Category Archives: books

Qwertyman No. 66: Beyond Reportage

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Qwertyman for Monday, November 6, 2023

IT WAS probably fitting that I finished reading Patricia Evangelista’s highly acclaimed account of “murder in my country,” Some People Need Killing (Random House, 2023), over a holiday devoted to remembering the souls of the departed. I had received a pre-publication review copy from the publisher months ago under a strict embargo not to talk about it until its formal launch. As it happened, it lay under a pile of other books to be read until a flurry of posts and reviews reminded me that it was out in the open, and that the secret—not just the book, but also what it contained—could now be shared.

I can still recall the day—May 15, 2004—while we were celebrating Pahiyas in Lucban when I got the news on my phone that our representative to the English Speaking Union’s annual public speaking competition in London—a bright and pretty wisp of a teenager named Patricia Evangelista—had won the top prize. We were new to the ESU—subsequently we would produce two more global champions—and it was a grand way to announce to the world that we Filipinos could produce more than boxing heroes and beauty queens. Here was 18-year-old Patricia who could think on her feet and speak to issues of international importance, the poster child of Filipino intelligence and audacity, whose command of the English language led her to meeting no less than Prince Philip, the Duke of Edinburgh, in what amounted to a mini-coronation in recognition of her talent.

As magical as that moment was, I can only imagine how, in the months and years following, it must have begun to grate on the young Patricia to be asked to deliver her prizewinning speech in public forums over and over again, like a wind-up doll, and suffer the fate of prodigies who peak too soon. Surely that was just a beginning; surely there was more she could do—had to do—to outlive her Cinderella-like debut in London. 

I would see some of that when she enrolled in my undergraduate Fiction Writing class in UP. I knew who she was and made sure to give her no special treatment—indeed to lean even a little harder on her, knowing she had what it took—but she got a “1.0” all the same, one of the few I ever gave. I can’t claim to have taught her much how to write imaginatively—her own reading had likely primed her for that—but I can’t pretend not to be proud of what she turned out to be, my pride tempered only by fatherly concern.

Today, almost 20 years later, the sometime ingénue returns to the global stage as a hard-bitten, chain-smoking investigative reporter—a “trauma journalist,” in her own words, very possibly one of the world’s best yet again. But there is no real prize, no princely reward, for this kind of distinction, only pain and sorrow which—subdued too many times as a matter of professional discipline—exact their toll on the body and spirit. Patricia has had to suffer that to be able to tell her story as clearly as she could, unimpeded by the hand-wringing and the preachiness that often accompany such exposés of grave misconduct. 

This is not a review of the book’s explosive investigation into the thousands of extrajudicial killings that happened under the Duterte regime—that’s been done very capably by others, and is already the subject of international inquiry. The book will deserve all the journalistic accolades coming its way as an exemplar of excellent reportage. 

I will not even quote from the book, as there are simply too many quotable paragraphs to choose from. Rather, I want to note, from my privileged perspective and for the benefit of younger writers, how Patricia works with language to best serve the truth. Quite apart from its journalistic merits, Some People Need Killing is one of the best textbooks out there for what we now call “creative nonfiction,” a compound of reportage, memoir, history, and fictional technique. Indeed, beyond reportage, the book is a long personal essay in which the author is inextricably part of the story, a significant step away from the impersonal and largely mythic “objectivity” that we associate with traditional journalism.

Probing murder after ghastly murder—sometimes even coming on-scene to prevent one—Patricia is both chronicler and agent, witness perhaps not to the killing itself but to the larger crime of its planning and the exoneration of its perpetrators. Handling the most sensitive and dangerous of material, she draws on more than skill to tell her story; she demonstrates raw courage, an increasingly rare quality among journalists easily seduced and silenced by pragmatism. She names names, which surely will bear consequences both ways. 

I’ve often remarked in my lectures that the most endangered writers in this country are neither the poets nor the novelists, but the journalists who cannot hide behind metaphor and simile to tell the truth. We fictionists make artful lies which governments rarely have the intelligence or the patience to grapple with. Journalists live in the literal world inhabited as well by cops and crooks; what’s interesting is how the flimsy but oft-repeated fictions of “killed while resisting arrest,” so pervasive in this book, emerge from that reality.

Evangelista’s overarching technique is one of narrative restraint, informed by an English major’s awareness of how language and reality shape each other. She constantly parses the perversions of language—how words like disappear, salvage, encounter, verification, and even her own name assume different uses and meanings over time, in specific contexts. She knows—as I remind my students—that for dramatic effect, less is often more, that short sentences and blunt, single-syllable Anglo-Saxon words rather than the long, Latinate ones favored by lawyers hit closer to the gut and heart.

She is keenly aware of the power of irony—of professed liberals supporting EJK, of a morally ascendant Noynoy Aquino showing little empathy for ordinary folk, of her own journalist-grandfather affixing his signature to a petition supporting the older Marcos, and of communal complicity in the reign of terror. She uses people’s own words against them, quoting from the record. She avoids direct editorializing, or speaking in lofty generalizations like “justice” and “civil liberties,” and instead, in the best noir tradition, sees “sagging two-story tenement buildings (that) opened into dirt roads layered with garbage and last week’s rotten Happy Meal.”

After I had finished the book, I woke up at 4 am from a nightmare about running shirtless down a wet, earthen road. I was lucky. Patricia Evangelista lived through it, and I don’t even know if she’s woken up yet. Have we?

(Image from Rappler.com)

Qwertyman No. 58: A Long Grace Note

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Qwertyman for Monday, September 11, 2023

AT ABOUT this time fifty years ago, I was newly released from martial-law prison after seven months of what everyone euphemistically called “detention,” and wondering what to do with the rest of my life. I was just nineteen, so I suppose you could say that I had a lot of living ahead of me, but I felt very differently then. More than a dozen of my friends—all of them in their twenties or even younger—had died horrible deaths fighting the regime. We exalted them as the martyrs that they were, but grimly realized and acknowledged that given how things were going, we ourselves would be fortunate to see the ripe old age of thirty.

I had been arrested at home on a cold January morning in 1973, just past midnight. Like many student activists, I had dropped out of college during the First Quarter Storm of the early 1970s. But instead of joining “the movement” full-time, I improbably found a job with a newspaper as a general-assignments reporter. It was heady stuff at age eighteen, covering three-alarm fires, floodwater rescues, and the very same demonstrations I had joined on the other side of the police barricades. And then martial law was declared—I was actually covering a rally in UP, and thought I had a scoop when a radio station nearby came under fire from the Metrocom, only to be told by my night editor when I tried to phone the story in that we no longer had a newspaper to publish, because soldiers had taken over the office. 

Over the next few months I shuttled between part-time jobs and clandestine meetings with the anti-martial law underground, moving around the city. I wasn’t doing much, given how green I was, but I thought it was important to take part in the resistance in whatever way. And then when Christmas came, like a good boy, I went home to my parents and foolishly had a chat with a neighbor who turned out to be a military asset. Not long after, a posse of soldiers appeared at our door, and when my father nudged me awake, I had a gun pointed at my face. I was being arrested under a catch-all “Arrest, Search, and Seizure Order” or ASSO issued by the Defense Minister, Juan Ponce Enrile, for whom I would ironically be writing some speeches during his post-EDSA reincarnation (he won’t remember that, as I was a tiny mouse in the office).

My release in August 1973 came right out of a Kafka story. I was taking a shower one morning in our prison—which, by the way, is roughly where St. Luke’s BGC is today—when I heard my name being called over the PA system. “Dalisay, report to the guardhouse immediately!” The last time I had done that, after one Sunday dinner, I had been beaten up by some drunken guards just for the heck of it, so I groaned when I heard the announcement. Not again, and so early? As it happened, I was received by an Army officer with a stack of papers. He pulled mine out, squinted at it, and said, “Dalisay, you’re still here? Pack your things. We have nothing on you.” The first place I visited after I went home was the AS Steps in UP, where we had gathered for many a raucous rally; it was vacant and deathly silent, and I knew that I wasn’t going back to school just then. Only after a long detour—working as a printmaker, a writer, an economist, and meeting Beng and fathering Demi—did I return to UP and graduate with my degree at age thirty.

I’ve written about my activism and incarceration in my first novel, Killing Time in a Warm Place (Anvil Publishing, 1992), and it isn’t what this column is really about. Rather, it’s about the aftermath, about having a life after martial law, and an unexpectedly long one at that. 

For any activist from my generation who’s still alive, every breath we’ve taken after our 30th birthday is a grace note—what the dictionary describes as “an extra note added as an embellishment and not essential to the harmony or melody”—in other words, a bonus. Considering that we could have been gunned down like dogs or buried alive like some of our comrades were, you can understand why we feel that way. It’s almost absurd to contemplate, but education, marriage, career, success, fame, fortune—and all the downsides and flipsides that come with them—all these were a long string of surprises, any one of which might never have happened, but for a twist of fate or a stroke of luck (clichés, like life’s very milestones, but ones we appreciate).

When my fellow FQSers and I—all college editors who were part of the SERVE book that I wrote about last week and that we launched last Saturday—gathered around a table before the launch to pre-sign some copies, we noted with much chuckling how surprisingly old we had become. We were beset by diabetes and hypertension, which were lethal enough but easier to bear than the four bullets one of us took to his face and body; he was with us that day, laughing, his spirits buoyed by his fervent Christian faith. 

We had become university presidents and professors, Cabinet secretaries, CEOs, magazine editors, pastors, and opinion-makers. I don’t think there was anyone in that room who believed any longer in the necessity nor the efficacy of violence, but neither did anyone imagine that our youthful goals had been met, that the country had become a kinder place, and that our work for justice and freedom was done. We had come to terms with our past, were busily in the present, and were hoping to enjoy what little we had left of our extended lives. But like those shaken passengers who stagger away from a crashed plane, leaving the uncounted dead behind, I’m sure that we felt driven by survivor’s guilt to make the most meaning of our gifted years, to do well and to do good, and to serve our people in any way we could. 

We learned that everything may be political, but also that politics is not everything, and that the road to happiness and deliverance may be wider than we had thought. I myself have resolved that even as I fight on for truth and beauty, I will not allow my happiness to be determined by our political vicissitudes, if I can help it. That will be my sweet revenge on my jailers. I will survive you, live a fuller life, and meet my Maker with a clear conscience and a smile.

Qwertyman No. 57: An Invitation to SERVE

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Qwertyman for Monday, September 4, 2023

AT 5 PM next Saturday, the 9th of September, a new book will be launched at Fully Booked in BGC. Published by the Ateneo de Manila University Press and simply titled SERVE, the book has 19 authors—yes, I’m one of them—and one editor, the much-respected Jo-Ann Maglipon. What connects all is that they were college editors during the first Quarter Storm of the early 1970s, and survived to go on to distinguished careers in media, education, business, and public service. The book dwells much less on martial law—a previous volume titled Not on Our Watch: Martial Law Really Happened, We Were There that came out in 2012 dealt with that—than with its aftermath, and the afterlife that the activists of our generation were fortunate to have, given how many of our comrades gave up their lives to the cause of justice and freedom.

What did these activists do after martial law? What are they thinking now? Some of the names in this book will be familiar to the contemporary reader, who may not even have known of their activist background (reg-taggers, pay close attention).

Some of us—like Jimi FlorCruz, Sol Juvida, and Thelma Sioson San Juan—remained journalists all their working lives, stationed in very different places and capacities but bound by a commonality of interest in the truth. Others like Sonny Coloma, Manolet Dayrit, Ed Gonzalez, Diwa Guinigundo, the late Chito Sta. Romana, and Judy Taguiwalo took the path of government service, finding themselves in a position to effect real change, although sometimes under very difficult if not adversarial circumstances. Yet others including Angie Castillo, the late Jones Campos, Mercy Corrales, and Senen Glorioso found fulfillment in entrepreneurial and corporate work, applying their progressive values to management. For Elso Cabangon, Bob Corrales, and Diwa Guinigundo, their circuitous journey led to a re-encounter with their spirituality, and to embracing their faith as their personal advocacy. Like many veterans of the First Quarter Storm, Alex and Edna Aquino were able to build new and productive lives overseas, without yielding their investment in Philippine concerns. Quite a few of us—Derly Fernandez, Ed Gonzalez, Judy Taguiwalo, Rey Vea, and myself—chose to pursue our activism in academia, if only to ensure the transmission of critical inquiry to another generation. 

The authors were under no compulsion to conform to an ideological standard, except to extol the spirit of service to the people, the overarching theme of their youth and now their continuing commitment, indeed their legacy. There’s pathos in these accounts, but also humor and, inevitably, irony, perhaps the defining tone of our postmodern age: Thelma Sioson San Juan finds herself seated across Deng Xiaoping’s granddaughter at a Ferragamo show in Beijing’s Forbidden City; Manolet Dayrit learns of his appointment as Secretary of Health on a visit to President Gloria Macapagal-Arroyo in Malacañang; Ed Gonzalez becomes president of the Development Academy of the Philippines under President Joseph Estrada, but then joins EDSA 2; Sonny Coloma looks out the window of his Malacañang office to where students like him had demonstrated against Marcos.

With most of the writers here now in their seventies or inching close to it, we could have been chronicling the joys of grandparenting, journeys to far-off places, exotic menus, succulents and bromeliads, and homeopathic remedies for the aches of aging. Having retired from the formal workplace, we thought we had settled into a privileged and imperturbable kind of peace, earned over decades of political, economic, and spiritual struggle. 

We celebrated our seniorhood as the ultimate victory, for a generation that did not expect to live beyond thirty, and not because of some acquired disease but because of the throbbing cancer at the core of our society that claimed many of our peers in the prime of their youth. We may have thought for a while that we had defeated and expunged that cancer, only to realize that it had never left, was always there, lying cruelly in wait for a chance to ravage us again—and not only us this time, but our children and grandchildren as well.

And so—albeit no longer lean and shaggy-haired, perhaps benignly forgetful of car keys and personal anniversaries—we gather again at the barricades we put up against a fascist dictatorship fifty years ago, of which our memories remain surprisingly and painfully sharp. They say that the old remember distant things more clearly than what happened yesterday, and we offer proof of that. The experience of martial law coded itself into our DNA, and even the few among us who surrendered their souls to Mephistopheles cannot shake away that indelible past—one we bear with pride, and they with guilt and shame.

This time our barricades consist not of desks and chairs but of memory itself and, more formidably, of hope, courage, and a continuing faith in the good. Beyond memoirs, more than recollections of our youthful selves, we now present the stories of the lives we built and the paths we took after martial law, along with our reflections on how time and experience have reshaped us, clarified our values, and strengthened our resolve to serve our people in multifarious ways. 

Our view of politics inevitably evolved over time as the world itself changed over the past five decades. These essays and stories cover a wide range of themes and treatments, and demonstrate how “serve the people” has grown and evolved with its advocates, taking multifarious forms from working in civil society and practicing good governance to promoting artistic expression, academic freedom, and insightful journalism. We wish to prove that even the worst of times and the worst of leaders are not only survivable but can be changed, so that whatever lies ahead, the better Filipinos in us will prevail.

Given the number of authors and their families and friends, we expect a full house at the launch, so you might want to wait and get your copy of the book from Fully Booked or from AdMU Press’ online channels. However the book finds its way to you, it will be worth your while.

Penman No. 453: The Distance to Brillantes

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Penman for Sunday, August 6, 2023

I’VE OFTEN written about how Gregorio C. Brillantes has been the bane of my writing life, a fellow short story writer and Palanca Hall of Famer whom I never had the pleasure of seeing in second place after me (the reverse has been the natural order of things). When the Ateneo Press recently launched his Collected Stories and asked me to speak at the event, I felt like a jealous juvenile again at 69, with the 90-year-old Greg in a wheelchair in front of me, and cheekily boasted that, at last, I had one over him: his collection had 39 stories while mine (Voyager and Other Fictions, 2019) had 44. 

Of course, it was a hollow boast, because any one of Greg’s stories is easily worth two or three of mine. That’s how highly I hold this man in my esteem, and why I wrote this blurb for him: “Few writers turn me into a blushing fan. Gregorio C. Brillantes is one of them. Like his papal namesake Gregory the Great, who wrote a massive 35-volume commentary on the Book of Job, Greg Brillantes has been an untiring and unsparing chronicler of his time and place…. His fiction is infused with power and luminosity; he surprises, but never screams.” 

In an art card that Ateneo Press used to promote the book, I said further: “More than a master of language, Gregorio Brillantes is a master of our Filipino sense and sensibility, particularly those parts we find hard to put into words or to recognize as our truest selves. We see life in his stories as through a gossamer screen that filters out  the harshest light; that screen is his own sensibility, suffused with a deep and tolerant understanding of pain as pleasure’s shadow.”

(The young Greg with John Updike.)

But really—putting all the fanboy talk aside—why Brillantes? What did I and my students—and what can every young writer of fiction—learn from him?

To get right down to brass tacks, I’ll take one of his best-known stories and dissect parts of it that should show what not only good but masterful writing is all about. 

“The Distance to Andromeda” has been mistakenly described by some as a science-fiction story, but it is not, although science fiction figures prominently in it. Without going into what the story means, what Brillantes demonstrates here, technically, is his acuity of observation and grasp of relevant detail, which is basic to any writer’s armamentarium. Too many young writers fuss over the elements of what their Ultrawave Galactic Terminator Machine should contain, glossing over the seemingly inconsequential gray matter of daily living that congeals into human drama. 

In “Andromeda,” the boy Ben’s post-apocalyptic fantasies are foregrounded by domestic business. See how Brillantes constructs a scene: “He dribbles an imaginary basketball toward the kitchen, skidding on the floor, feints and jackknifes a neat shot through the door. His sister-in-law Remy is giving her baby his supper of porridge from a cup. The child gurgles a vigorous greeting at the boy, and Remy laughs at the wonder of her son’s knowing the infant-accents of his language. The kitchen is bright and intimate with its rich cooking smells: Pining bustles about the old Mayon stove, and the girl with the pigtails smiles her crooked-toothed smile from the lithographed calendar on the wall.”

It doesn’t seem much and the young reader may feel bored by the lack of “action,” but note how, in fact, the scene is full of action—physical and emotional action, of the kind absent from too many stories being written today about morose characters sipping cappuccinos at Starbucks and ruminating over their wayward romances and work-life balance. “Get your characters off their butts,” I always tell my students, and Brillantes does.

A Brillantes story is an accretion of impressions, ideas, and emotions. It’s that kind of preparation that earns Brillantes the right to orchestrate this kind of paragraph later in the story: “He catches the streak of a shooting star from the corner of his eye. Instantly his waiting becomes a sharp alertness: he holds his breath and the strangeness comes into him once more, the echo of an endless vibration. But it is no longer an abstract aching for the relief of words: it speaks within him, in a language full of silence, becoming one with his breathing, his being, and the night, and the turning of the Earth: incomprehensible, a wordless thought, an unthought-of Word: like the unseen presence of One who loves him infinitely and tenderly. The fear has gone, the lonely helpless shrinking he felt on the bridge, walking home: love surrounds him, and no evil can touch him here, in his father’s house.”

For a story written in the author’s mid- to late twenties, “The Distance to Andromeda” already lays out, in full, Brillantes’ talent and vision, his familiar themes of family and love, of doubt and faith, of Rilke’s God “who holds this falling / Gently in his hands, with endless gentleness.”

It is a story that I myself could not have written, as I inhabit a more sordid and much sadder world in my fiction, with little to draw on but my characters’ residual sense of goodness for their salvation. Brillantes celebrates—consecrates—the mundane joys of the middle class, even as he underscores their fragility and transience. I write as well about these people—doctors, teachers, boys on the verge of manhood—but they tend to be more visceral in their responses. My other literary hero and model is Bienvenido Santos, who can make music of melancholy, and I try to straddle the breach between these two gentlemen, although again my characters prefer the low life.

But young writers: read Gregorio Brillantes. Understand what truly breathtaking means by reading two of my favorite stories of his: “The Cries of Children on an April Afternoon in the Year 1957” and “The Flood in Tarlac.” If you read them and still wonder what good fiction is, then you might as well be looking up at the sky to find Andromeda, because that’s how far you have to go.

Penman No. 452: A Cultural Treasure Chest

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Penman for July 9, 2023

A NEW book launched last month by the Bangko Sentral ng Pilipinas once again brings up how unlikely—and yet in a way also how logical—it is for a nation’s central bank to be the repository and protector of the country’s cultural heritage. 

Simply titled Kaban (treasure chest), the sumptuous 340-page book offers a guided tour of the BSP’s fabled cultural collections, from pre-Hispanic gold to contemporary art, with each section curated by experts in the field. The book’s writers include Portia Placino, Victor Paz, Dino Carlo Santos, Clarissa Chikiamco, Tessa Ma. Guazon, and Patrick Flores; I contributed a preface, from which I quote some excerpts below. 

Banks represent resources, stability, and continuity, and central banks even more so, for the financial sector. They will often purchase art for décor, and perhaps even for investment; but they will not routinely spend vast amounts on the acquisition, storage, and exhibition of valuable cultural artifacts, as the BSP (and its predecessor, the Central Bank) has done.

Only inspired and visionary leadership can achieve this fusion between the seeming banality of money and the transcendence of art. The Central Bank and BSP have had the good fortune of being led at various times by men who embodied this integration—among them, the CB’s founding father Miguel Cuaderno, a lawyer with a passion for history, culture, and art.

Decades later, Cuaderno was followed at the Central Bank by Jaime Laya—a banker, accountant, writer, collector, and cultural administrator. It was under Gov. Laya that the Central Bank embarked on its most ambitious acquisitions and began to be known for minding more than the nation’s money, but its cultural heritage as well.

Cuaderno and Laya were supported by the likes of Benito Legarda, at one time the Central Bank’s head of research, who was not only an economist but also an avid numismatist and historian who initiated the Money Museum, which became the base for the bank’s later forays into other areas of culture.

The release of Kaban—following a series of other beautifully produced books about the precious objects in its collection—highlights the value accorded by the BSP to the idea of wealth: its generation, propagation, and preservation, which is, after all, the core business of banks. But this isn’t just flaunting wealth for wealth’s sake, an exercise in ostentation and in investment by the numbers. 

The BSP collection is imbued with historical and cultural value, and the objects in its catalogues—from ancient coinage and currency to contemporary art and furniture—are physical embodiments of the things and notions we hold dear, our sensibilities and aspirations as a people, the heritage and the legacy we want to pass on down the generations. It is another bank, a cultural bank, but one whose elements have been carefully chosen and curated to reflect our finest traditions and brightest memories.

It’s interesting and important to note that the BSP is not alone in this extracurricular preoccupation. Beyond the Philippines—where many other banks and financial institutions have been known for their impressive art collections and generous support for culture—banks around the world have associated themselves with art, amassing stupendous collections and employing art to project a positive and more humane image of what most people might otherwise see as cold and soulless financial corporations. Indeed, Professor Arnold Witte of the University of Amsterdam calls banks “the new Medici,” referring to the Renaissance’s most important patron of the arts, Lorenzo de Medici, not incidentally himself a banker. 

Among the world’s most important art collections held by banks, that of the Banco de España in Madrid goes back to the late 15th century and forward all the way to contemporary sculpture and photography. The Swiss UBS holds 35,000 pieces of modern art. JP Morgan Chase, the Bank of America, the Royal Bank of Canada, the European Central Bank, and the Societe Generale have also been leaders in the field. 

Central banks have also been known for their art collections, although their origins, sourcing, and contents vary. According to a report by the Official Monetary and Financial Institutions Forum, “In the US, the Federal Reserve’s fine arts program was established in 1975 by Chair Arthur Burns in response to a White House directive encouraging federal partnership with the arts. Unlike other collections, the Fed relies on donations of artwork or outside funds to purchase works of art. 

“Most European central banks’ art collections consist mainly of paintings, but this is not a global trend. In Colombia, Costa Rica and the Philippines for example, the central banks are also home to museums with exhibits ranging from archaeological treasures to medieval goldwork and pottery.

“The central banks of Colombia, Austria and South Africa, among others, host catalogues of their collections on their websites. The Central Bank of Iran’s website hosts a video documentary on the Crown Jewels collection. Many other central banks including Greece, Hungary, the Netherlands and the Philippines have physical catalogues of their collections, though these have not been digitalized.” It quoted then Governor Amando Tetangco as saying that “The BSP ensures that outstanding examples of Filipino genius in its gold, art, and numismatic collections are shared with the people through exhibits, books, CDs, social media, and provincial lectures.”

This puts the BSP in the fine company of other central banks that have recognized the special relationship between monetary and cultural wealth, and the importance of preserving heritage for the future. If, as Benjamin Franklin once said, “An investment in knowledge yields the best interest,” then an investment in cultural heritage cannot yield any less, as it shows us at our best, for all time.

The arts, indeed, are another treasure trove of spiritual resources needing constant care and replenishment. This long, historic, and mutually beneficial partnership between our central bank and the arts sector makes that reality physically manifest, and we can only hope that it will continue even more strongly in the decades to come.

Tastefully photographed and designed by Willie de Vera and produced by Bloombooks (the publishing arm of Erehwon Arts Corporation), Kaban is a treasure on its own, and is available for sale to the public at the BSP.

Qwertyman No. 46: The Writer as Liberator

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Qwertyman for Monday, June 19, 2023

AS PART of its Independence Day celebration, the J. Amado Araneta Foundation asked me to give a talk on “The Writer as Liberator” last Saturday, and today being Jose Rizal’s birthday, I’m very happy to share that talk in full (a shorter version appeared as my Qwertyman column in the Star):

When I was first asked to talk about “The Writer as Liberator,” the first thought that went through my mind was probably the thought that’s now going through yours, which was that of the writer as political revolutionary or dissident, in the mold of Jose Rizal, Marcelo H. del Pilar, Lorraine Hansberry, Alexander Solzhenitsyn, Nadine Gordimer, Wole Soyinka, and so many others of their caliber and stature.

That presumption, of course, is certainly valid and reasonable. Indeed, human history is fraught with examples of writers who fought colonialism, slavery, racial prejudice, and feudal and capitalist oppression and exploitation in India, South Africa, and the United States, particularly the American South, among many if not most other countries in the world. Wherever evil has reared its head, writers have arisen to call it out by name in all its forms—overweening pride among the ancient Greeks, blind ambition in Shakespeare’s time, lust and greed everywhere down the ages. 

The Philippines has been no exception. Decades before Rizal, Francisco Baltazar or Balagtas employed allegory in Florante at Laura to depict suffering and denounce injustice. Rizal and the whole Propaganda Movement followed, in a story of resistance and revolution that many of us already know. It’s a high climactic point that we could talk about all day but I won’t, because I’d rather talk about other things that most of us don’t know about writers and liberation. 

Again, to deal with the obvious, writers of all kinds have been at the forefront of political and social change. They included poets, playwrights, novelists, journalists, screenwriters, and today we would have to count bloggers and comic book script writers.

Our heroes and champions of freedom were poets—Rizal’s Mi Ultimo Adios and Bonifacio’s Pag-Ibig sa Tinubuang Lupa spring to mind, but they were also followed by the likes of Claro M. Recto, Francisco “Soc” Rodrigo, Carlos P. Garcia, and Diosdado Macapagal. These men—sadly, our political and even our cultural life was dominated then by the patriarchy—came from a generation when there was a very thin line between journalism and creative writing, when an opinion column could appear in verse, and when senators were expected to be literate and eloquent.

As I mentioned earlier, this was true of many countries around the world where people were fighting for freedom and justice. In South America, Simon Bolivar—who was known as The Liberator or El Libertador—led the fight for independence from Spain of what are now his native Venezuela, Colombia, Bolivia, Peru, Ecuador, and Panama, but he was also a poet, alongside the Cuban Jose Marti, among others. The Chilean poet and Nobel Prize winner Pablo Neruda wrote a poem in tribute to Bolivar, titled “A Song for Bolivar,” which I will read to you:

Our Father thou art in Heaven,
in water, in air
in all our silent and broad latitude
everything bears your name, Father in our dwelling:
your name raises sweetness in sugar cane
Bolívar tin has a Bolívar gleam
the Bolívar bird flies over the Bolívar volcano
the potato, the saltpeter, the special shadows,
the brooks, the phosphorous stone veins
everything comes from your extinguished life
your legacy was rivers, plains, bell towers
your legacy is our daily bread, oh Father.

The line “everything comes from your extinguished life” might as well have applied go Neruda himself, who was murdered by the fascist Pinochet government he opposed. Many writers have died for what they have written—and again we go back to Rizal—but others fought, lived on, and even succeeded in their struggles for national liberation. Two of the most prominent were Ho Chi Minh and Mao Zedong, who led long and ferocious wars against both local and foreign oppressors.

Imprisoned in China during the war, Ho Chi Minh wrote this poem in 1943 upon reading a book called the Anthology of a Thousand Poets:

The ancients liked to sing about natural beauty:
Snow and flowers, moon and wind, mists, mountains and rivers.
Today we should make poems including iron and steel,
And the poet should also know how to lead an attack.

In 1950, shortly after the Communists took over in China, Mao wrote this poem in reply to another poet named Liu Yazi:

The night was long and dawn came slow to the Crimson Land.

For a century demons and monsters whirled in a wild dance,

And the five hundred million people were disunited.

Now the rooster has crowed and all under heaven is bright,

Here is music from all our peoples, even from Yutian,

And the poet is inspired as never before. 

Note how, in these two poems, Ho and Mao locate the poet at the center of a collective struggle. This idea is developed even more strongly by Jose Ma. Sison—who by the way was an English major in UP—in his poem from the 196os titled “The Guerilla is Like a Poet”:

The guerilla is like a poet 
Keen to the rustle of leaves 
The break of twigs 
The ripples of the river 
The smell of fire 
And the ashes of departure. 

The guerilla is like a poet. 
He has merged with the trees 
The bushes and the rocks 
Ambiguous but precise 
Well-versed on the law of motion 
And master of myriad images. 

The guerilla is like a poet. 
Enrhymed with nature 
The subtle rhythm of the greenery 
The inner silence, the outer innocence 
The steel tensile in-grace 
That ensnares the enemy. 

The guerilla is like a poet. 
He moves with the green brown multitude 
In bush burning with red flowers 
That crown and hearten all 
Swarming the terrain as a flood 
Marching at last against the stronghold. 

An endless movement of strength 
Behold the protracted theme: 
The people’s epic, the people’s war. 

Given the aesthetics of the Philippine Left at that time, you could actually reverse this proposition to read “The poet is like a guerilla,” which Emman Lacaba certainly was, as was Ma. Lorena Barros, whose poem “Sampaguita” follows:

This morning Little Comrade

gave me a flower’s bud

I look at it now

remembering you, Felix,

dear friend and comrade

and all the brave sons and daughters

of our suffering land

whose death

makes our blades sharper

gives our bullets

surer aim.

How like this pure white bud

are our martyrs

fiercely fragrant with love

for our country and people!

With what radiance they should still have unfolded!

But sadness should not be

their monument.  

Whipped and lashed desperately

by bombed-raised storms

has not our Asian land

continued to bloom?

Look how bravely our ranks

bloom into each gap.

With the same intense purity and fragrance

we are learning to overcome.

Decades later, her namesake Kerima Lorena Tariman would write “Pagkilos,” a poem that celebrates motion in both nature and society:

Ang lahat ng bagay ay tila kitikiti,
Palagiang kumikilos at hindi mapakali.
Ang paggalaw ay kakambal ng bawat bagay,
Likas na kaugnay at hindi maihihiwalay.

Ang mga bagay-bagay ay kay hirap isipin,
Kung walang paggalaw, kung kaya, gayundin,
Ang paggalaw mismo ay di natin matatanto,
Kung wala ang mga bagay dito sa mundo.

Sa daigdig, halimbawa, nagpapahinga man ang pagod,
Matikas man ang estatwa at patay-malisya ang tuod,
Sila’y hindi naliligtas sa paggalaw ng planeta,
Ang pag-ikid at pag-inog ang palagiang sistema.

Kung kaya ang masa na akala mo’y walang imik,
Kapag natutong lumaban ay nagiging matinik!
May mga kasama man na natitigil sa pagkilos,
Ang rebolusyon sa daigdig ay hindi natatapos!

A, lahat ng bagay ay saklaw ng ating kilusan,
Katotohanan ito na di maaaring iwasan.
Kung kaya’t habang tayo ay may lakas at talino,
Sa pagkilos natin ialay ang ating bawat segundo!

Tragically, both Lorenas—and Emman Lacaba before them—would be killed in the struggle that they took on, and be hallowed as revolutionary martyrs.

Now, all this may sound like an open invitation for our favorite red-taggers to call all poets rebels, and all rebels communists. That would be ridiculous. Most poets are still happy and perfectly within their rights to write about the moon and the stars and undying love. Some rebel-poets were proud and self-admitted communists, at a time when the word was invested with a sheen of holiness. But the abject failure of communism to set up a truly free and egalitarian society and its appropriation in both China and Russia by new and autocratic elites has shed much of that romantic mystique, and it is supremely ironic that those writers and artists now fighting for civil liberties in both countries are considered enemies of the state.

“The Writer as Liberator” was an easier concept to deal with when we had a foreign occupier like Spain, America, or Japan. Today, our oppressors are internal, lodged within our society, and within our hearts and minds. The liberation we need today is from our worst selves, which is often the hardest enemy to face. Bad leadership has enabled and encouraged that side of us that accepts extrajudicial killing and unjust imprisonment as normal. 

The minds of so many of our people remain shackled by ignorance, falsehood, prejudice, superstition, fear, and a crippling dependency on the old and familiar, however self-destructive they may be. In an increasingly polarized and intolerant world, people everywhere face racial violence and discrimination, gender inequality, economic exploitation, and political repression.

The writers who will battle this chimera have many weapons at their disposal—not just books and the traditional press but social media, a universe of communication unto itself that Rizal and his contemporaries never dreamed of. Journalists fight with the truth, creative writers fight with the truth dressed up as artistic lies. 

I have often said that the best antidote to fake news is true fiction. By this I mean that it often takes artistry and good storytelling, more than a mere recitation of facts, to show people what is true.

Long before there were newspapers, writers gave voice to their people’s hopes and fears through what today would be called fiction: through myths, legends, tales, epics. These stories transported people from the crushing routine of their everyday lives to the realm of the gods, to a romantic past cloaked in the mists of fable and fancy. Indeed, these stories came even earlier than literacy itself, transmitted orally from one generation to the next. Creation myths validated and gave meaning to a tribe’s or a people’s existence; tragic drama reminded them of the consequences of our moral choices. 

When I started my Qwertyman column in the Philippine Star and began writing what I called “editorial fiction,” a columnist in another newspaper immediately cried “Foul!”, claiming that fiction cannot possibly be taken as opinion. I responded that all fiction is opinion, if you know how to read it closely enough. Like the mirror Perseus used to kill Medusa, we employ fiction to deal with truths we cannot bear to face.


I am under no illusion that the next revolution, whatever it may be against or when, will be sparked by a novel or a poem. Very likely, it will be a viral video that will ignite that flame. I pray it will not be violent, but rather a comprehensive conversion of our people’s minds and spirits for the good. But there will always be a place for the writer in the offices, kitchens, and workshops of democracy, on the bunkbeds where we lie dreaming of justice and prosperity for all. 

Let me close with a short poem that I wrote last year, titled “Freedom Is When”:

Freedom is when 

We don’t think about it

But it’s there like air

We seek only in its absence

When we’re gasping for breath.

Freedom is when

We can choose whom to love

Or whom or what to believe 

Without any fear

Of punishment or death.

Freedom is when

We can sleep without guilt

And dream without ghosts

Waking up to the aroma

Of steaming rice and stewed fish.

Ang kalayaan ay kung

Hindi natin ito iniisip

Tulad ng hangin

Hanggat ito’y mawala

At tayo’y maghingalo.

Ang kalayaan ay kung

Malaya tayong pumili

Ng iibigin, o paniniwalaan

Nang walang katatakutang

Parusa o kamatayan.

Ang kalayaan ay kung

Mahimbing tayong makakatulog

At managinip nang di minimulto

Hanggang tayo’y pukawin ng halimuyak

Ng bagong saing na kanin at pinangat.

Qwertyman No. 45: Onward to Frankfurt?

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Qwertyman for Monday, June 12, 2023

IF YOU were at the Philippine Book Festival (PBF) that took place at the World Trade Center earlier this month, you would have been surprised to find how many Filipinos were writing, publishing, selling, buying, and reading books. A project of the National Book Development Board (NBDB), the PBF was the first such event devoted solely to locally produced books—as opposed to, say, the Manila International Book Fair (MIBF) in September, which is open to books and publications from overseas. The NBDB wisely decided to showcase our homegrown literary talents—not only from Manila, and not only from my generation of old fogeys, but from all over the country, and writers of all persuasions and ages (as young as fourteen!).

We Pinoys have become so immersed in Netflix, YouTube, and social media that many of us have forgotten about reading, and what a good book can do for one’s mind and soul. We want everything delivered to us in short sentences—even in acronyms or, if possible, in memes—because long paragraphs (and, God forbid, pages) can only mean a waste of our precious time (which is, of course, best spent posting what we last ate on Instagram, and critiquing someone’s OOTD). Whether fiction or nonfiction, books challenge us to carry ideas through to the limits of our reason and imagination. The difference between a good meme and a good book can be that between wit and wisdom—between the bubbles that rise to the top of your champagne and the notes that linger on your tongue and senses long after you’ve put your drink down.

And despite the death knells that have been tolled for publishing and reading in this country, the droves of people who flocked to the PBF and the MIBF show otherwise; as I’ve noted elsewhere, more new authors and publishers are emerging across various genres and languages than ever before, spurred by writing programs and workshops, new technologies, and more exposure for Filipino writers in international markets.

That last note—the emergence of Philippine writing in the global consciousness—has been a long time coming. We’ve had, of course, writers who’ve been published abroad, most notably Jose Rizal and the late National Artist F. Sionil Jose. In America, both expatriate and US-born writers such as Gina Apostol, Ninotchka Rosca, Jessica Hagedorn, Eric Gamalinda, Zach Linmark, and Brian Ascalon Roley have made important inroads into publishing, some with mainstream publishers. Of course, they were preceded by the likes of Carlos Bulosan, Jose Garcia Villa, NVM Gonzalez, and Bienvenido Santos, in a time when getting published in America seemed to be the apex of a literary career. We’re way past that now, having found our own voice and our own readers right here at home. 

I’ve often remarked that I’d rather be read by 10,000 Filipinos than 100,000 Americans, but I may have spoken too soon, as even those 10,000 Pinoys willing to buy and read a serious novel can be hard to round up. Therein lies the irony: we’re happy to write and publishers seem happy to publish, and the high attendance at the PBF could be a sign that things are changing, but creating a critical mass of local readers for literature remains a struggle. 

Even in America, where we imagine that almost four million Filipinos should be able to clear out an edition of 5,000 books without any trouble, that simply doesn’t happen. I suspect that that’s because we’ve never really been a book-reading culture, unlike the Japanese and the Indians, and the easy availability of entertainment on Netflix and Tiktok just aggravates the situation. (A more disturbing possibility is that our writers still haven’t learned to write the kind of stories with the kind of treatment that Filipino readers—and there are also many kinds of them—expect, without sacrificing literary “quality,” whatever that means. In my old age, this is what I’m aiming for—to give my readers stories that they’d want to see turned into movies.) 

There’s no doubt that we’re producing materials of high literary value—in English, Filipino, and our regional languages; we saw that in the PBF and we see it in our classes and workshops all the time. These works deserve to be shared with a broad audience—not just here, but overseas, where the Chinese, the Japanese, the Koreans, the Indonesians, and the Vietnamese have already made a name for themselves in the publishing world. 

But that takes a network we still have to familiarize ourselves with and learn how to navigate—a network of translators, literary agents, editors, publishers, and booksellers largely unknown and therefore closed to us. We’re not totally clueless. Through the NBDB and local publishing stalwarts such as Karina Bolasco (just recently retired from the Ateneo Press and the founder of Anvil Publishing before that) and Andrea Pasion-Flores (our very first international literary agent, now owner of Milflores Publishing and president of the Book Development Association of the Philippines), the Philippines has been represented over the past few years in such major events as the annual Frankfurt Book Fair, the world’s largest such market of authors, publishers, and agents.

Not meaning to be immodest, thanks to my agents and publishers, I myself have benefited from this kind of exposure, having sold my second novel Soledad’s Sister in last year’s FBF into a German translation and edition, which just came out; before that, it had already been translated into and published in Italian and French, aside from an American edition. Imagine what that network could do for the rest of our writers.

This brings me to an idea whose time, I strongly believe, has come: focal representation in a forthcoming Frankfurt Book Fair as a “guest of honor,” a position reserved for a country wishing to showcase the best of its literary talent across all genres (two years ago it was Canada, followed by Slovenia). This has to be accompanied by a strong effort in translation—from the regional languages to English, and from English to other international languages like Spanish and French, perhaps even Chinese. It will take much planning and a sizeable budget, but as our recent forays into the Venice Biennale have shown on behalf of our leading artists, with the right cultural leadership and vision, it can be done.

Penman No. 451: A Harvest of Books

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Penman for Sunday, June 4, 2023

IF YOU’RE reading this on this Sunday morning, then it’s not yet too late for you to find a cab and get yourself over to the World Trade Center in Pasay City to catch the last day of the Philippine Book Festival, and have your favorite Filipino authors sign their books for you.

Organized by the National Book Development Board (NBDB) in partnership with the National Library and other agencies and organizations, the PBF will showcase the best of new Philippine writing and publishing, with the bonus of having most of the authors around for signings, chats, and the now-obligatory selfies.

Since the Internet took off thirty years ago, people have been declaring that “Books are dead!” (And even before that, “The Author is dead!”—although, of course, not quite in that almost literal sense). Well, guess what—both are very much alive, whole new generations of them, as if the Internet never happened. I don’t have the hard figures to show—I’m sure the NBDB has them—but just from what I’ve seen at the past Manila International Book Fairs (the next one of which will be held in September), there’s much more new writing and publishing happening now than there was before the Internet. 

There are many drivers for that, one of which has to be the proliferation of writing programs and workshops, whose graduates really succeed only when they come out with books. (Like I often remind Creative Writing grad students who take forever to “perfect” their thesis projects, “You’re writing for no more than five readers—your dissertation committee—and when you’re done, your thesis will be sitting on a solitary shelf. Just do what you need to pass the damned defense and focus on producing your first book out of that draft! Your real examiners will be your readers.”) 

Another factor is the growth of the publishing industry, which has become much more diversified in terms of ownership, material, and audience. The long years of martial law drove much creative output underground, so to speak, with few available venues for literary publishing and only competitions like the Palancas providing incentives for continued production. (On the other hand, the government presses kept churning out books on the First Couple’s abounding wisdom.) Post-EDSA, the pent-up dam broke, and literature flourished, but still hardly on the scale we’re seeing today.

I suspect that’s because many new players have gone into publishing, finding niche markets for everything from religious and self-help books to graphic novels and high-end coffee-table books. Among these, I’d count Milflores Publishing, founded by the late Tony Hidalgo and now in the hands of the very capable Andrea Pasion-Flores. Balangay Books, focused on local literature, has been opening doors for new young authors, and belongs to the Indie Pub Collab PH, a group of independent publishers. Down south, Savage Mind Bookshop and the Ateneo de Naga University Press have made great strides in literary publishing not just in the Bicol region but well beyond. Emerging in the wake of the Pink Revolution, San Anselmo Publications has made a name for itself as a purveyor of progressive thought. A recent visit to OMF Literature’s bookshop and office along Boni Avenue showed me how Christian literature is flourishing, attracting both new authors and readers. 

Let’s not forget self-publishing, which with such new technologies as print-on-demand and e-books has outgrown the stigma of “vanity” publishing and has produced both commercial and critical successes. While overall quality remains highly variable, the free Internet has empowered and enabled a new generation of young people to feel like they can become “writers” by posting on such sites as Wattpad—and some of them will be. (The irony here is that, as on Amazon, writers who succeed in their e-book debuts then get picked up by publishers of physical books.) Professional design and editorial outfits such as Studio 5 and Perez NuMedia also exist to help individuals and institutions turn their ideas into prizewinning books.

And then of course the long-established big-name publishers and academic publishers are still around: Anvil Publishing, UP Press, Ateneo de Manila University Press, UST Publishing House, and the University of San Carlos Press, among others. Vibal Publishing has produced impressive and sumptuously printed historical books—as has, let’s not forget, the National Historical Commission. They remain the publishers of choice for what might generally be considered prestigious but non-commercial projects, although their marketing savvy has vastly improved, from book design to distribution (much of the bookselling has moved online, to Shopee and Lazada). But since the wait at these publishing houses tends to be long, even established Filipino authors like novelist Charlson Ong (White Lady, Black Christ) have gone with such alternatives as Milflores (as did I, in its previous incarnation), which can often provide speedier results with no sacrifice of quality.

One more thing: more Filipino authors have begun to get published and noticed abroad, beyond America. Note the recent publication of Ulirát: The Best Contemporary Stories in Translation from the Philippines, edited by Tilde Acuña et al., and the South Africa-based Jim Pascual Agustin’s Waking Up to the Pattern Left by a Snail Overnight, both by Gaudy Boy in Singapore. Singapore is also where Penguin Random House SEA is based, and from where it published Danton Remoto’s novel Riverrun and his book of stories The Heart of Summer(aside from his translations of our classic works in Filipino), and Maryanne Moll’s novel The Maps of Camarines. I’m also happy to report that my novel Soledad’s Sister just came out in a German hardcover edition (as Last Call Manila) from Transit Buchverlag, following earlier editions in Italy, France, and the US. A 15th-anniversary edition of the novel, along with a new edition of my Voyager collected stories, are on sale at PFB—as are almost all of the books I mentioned here, with their authors on hand to sign them.

So wait no further and grab that ride to the WTC, for your share of this bountiful harvest of Filipino books. (Did I say that entrance is free?)

Qwertyman No: 40: Teaching History

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Qwertyman for Monday, May 8, 2023

I HAVE a subscription to the New York Times, which I enjoy for its features and commentary as much as its news coverage, and the other day my attention was piqued by a small headline: “It’s Not Just Math and Reading: US History Scores for 8th Graders Plunge.”

According to the article, recent test scores reveal that young Americans (about 13-14 years old for eighth-graders) have become much less knowledgeable about their history and civics over the past decade—with 40 percent scoring “below basic” and only 13 percent ranked as “proficient.” 

I immediately wondered how our students would score given similar tests. Would they be able to answer even simple questions about why Ferdinand Magellan sailed to the Philippines, what prompted Filipinos to revolt against Spain, why the Americans occupied us, what led to our involvement in the Second World War, and what martial law and EDSA were all about? I’ll probably be safe in my prediction that they would score dismally, from what I’ve seen in my own classes in UP (yes, in UP), where I’ve been dismayed to find a yawning ignorance of history and literature among my students, supposedly among the best in the country. 

Don’t get me wrong: these are bright, idealistic kids, desirous of all things good for their people and their families. They perform well in class and will likely succeed in whatever career lies ahead of them. But when I ask a roomful of English majors if they know or have read NVM Gonzalez and only a couple of hands go up, I get worried. When I ask when or what year the Americans arrived to conquer us and I get strange answers like “1945,” I get worried. 

However shocked we may profess to be, we can’t blame the students. In 2014, following the passage of the Enhanced Education Act of 2013 or the K-12 Law, the Department of Education issued Order No. 20, Series of 2014, effectively removing Philippine History as a high school subject and subsuming it as an “integrated subtopic” under “Asian Studies,” supposedly to provide students with a wider global perspective. The idea sounds nifty, but as many educators have since pointed out, its practical effect has been to dilute the teaching of Philippine history to the point of oblivion. The result is that we have young Filipinos with no knowledge of the most basic facts and issues of their past, and no appreciation of how that past brought us to where we are today.

That vacuum has been an open invitation to misinformation and historical distortion, the stock-in-trade of political propagandists, trolls, and spinmeisters. It’s become much easier to sell myths like a golden age under martial law to impressionable youngsters who were never told or taught the truth. Not surprisingly, Order No. 20 has been attacked by its critics as a means to lobotomize the youth and to render them more susceptible to alternative narratives (aka fake news) concerning our history. 

And yes, I have to acknowledge that all this began under the late President Noynoy Aquino, a champion of K-12, whom I prefer to believe had no such nefarious motives in mind, as he and his family would have had little to gain by erasing history. But the policy was upheld and sustained by the following administration, with DepEd Secretary Leonor Briones arguing strenuously that History (including our martial-law experience) was being taught in Grade 6 under Araling Panlipunan, and again in high school as a component of Asian and World History.

Given the current DepEd’s expressed desire to review K-12, it might be a good time to test how effective that policy has been: just how much Philippine History are our high school students learning and retaining? How much should they know by the time they get to college, where thornier issues such as nationalism, agrarian reform, and foreign policy will be threshed out in all their nuances?

Long before these questions arose, it was a common complaint among students and even teachers that our problem with History was how badly it was taught, often as a collection of names and dates rather than a coherent narrative (which I must say I sometimes wonder about, fact often being stranger and messier than fiction). We generally agree that History should involve more reasoning than rote memorization. But as the New York Times reports, “That emphasis can contribute to a troubling lack of background knowledge,” with experts observing a “rapid and very significant decline in what students know about history and geography—like the fact that Africa is a continent, not a country.” So the basics of names, dates, and places remain important—getting the facts straight before getting into more complicated arguments.

It’s even more troubling to note that on top of this decline in historical knowledge and awareness among young Americans, there’s now a ham-fisted effort from conservative politicians to purge school curricula of what they see as “woke” content—subjects that have challenged the longstanding impression of America as a nation forged by whites. Governors like Florida’s Ron DeSantis—eager to present themselves as the flag-bearers of political and moral rectitude—have supported moves to eliminate African-American and LGBTQ studies from the curriculum. Others have called for banning books that threaten their view of traditional America, including books titled “The Infinite Moment of Us” (a young adult novel about love and sex) and “How to Be an Antiracist” (a nonfiction book about racism and ethnicity). This reminded me of how some Philippine state universities, not too long ago, went on their own book-banning spree, on some silly suspicion that books by such authors as National Artist Bienvenido Lumbera were “subversive.”

The New York Times piece came with an irresistible teaser: a brief five-question, multiple-choice history quiz for readers to test themselves on how well they know American history. I scored four out of five (failing a question about post-Civil War reconstruction)—not too bad, I thought, for a guy living seven thousand miles away. But then I come from a generation schooled on American textbooks, who know American history and geography better than many Americans. That’s a topic for another column.

In the meanwhile, let’s ask ourselves: how well do we know our history, and how important is that knowledge to understanding our present and shaping our future? Is “Maria Clara and Ibarra” pointing the way forward?

Penman No. 448: Designing for the Eye and Mind

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Penman for Sunday, March 5, 2023

I DON’T normally review books—even books sent to me with a request to be reviewed, which I apologetically ask authors not to do, unless they’re willing to wait a year or two. That’s because I prefer to enjoy books rather than to critique them, which sounds too much like the kind of work I happily retired from. But every now and then, along comes a book I simply can’t ignore, because it’s just too important or maybe just too beautiful to be put aside.

One such book—both important and beautiful—was dropped off at my doorstep last week, and as soon as I opened it, I knew I had to share my knowledge of its existence with fellow enthusiasts of art and design. The book was Felix Mago Miguel: The Art of Book Design, written by Felix’s wife Amelia F. Zubiri-Miguel, edited by Ambassador Jose Ma. Cariño, and published by the Foreign Service Institute.

One of the most talented and prolific Filipino book designers of our time, Felix has designed more than 130 books over the past 20 years, and I’ve been fortunate to have authored and edited a good number of those, including several coffee-table books and the biographies of Edgardo J. Angara and Leonides S. Virata. This hefty 264-page book is a biography, treatise, and catalogue all in one, a fine embodiment and example of its own subject, sumptuously produced not just to showcase Felix’s work but also to discuss his theory and experience of book design.

Ours has always been a country of gifted authors with endless stories to tell, but only recently has enough attention been paid to the proper design, production, and marketing of our books. The growth of Philippine publishing and the opening of foreign markets to Philippine material has spurred some of that interest as a matter of economic necessity, but the general appreciation of book design remains low. 

As an author myself, I’ve always been fussy about how my books look; I didn’t work that hard just to come out with an ugly book with my name on it. But sadly not all authors or publishers share that worry. As Felix himself laments, we Pinoys have a famous fear of spaces—horror vacui—and tend to cram our pages with as much text as we can, as if wide margins (and better readability) were a waste of precious paper.

Coffee-table books, which are Felix’s particular area of expertise, present both special challenges and opportunities. Being typically meant for promotional rather than commercial purposes, CTBs have large budgets that will allow for better production. But a poorly thought-out or executed design can render those millions useless. I’ve groaned at obviously expensive book projects ruined by gaudy or overly busy covers, barely readable type, narrow margins, and bad paper. (One of my biggest pet peeves is printing text over a photograph for that artsy effect, rendering it illegible.)

Felix’s background as a painter (and as a graduate of the Philippine High School for the Arts and the UP College of Fine Arts) allows him to see a book project not just as a technical challenge but also an intellectual exercise—a process of understanding what the book really wants to say, and translating that into a visual language.

“A book project is always like a thesis, a problem to be solved, an experience to be fleshed out,” he says. “Everything for me begins with figuring out what the book is trying to say and how best to say it. I do my best to learn the narrative, reading to understand it, absorbing its contents. If there are visuals already, I go through them, looking for the narrative that I just read among the photos and illustrations. Doing these things enables me to better feel the book and the direction it will go. My goal is to find the personality of the book, to figure out who is talking and to decide on what kind of experience is best—to design the book in such a way that, as Rita Jacobs says, it may be the only way that it can be presented.”

He designs as much for the mind as for the eye. As Amelia puts it, “Though people may say that a designer’s job is all simply a matter of art, my years of seeing Felix working have told me that it is not. At the end of the day, he always ends up more knowledgeable, better informed, and wiser with insights not just from the manuscripts but from the totality of the discussions and the time he had spent with his clients, which is probably the best bonus and priceless privilege that comes with the job, because at the end of every project, a really beautiful book needs to be more than just pretty to look at.”

Felix adds: “As designers, we become builders of experience. We may not have the privilege of letting our audience touch the skin or the sinews of what they are looking at, but if we did well in our work, what one designed becomes an exhilarating, unforgettable experience. Not only do we introduce the authors and their voices, but through a well-designed book, readers may experience the same things vicariously. What is separated by time and space is connected through emotions. And a book that touches your soul is indeed an experience to be cherished.

“After learning the technical aspects of design—the use of typography, colors, spaces, photos and illustrations, pages, covers, and printing—I realized, I have a new medium. And just like in painting, the medium is not the end of the painting; it is just part of it, because more importantly, there is a story to be told and that story is the priority of the design. My role is to ensure that this invisible visual force will allow the story to be told.”

And tell the story Felix does, in an inimitably pleasing and tasteful style that more than does justice to his material. I look forward to our next project together, whatever that may be—a writer can only write better knowing how superbly his work will look in a capable designer’s hands.