. Other organized groups are often suspicious of the party and wary of being reduced into instruments for policies they do not accept.

“But I know of only three attempts at seriously establishing a real united front in this country: in the immediate postwar period, in the late 1960s, and very recently. They all collapsed because of sectarian methods of work. Sectarianism is the blight of all united front efforts everywhere….

“The Philippine movement has never been able to solve this dilemma. At the very moment when united front structures are set up, rivalries emerged. And intoxicated by short-term successes in expanding their mass organizations, the sectarians eventually prevailed.”

Pluralism, he suggests, is key: “Pluralism is a bourgeois liberal doctrine that ought to be preserved and enriched in the socialist revolution. It is not incompatible with socialism. The tension that arises through political competition would serve as a constant reminder that the party must earn the allegiance of the masses. Of course, no state would tolerate an opposition party that resorts to violent methods and solicits support from foreign powers. But this should never be an excuse for suppressing any opposition.”

Surely there will be blowback from those holding different views; expect the usual howl from UP bashers and red-taggers. But when that happens, even from the grave—or Marxist heaven—Dodong Nemenzo will have sparked the kind of discussion we direly need to find our way forward as a nation.

Penman No. 470: A Collector’s Christmas

Posted on by
Reply

Penman for Sunday, January 5, 2025

MY WIFE Beng and I in San Diego, California for our first Christmas in the US in ten years, visiting our daughter Demi and her husband Jerry. San Diego’s one of those perennially pleasant places where the weather seems to be perfect almost all year round. You don’t come here for a white Christmas—although there’s snow up in the mountains not too far from town. It’s still sunny and warm enough in late December for people to be going around in T-shirts and shorts in the daytime, but for us Pinoys who love to freeze, sweaters and jackets are de rigueur.

We’ve been coming here for twenty years now, and while San Diego is chockfull of attractions—this is, after all, where Comic-Con happens every July (been there, done that twice) and where the waterfront boasts a flotilla of historic ships from a life-size Spanish galleon to the USS Midway—I have to admit that the collector in me loves San Diego for its antique malls, flea markets, and thrift shops, of which scores can be found in the city and its suburbs. I’ve found many a prize piece in these places—such as a working gold-plated 1930s Hamilton “Curvex” watch in a basket marked “Any item $5”—which, for me, beats walking into a boutique and plunking down your credit card to pay full price.

I guess I’m a cheapskate at heart, which is why everywhere Beng and I have gone around the world, flea markets and thrift shops—aside from museums—are at the top of our to-do list. The thrill is even less in the purchase itself than in finding something old, beautiful, potentially valuable—and at a bargain. 

Collectors everywhere know the feeling—that tingle in your bones and at your fingertips when you step into a shop and scan the territory, and notice something in the hazy distance that seems to look like your obscure object of desire. As a collector of vintage fountain pens, I naturally gravitate toward small tubular shapes in black, silver, or gold—which was how, last March, I spotted and bagged a gold “safety” French-made pen from the early 1900s, sitting all by its lonesome at a table at the Porte de Vanves flea market in Paris, a 40-euro find for something easily worth five times as much. 

Everyone has his or her strategy, but mine has always been to do a quick march down and around the street or aisle, just to see what’s out there and to catch obvious standouts, before taking a more leisurely and more probing walk back, peering into corners and at the details of particular pieces. It pays to come early—flea markets open as early as 5 am—and we’ve been lucky to bag early-bird bargains at cock’s crow in a barn in Ohio and the flea market at Covent Garden in London.

Unfortunately, flea markets of this sort have yet to become a regular feature of Filipino life, unless we count the Bangkal used-goods market in Makati and the plethora of Japan-surplus stores that have sprung up around the country. 

Fortunately, there’s a global flea market that’s accessible to nearly everyone and which doesn’t even require you to fly overseas and deal with visas, airfares, and airports. That market is eBay, which I like to call the great equalizer, since anyone with an Internet connection and a bank account can tap into the millions of items that eBay has online at any given second.

To my great wonderment and not a little horror, I realized as I was writing this that I’ve been on eBay for 27 years now, having signed up with the website just three months after it changed its name to eBay from Auction Web in September 1997. My first buy was a 1950s Pelikan 140 fountain pen from Germany, and since then I’ve made almost 2,000 purchases covering all my collecting passions, from pens, typewriters, and Apple computers to antiquarian books, paintings, and clothes. (Clothes? Yes! If you’re a rather large man like me who has difficulty finding his size in local stores, you’ll have lots more choices on eBay for less as long as you’re sure of your shirt, blazer, pants, shoe, and hat sizes.) 

Shipping each item to Manila directly from the US or the UK (another eBay paradise) will be too costly, so what I and other experienced collectors do is to open an account with a forwarder like ShippingCart or Johnny Air Cargo, which gives you a local address, wait until the items pile up, and then ship them in a box to Manila. (Check with each shipper’s website for their specific insurance and customs policies.) I generally get my goods within two weeks of shipping them out.

I began by mentioning that we were in San Diego because this ties in with another twist to the Pinoy collector’s and shopper’s strategy: if you know you’re going to be in the US and will be staying with a relative or friend, you can have your eBay or Amazon items shipped to that address over, say, the preceding month, and bring everything home with you in the second suitcase you’re entitled to, saving a ton on air freight costs. 

This time around, to give you an idea of what my Christmas loot has been, I’ll be filling up a suitcase (or more likely my carry-on) with some small things of little commercial value but of great interest to hopeless hoarders like me. They’ll include:

– A copy of The Gentleman’s Magazine from April 1825, in which an article predicts that “It appears that Spain is likely to lose her possessions in the Eastern, as well as the Western world” because of rebellions and crimes in the Philippines as well as at home, including “ravages committed (in Catalonia) by wolves within the last twelve or fifteen months…. The last was a young girl who, on the 18th instant, was almost entirely devoured by the wolves” (which, according to the monks, were “animated by the souls of defunct Constitutionalists”);

– A first American edition of Paul Proust de la Gironiere’s Twenty Years in the Philippine Islands, published in New York in 1854;

– A lovely Art Nouveau rocker ink blotter from around 1915, once used to mop up excess ink from fountain pens; and

– A Parker Duofold Senior fountain pen in pearl and black from around 1929, once owned by a “Francis J. Keefe” whose identity will be another mystery to explore.

If Christmas was this bountiful, I can only imagine what the New Year will be like.