Category Archives: entertainment

Penman No. 491: The Online Bookstore

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Penman for Sunday, November 8, 2026

WHEN WAS the last time you walked into a real, physical bookstore, scanned the covers and spines, flipped through the pages of an interesting book, and took it to the counter to check out?

That still happens, of course, especially in bookstores that have smartly embedded themselves in malls to catch the passing traffic, coming to a head in the big bookfairs where overflow crowds have been seen since the pandemic. The oft-touted fear that the printed book is dead in this age of the Internet, when books have been available in electronic format online for decades now, was decidedly overblown.

At least in the Philippines, e-book sales have remained low, and e-book reading never really took off. A National Readership Survey conducted by SWS for the National Book Development Board in 2023 showed that only about 15% of both adult and child readers prefer e-books over physical ones. Local publishers are working to enlarge this small market, adding e-book versions to their offerings of new publications.

But even in a country where nearly seven out of ten Filipinos use the Internet, very few have dedicated e-book readers (aside from their phones, on which reading long text can be a pain), and then there’s piracy, which allows free downloads of nearly anything you might be looking for, if you know which buttons to press. Filipinos want books they can hold, put aside, and return to their bookmarked page at their convenience.

But something has been happening to bring the digital and analog world of books together. Increasingly, book sales have shifted online, even for established publishers, and especially newer and smaller outfits with little hope of getting precious shelf space in bookstores heavily tilted toward foreign titles.

When people ask me where they can buy my books—because they can’t find them in the usual places (and sadly, neither can I)—I tell them to go to Shopee and Lazada, where many publishers now post their books, saving money on store displays and, more importantly, making their inventories accessible to every Pinoy from Aparri to Zamboanga. Whether we talk about eBay or Temu, and for all its flaws, the Internet has been a great equalizer, and the improvement of local delivery services like Lalamove and LBC has opened vast new horizons for both buyers and sellers.

Two weekends ago, I had a totally new experience, after having been invited to join National Book Store’s BookTok Festival. TikTok has become one of the Internet’s hottest sales platforms, and I knew they sold shirts, shoes, and bags on TikTok, but books? Yes, tons of books, as it turns out. They had me sit for an hour in front of a camera signing books and waving hello as full-throated agents pitched my books to buyers, who were promised delivery of signed copies within a few days. I must have signed a hundred books in that hour, and when we finished, all our stock—including our display copies—was sold out; at one point, we had over 100,000 views. And I was just one of many authors lined up for that weekend. Live selling can’t work for sleepyheads, but if you can take the frenetic pace, welcome to the future of book selling.

But there’s one special corner of the online book market that I have a soft spot for—the used book market, particularly for Filipiniana. Pinoys my age will recall going to C.M. Recto to pick up cheap used textbooks and pocketbooks (at least before BookSale became a thing). That marketplace has gone online, in such Facebook forums as the Filipiniana Bibliophile Group, where I’ve found such gems as books previously owned or signed by H.R. Ocampo, Amado V. Hernandez, and R. Zulueta da Costa, among many others. Because of these online book communities, I’ve been able to acquire, for not too much, a first Philippine edition of El Filibusterismo, published by Chofre in 1903, the very first edition of the UP Philippinensian yearbook, published in 1915, and probably the oldest extant copy of the Philippine Collegian, from 1922. (I have to add that, like other collectors, I get most of my antiquarian books on eBay and other online sources like AbeBooks and todocoleccion.net. You’d be surprised how much Filipiniana remains out there, as far away as Argentina, where I found a first edition of Aventure d’un Gentilhomme Breton by a favorite author, Paul Proust de la Gironiere.)

Another pleasure has been making the acquaintance of suki sellers such as a lady who goes by the trade name Shoolie’s Corner (she’s asked me to keep her identity private, although she’s well known in book and cultural circles). A lifelong reader, “Shoolie” traces her love of books from childhood trips with her father to the bookstores of Avenida and Raon, through a college turn toward “subversive” and Asian-history titles bought at Popular Bookstore in Doroteo Jose, to decades of hunting secondhand shops in Manila, Hong Kong, Singapore, Portland, San Francisco, and Vancouver.

The pandemic supplied the turning point. With her food-delivery work limited to daytime and with cash short, a friend suggested she sell her books. Foreign titles drew no buyers, but her Filipiniana sold at once, beginning with a gold-edged Vibal edition of the Boxer Codex, which she let go of cheaply and still regrets. “I began buying books I liked to read. The earliest ones were Ambeth Ocampo’s Looking Back series, Builder of Bridges by Jose Dalisay Jr. (thank you!), and Batis by Jose Victor Torres.”

Since then, Shoolie has cultivated a coterie of faithful buyers, drawn as much to her offerings as to her painstakingly pretty and unique packaging of each book sold. You buy a book from her, receive it from a rider, and you simply don’t want to tear the wrapper apart because it’s an artwork in itself. “I buy books that I like to read, then sell them after reading them. It’s a win-win situation,” she says. “I sell not only books but the experience of buying books from me: receiving a book like a gift, even though in reality the reader paid for it. I want my books to arrive in style, with bookmarks, tassels, and all, wrapped securely with strings and stickers.”

Another suki is Remy Cabaltera, who runs an antique shop at Ali Mall called Remnants and who also sells books on FBG. She patiently consolidates my picks and has Lalamove deliver them to me in batches of half a dozen. All these acquisitions go to what I call my Tsundoku Library, for reading at a more leisurely time, probably in my nineties when I can’t do anything else but flip pages.

In the meanwhile, happy bookhunting—and as they used to say of the Yellow Pages, let your fingers do the walking, on your laptop’s or phone’s keyboard.

Penman No: 490: Unpopular Opinion: Bring AI On

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Penman for Sunday, October 18, 2026

THE LITERARY world has recently been rocked by scandals involving the alleged use of AI in prizewinning entries to prestigious writing competitions.

Last year, the Commonwealth Literary Prize went to the Trinidadian writer Jamir Nazir’s story titled “The Serpent in the Grove,” which had been published in the highly regarded literary magazine Granta. A sophisticated AI-checking software program called Pangram flagged it as 100% AI-generated. The author denied it was, and the Commonwealth Prize people reviewed his drafts and stood by him, but Granta took to the matter to heart and severed its ties with the prize, while retaining the story on its website for the reading public to make up its own mind. Nazir has gone on to start work on a novel, but his reputation has been deeply if not irreparably damaged by a charge that, for legal and perhaps even aesthetic purposes, remains unproven.

Last month, France’s Prix Goncourt—that country’s most renowned literary competition that awards a symbolic 10 euros to the year’s best piece of prose—dropped the debut novel of the Canadian-Haitian Thelyson Orelien titled C’etait ça ou mourir (It Was Either That or Die) from its shortlist following accusations of AI use and plagiarism. The novel had already sold tens of thousands of copies, and had won another prestigious literary prize. Orelien disputed the charges, but the judgment had been made.

And just last week, the Atlantic broke a story accusing the winner of the Caine Prize for African Writing, Zimbabwe’s Simbarashe Steyn Kundizeza, of using AI to produce his story “The Blue Fighter.” Again using Pangram, the Atlantic’s Vauhini Vara noted that the text was laden with typical large language model (LLM) prose markers, pointing to repetitive “not X, but Y” grammatical structures and the story’s frequent metaphors (something markedly present as well in Nazir’s piece). The Caine Prize Foundation said it would look into the charges but insisted on employing human judgment to establish the truth. Its chair, Ellah Wakatama, was quoted as saying that that AI detectors were not conclusive, and that “If there is such an accusation, I want proof that does not come from a machine.”

I have no doubt we haven’t seen the last of these controversies—nor were they even the first. In 2024, Akutagawa Prize winner Rie Qudan had no problem admitting that she had used ChatGPT—just a little, about 5 percent of the text—in writing her novel Sympathy Tower Tokyo, because the novel after all features a chatbot. You’d think that would have quelled any controversy, but it didn’t. Mindless critics called the entire novel “AI-written,” and debates broke out over the use of AI in fiction.

It hasn’t been just the text coming into question. In this year’s Ockham New Zealand Book Awards, two books—Obligate Carnivore by Stephanie Johnson and Angel Train by Elizabeth Smither—were disqualified because their publishers were found to have used AI-generated cover designs.

Clearly, the global world of writing and publishing are up in arms, if not in a panic, over the growing intrusion of AI into a sphere we thought reserved for human creativity and imagination.  While beneficial AI use has been well tracked and established in such fields as medicine, the law, and fintech, writers and artists feel much more vulnerable if not resistant to it because of the direct threat it seems to pose to artistic integrity itself and to the livelihood of creatives.

The backlash has been quick and severe. Locally, the F. Sionil Jose Young Writers Award, administered by Philippine PEN, stipulates that built-in or external AI tools may not be used at any stage of the creative process, including using AI for ideation, outlining, drafting, writing, or editing. I’m expecting other major competitions and workshops, such as the Palancas and the UP and Silliman workshops, to employ similar restrictions, if they haven’t already.

Which brings me to how I feel about the whole brouhaha, a position I’ve been forced to define because of my professed openness to the use of AI in my Professional Writing class in UP and even to the possible employment of AI in fiction, in ways and under protocols we have yet to establish.

A friend recently messaged me privately to ask about guidelines for literary judges when addressing entries with suspected AI involvement. My short answer to him was that “Am not prepared to go public with this”—I guess I am now—“but here’s my unpopular opinion: I think anti-AI vetting is ultimately unworkable. Have to be convinced that AI checking is infallible. So either very strict and accurate checking for all entries, or let it be a free-for-all, with no more than a personal declaration of non-AI use if AI is to be shut out entirely.”

Before my literary friends and detractors pounce on me for this apostasy, let me lay a few things down:

1. I still believe that the best of AI cannot and will not replace the best of human imagination and insight and its literary and artistic expression. I simply cannot see AI achieving the quietly explosive turns of mind and phrase of an Anne Carson. But this will be so relatively rarefied as to offer cold comfort in light of other possible outcomes below.

2. Anything below the best is much less certain and highly negotiable. Let’s be honest: AI as it stands can easily out-write most people in most situations, for all their human sincerity and authenticity. The bar over which AI has to jump is very low, and lowered even further by poor education. The threat posed by AI here isn’t that students will use it to do their work and pass their subjects, but rather that students will pass without learning.

3. I’m not calling for unregulated, unidentified AI use. Ground rules should be laid down—but they should be fair, forward-looking, and enforceable.

As I’ve recently been predicting, I foresee a literary future where publishing will eventually be three-tiered, with 100% AI-produced work at the base, catering to the most popular tastes and trends; mid-range, an explicitly hybrid human-AI segment that offers interesting and exciting prospects for experimentation; and at a premium, 100% human-generated work, the best of which will exhibit human inventiveness and empathy, yes, but also courage, resistance, and risk-taking.

That said, the insidious entry of AI into literary competitions bothers me only because it’s undeclared. I would frankly be open to a competition—or even a category of one such competition—where AI can be employed and accepted with neither shame nor subterfuge, if only to explore the imaginative horizons of human-AI interaction. Retain the 100%-human category, sure and of course, but open a door that will be pushed open anyway by another generation if not us, like it or not. Bring AI on; let’s wrestle with it, curse it, bend it, bed it, tango with it, argue with it, embrace it—but we ignore or deny it at our own risk.

Do I use AI in my own work? In my creative nonfiction, including this very piece, yes, for research and organization, for transcription, and for mechanical tasks; I review all outputs for slop, misattributions, and misreadings. In my fiction, yes, for research (as in the historical novel I’m working on) and nothing more—at least not yet. If and when I do find an interesting use or need for it, I’ll say so and take full responsibility for it, although I still don’t see it happening.

But to return to the matter of literary judging (which I have stopped doing for many years now and have forsaken for good), there’s something ironically odd if not hypocritical about using an AI tool like Pangram to police and catch AI use in a piece of text. (I’ve used Pangram on a trial basis, and it is terrifyingly good.)

At the very least, if you have to, let the pre-screening of entries be done by a technical committee—not by the jurors themselves, who should bring only their discernment and connoisseurship to the judging table. Should a work truly prove outstanding despite certain AI misgivings, give it the benefit of the doubt; a great story remains a great story no matter whom or what it was written by. (I have read both “The Serpent in the Grove” and “The Blue Fighter” and found them powerful and moving.)

We don’t know how many masterpieces of the past were birthed and nursed by angels, demons, and other artificial handmaidens. Why not AI?

Email me at jose@dalisay.ph and visit my blog at http://www.penmanila.ph.

Penman No. 489: Grateful and Graceful

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Penman for Sunday, September 20, 2026

IT ISN’T every day that a certified celebrity comes up to shake your hand and to introduce herself to you as your fan—especially when it’s really the other way around. Here’s someone you’ve admired from a distance all your life, maybe even had a schoolboy crush on, and now here she is, taking your hands in hers like an old friend.

This happened last week at the Manila International Book Fair at SMX, where I was signing books for Anvil Publishing among others, and the surprise visitor to my table was none other than Boots Anson-Roa (now Rodrigo)—the actress, radio-TV host, humanitarian, and public servant—who, as it turned out, was also an Anvil author and who was also signing her newly minted biography titled Grateful, co-authored by Jennie Leuterio Ilustre.

Intrigued, I secured a copy of the book, and soon found myself drawn into the engaging story of a life well-lived, despite the inevitable dips and turns that come with surviving so many tumultuous decades. I recalled my own unpublished biography of another great Filipino actress, the late Rosa Rosal, whose vampish roles tended to be the complete opposite of Boots’ motherly persona, and whose real-life drama outclassed anything she portrayed onscreen—two very different images, and yet two women bonded by the same deeply held traditional values and by their devotion to family and public service.

Maria Elisa Cristobal Anson was born on January 30, 1945 ,just days before the Battle of Manila began, to Oscar Anson (later the actor Oscar Moreno, the “Robert Taylor of the Philippines) and Belen Cristobal, a pharmacy board topnotcher and chemistry teacher, who met and fell in love amidst the turmoil. Belen became pregnant, and the book reveals that it was only at age 53 that Boots discovered that the couple had considered terminating the pregnancy because of the harshness of the times; instead they decided to marry, making Boots possible. (The “Boots” comes from “Bebot” then “Bot.”) 

The young Boots tagged along with her father to his shoots, so pretty that Sampaguita boss “Doc” Perez predicted she would become a star, but she was more interested in watching movies than being in them. She did join theater at the University of the Philippines where she studied English, speech, and drama and served as a corps sponsor, but it was a hosting gig at TV 5’s popular Dance-O-Rama—a slot she twice refused—that finally landed her onscreen.

That choice proved life-changing in another, even more significant way, because this is where the “Roa” in her name comes in, care of Pete Roa, her Dance-O-Rama co-host and reputed ladies’ man, who courted her with flowers plucked from the show’s bouquets and asked her out to post-show dinners “to critique her performance.” The tactics worked. Boots fell for Pete, the two decided to get married, the parents on both sides naturally threw a fit, leaving elopement the only way out. The two snuck out of their show after a commercial break, and managed to get then QC Mayor Norberto Amoranto to marry them on June 5, 1964, followed by a hasty church wedding that same afternoon.

So began a highly visible and celebrated marriage of 43 years that produced four children—Leah, Joey, Chiqui, and Ben. The “Roa” would stick to “Boots Anson” so permanently that even after her second wedding to King Rodrigo in 2014, King would urge her to keep it, to honor that bond. 

The Boots Anson-Roa we know comes mostly from her movies—over a hundred of them—and her TV hostings. Her first movie came in 1968, when she was already a wife and mother of two, then highly unusual—indeed unheard of—for a leading lady. It was her role as the governess Carla in Lino Brocka’s landmark 1970 tearjerker Wanted: Perfect Mother that remains embedded in my memory, as in many others’—caring, loving, but also proper and self-sacrificing, an image that probably prompted her daughter Chiqui to call Boots “the quintessential Mama Mary.” Boots received a FAMAS Best Actress nomination for that performance, and she would go on to major roles in such movies as Tatay Na si Erap (named Best Actress along with Vilma Santos), May Minamahal, Mano Po, Blue Moon, Caregiver, and One True Love.

But from her elopement story onwards, Boots would be the first to upend her “Goody Two-Shoes” projection. “I’m not a saint,” she insists—just level-headed, fair, and thoroughly professional, the kind of performer who always shows up on time, delivers, then goes home to family. The book also chronicles her many other roles and jobs, which we know or remember little of: her work with the US Embassy in Washington in the 1980s, with the Population Commission in the 1970s, with the UP-PGH Medical Foundation, with the Philippine Red Cross, and up to now with Mowelfund. She also taught Communication Arts subjects in UP, Ateneo, and La Salle, wrote newspaper columns, and handled radio programs. Always more than a sweet face, she brought substance to the job.

Pete’s passing in 2007 is a poignant highlight. Hit by a stroke in 1997, Pete soldiered on for another decade (I recall being a few beds away from him for physical therapy in the early 2000s at Capitol Med). He later acquired incurable cancer, and facing the inevitable, the family prayed for a peaceful passing, which happened on August 9, 2007, with Boots at his side. Pete had requested a concert instead of a solemn wake, so the industry gathered to pay him tribute. “It was late into the night,” Boots recalls. “All sympathizers and revelers had left what was originally meant to be a quiet chapel. The music was silenced; the animated conversations were stilled; and the laughter was muted. In a rare moment alone with Pete, I did a ‘curtain call’ for his performers. Now allowing that tear to drop, I bid Pete good night until the next morning for his burial. I gleaned a peaceful countenance. I was confident we made him happy. I was glad that, in his repose, he applauded his friends’ command performances. But, tongue-in-cheek, I begged him to spare me his own standing ovation.”

But the book ends with the happy note on which it begins, with Boots’ second marriage to lawyer Francisco “King” Rodrigo Jr., an old family friend and also a widower. For both, it was love the second time around. 

Indeed Boots Anson-Roa has much to be grateful for, as her book title suggests. But “graceful,” which she would never immodestly use for herself, seems just as apt for this woman who has led such a long and distinguished life with dignity, verve, and faith. Pleased and honored to shake your hand, and to wish you and King well for the rest of our earthly time!

Email me at jose@dalisay.ph and visit my blog at http://www.penmanila.ph.

Qwertyman No. 209: The Pinoy Odyssey

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Qwertyman for Monday, August 3, 2026

LONG BEFORE “The Odyssey” became a must-see movie thanks to the tempest of reviews surrounding Christopher Nolan’s highly publicized iMax version (and to get this out of the way, yes, I’ve seen it), it was a must-read book for us as literature majors, alongside its companion epic, the Iliad. I don’t recall whose translation it was we used, very likely Lattimore’s, but like most students, we were reading it for the story, and as these narratives are meant to do, that story stuck in the mind. That’s the function of myth, what I call the eternal past, a kind of memory that feels we’ve all shared in one way or another, even if we were never there, separated by millennia and thousands of miles.

I appreciated the tragic grandeur of the Iliad, which I would bring up in class when I needed to talk about how great heroes fall and about how the epic seems to glorify war and warriors but actually shows how war dehumanizes us. There are many compelling scenes and situations in the Iliad, but I’ve always found the Odyssey more fascinating because, as the Beatles might have put it, it’s a magical mystery tour that takes its hero to every distant shore except, finally, his home, and even when he gets there, it’s no longer what it used to be; home may be a fixed place in the map of the heart but it’s never static, never just as it was.

I’ve often used the character of Odysseus to describe the modern Filipino, especially in my lectures to foreign audiences (just as I would tell Americans that “We were your first Vietnam” to make sure they would sit up and listen). If the Filipino diaspora, in which a tenth of our population has embarked for the farthest corners of the world, isn’t an odyssey of truly epic proportions, then I don’t know what is. 

It isn’t the departure that matters as much as the homing instinct—the desire to come home, however long or how far away one has been gone, for whatever reason. I’ve yet to meet a Filipino abroad who didn’t want to come home, at least for a visit. When they can’t, Filipinos do their best to recreate home or some semblance of it wherever they are. One of my most touching discoveries was a bar named “Kabayan” in a remote corner of New Zealand, which was open even in the mornings for Pinoy sailors who happened to drift along.

In that sense, Jose Rizal was an early Pinoy Odysseus, traveling the world a century before his countrymen did so in droves, neither for war nor economic opportunity but for knowledge, a journey brightened by dalliances with this Circe and that Calypso. As did the original, Rizal came home to find the place badly out of joint, in dire need of reform (although “reform” seems a kind description of what Odysseus did to his wife’s suitors). The big difference, of course, is that in Homer, Odysseus emerges scarred but triumphant, reunited with his family, the beneficiary of a peace enforced by the gods; Rizal’s happy interlude in Dapitan, on the other hand, ends with a son who dies soon after birth, his abortive entry into a foreign war, and his arrest and execution in a domestic conflict.

Rizal’s novels left us with the figures of Crisostomo Ibarra and Simoun—both returnees from overseas, the former initially brimming with idealism, the latter consumed by retribution. That they are the same man speaks to the extremes in which we find ourselves pulled today by our politics, misty-eyed with patriotic fervor over Alex Eala and the West Philippine Sea, and yet deeply divided and darkly cynical when brought down to our immediate realities. 

A visiting professor and former colleague at UP’s English department, Dr. Gerald Burns, found that from Rizal onward, we Filipinos have produced a tradition of what Burns calls the “repatriate theme” in Philippine fiction, involving a hero-figure who goes for an extended stay abroad, perhaps for study or work or both, and then comes home with a “boon,” some social good picked up from that sojourn, to be shared with one’s people. The balikbayan is full of progressive ideas—could be from that newly minted PhD, or that stint in Silicon Valley, or that research laboratory in Germany—and thinks that he or she can illumine a benighted motherland with knowledge, only to realize that new ideas and their bearers are unwelcome, and that the path to progress and liberation is dark, narrow, and treacherous. There are no gods who will make things easy, punish evil, or rectify wrongdoing. The Pinoy Odysseus comes home to find Penelope defiled or worse, having abandoned him; his house is teeming with reptilian politicians feasting on what remains of his wealth. 

The Nolan movie divided audiences and critics with its liberal interpretation of whatever it was that Homer wrote (to sum up my own reaction, I found it entertaining but not particularly enlightening, as I—perhaps from my burdensome position as a writer and reader—kept expecting the script to rise to the occasion). Its best service to us as Filipinos may not be to revive our interest in Western classical mythology—although there’s value in regrounding the present century’s infatuation with Star Wars, Tolkien, and Game of Thrones—but to make us think about our sense of home, and why we keep coming back to a place we sometimes feel should be forsaken. Is our Ithaca worth the long journey across monster-infested lands and hostile oceans? Who and what is it that awaits us at our door?

(Rizal image from RizalsofAbra on IG)

Qwertyman No. 200: The Training of Leaders

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Qwertyman for Monday, June 1, 2026

OVER THE past few weeks, we’ve increasingly despaired over the quality of leadership displayed by the current majority in the Philippine Senate—perceived by many as a hopeless collection of liars, thieves, and opportunists intent only on preserving their power and filling their pockets. The public mood is murderous, and understandably so. Every new session day at the Senate seems to offer only more proof of this majority’s imperviousness to truth, reason, and justice—indeed to any real measure of public accountability. 

One has but to look at its nominees to the Blue Ribbon Committee—the Senate body tasked with investigating corruption and the misuse of public funds—to see how absurdly tragicomic things have become, with senators facing a host of related charges themselves now in charge of protecting the national treasury. Ali Baba would feel right at home in this company.

But beneath our collective anger and despair over this situation lies the question: how did we even get here? How did we elect senators who can’t even form a coherent paragraph, who break the law instead of making it, who see and use public office as a family business?

The path to rulership in Philippine politics provides some quick and obvious answers. In this country, you become a senator, congressman, governor, or even president through several well-traveled routes: family, entertainment, and media. Dynastic politics mainly explains why we have four pairs of siblings—the Cayetanos, the Villars, the Ejercito-Estradas, and the Tulfos in the Senate, eight out of 24 senators, although the Tulfos are new in the game, emerging not out some gilded family tree but from that other prodigious birther of instant celebrity, the media. 

Long before “influencer” became a buzzword and apparently a profession, the media—both traditional and now the social—groomed not just its favorites but the public as well, projecting style as substance, talk as thought, image as soul. Entertainment has warped our sense of reality even more disastrously, morphing movie stars and sports figures into shapers and enforcers of economic and social policy. 

Many of these people enter public office without the foggiest idea of what public administration means and requires, hoping to learn on the job, banking on their popularity and media savvy to carry them through the maze of legislation, the budget process, national security, and social development. Some expect a one-week crash course on Public Ad in UP to sustain them through their new career; all will certainly hire professional help to dress well, look good, and sound sensible (at least in their prepared speeches and press releases). It’s when they’re on their own, responding to questions in front of the microphones whether on the Senate floor or in the corridor outside, that the real vacuousness of the person shows through.

All this leads us to ask what the proper training of a proper politician should be—a question that various civilizations, cultures, and countries have answered differently throughout history. The ancient Greeks were fascinated by and struggled with the idea of the wise and just philosopher king—who, paradoxically, was at best someone not interested in ruling. We’re told that Alexander—long before he became “the Great”—was tutored by Aristotle in rhetoric and philosophy, among other disciplines. 

The Romans trained their leaders by having them serve in a series of positions through which they gained practical experience in everything from the law and logistics to war. The Chinese had officials in training master basic Confucian texts and write essays for examinations that tested their moral reasoning. Islamic leaders were forged in studies of statecraft, literature, and the law, emphasizing the accountability of those who ruled to their Maker.

In the West, the great argument was whether over leaders required virtue to govern well; Erasmus said yes, Machiavelli said no. The Jesuits stressed the formation of both spirit and intellect, the English rose up through public school and Oxbridge connections, the Americans relied on self-cultivation. These are all large and loose concepts that could be refined, but what they share is a solid grounding in education, in the adequate preparation of body, mind, and spirit for the rigors of governance and rulership.

But what impressed me most when I looked back at these past practices was a written conversation I had with an old friend from grade school, Tofi Reyes, who grew up to be an American-educated engineer working in Japan, where he has lived long enough to master its language and culture. 

Tofi tells me that “At the Matsushita Institute of Government, students must do ‘Dawn Training’ every morning, consisting of a 3-kilometer run on Chigakasaki Beach to build endurance, after which they spend 45 minutes sweeping, cleaning the campus to build humility. Once a year, the students must do a 100-kilometer trek in the Miura hills, which they must finish within 24 hours to build endurance and teamwork. Before the students analyze policy or economics, they must first study human nature and ethics. Then they learn and practice the Japanese of practice of sunao—which means to cultivate a mind free from prejudice, ego, and emotional bias. In this approach, you consciously pause your inner defense attorney. You listen to the input as raw data first, without instantly attaching labels like ‘right,’ ‘wrong,’ ‘offensive,’ or ‘brilliant.’ They are trained to ask, ‘If I didn’t care about who wins this argument, what is the core truth being said here?’ Then they study human nature and the responsibility of leadership. The tea ceremony (sado) and Zen meditation are also part of the curriculum. Then they dive into international geopolitics, macroeconomic stability, regional revitalization, or educational reform. Students must also experience working as an intern on the factory floor of a manufacturing plant, then work within agricultural communities, then finally as congressional aides in the Japanese Legislature (the Diet). Then they do an overseas internship in the US Congress. Then back in Japan, they must sweep the streets of the town where their school is located. After all that, the school does not grant any diploma, just to keep them humble (and to discourage credentialism). One graduate of the above program is the current Prime Minister Sanae Takaichi.”

I’ll admit to having paused at that mention of a 100-kilometer, 24-hour march for CEOs-in-the-making—surely it was an exaggeration? But no; I looked it up and sure enough it was doable and regularly done, not to encourage competitiveness but rather cooperation, to ensure that everyone in one’s cohort came through. 

It’s a little late in the day to send our truant senators back to school—although I’m sure many of us would love to see them take that long hike—but we can still learn, not so much from their mistakes but ours. 

When a senator embarrasses himself by flaunting his appalling ignorance without the slightest hint of self-awareness, it is we as a nation who should be embarrassed for having allowed that to happen in the first place. The education of a politician should be preceded by the education of the electorate, which seems even harder to manage.

Penman No. 484: The Romance of Retro

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Penman for Sunday, April 5, 2026

LATE LAST month, over two frenetic days at the Fairmont Hotel in Makati, more than 3,000 attendees crowded into a ballroom and the corridor outside for the sixth iteration of the Manila Pen Show since 2018. Not only did dozens of dealers and vendors coming from as far away as Russia and Turkey offer trays and tables full of pens, inks, and other writing paraphernalia. Seminar rooms were packed full of people learning how to adjust nibs, use fountain pens for painting, and master calligraphic strokes. What was most obvious and rather surprising was that the vast majority of attendees weren’t old fogeys like me who grew up with fountain pens, but young professionals and students eager to get their first Sailor, Pilot, or Pelikan—or even a five-figure Montblanc or Nakaya. 

The MPS is run by the Fountain Pen Network-Philippines, a group of enthusiasts that began with 20 people in our front yard in 2008. Now FPN-P counts 16,000 members online, from the Philippines and parts beyond—and if you think most of those people are idle lurkers, wrong: more than 9,000 of them participate actively on FPN-P’s Facebook page. And again, here’s the killer factoid: the group’s median age is somewhere between the late 20s and early 30s, clearly marking a demographic shift in the hobby from my fellow dinosaurs to the young bucks.

And it isn’t just pens. Everywhere around the world, young people are picking up and using typewriters, mechanical watches, film cameras, vinyl records, and pretty much anything older than they or even their parents are. They’re even wearing (after actively hunting down and paying big money for) torn jeans and ratty flannel shirts from the 1950s.

The romance of retro is definitely in the air. Whether it’s old tech or vintage clothing, the urge to try something old is palpably present, and “palpable” may be apt, because much of this fascination, according to the experts, has to do with the sense of touch. 

Beth McGroarty, the research director at the Global Wellness Institute, argues that “studies show that people are hardwired for things like touch from infancy,” and frames the analog revival as “a rebellion against that shapeless, disembodied, throwaway digital world of screens, and a hunger for physical objects and tools that are touchable.” 

That’s certainly true for fountain pens, which are as tactile as tools can get, and with which users establish intimate relationships. The act of writing with a pen represents the completion, commitment, and communication of an idea, a thought that starts from the writer’s brain, and gets processed by the writer’s emotions as it travels to his or her fingertips. The pen’s nib and ink commit the thought to paper and give it permanency, but also mediates it—you can often tell what the writer’s mood is by the shape and the sharpness and the fluidity of the written word. For young people growing up with keyboards, cursors, and block letters on an indifferent screen, nothing could be more different, because more personal, more “Me!”

That’s true even for typewriters, which—thanks largely to Manila-based repairman Gerald Cha and the Filipino Typewriter Collectors group on Facebook (yes, I’m also one of the organizers)—have attracted many young enthusiasts. They seem to be little more than clunky pre-computers at first glance—metal machines using greasy ink ribbons without “delete” buttons and no connection to the Internet—but it’s precisely this isolation that’s become its main draw for young users.

According to Walid and Joujou of Mr & Mrs Vintage Typewriters in the UK, who have restored thousands of machines over the past decade, the soaring interest has been driven by what they call “a craving for authenticity and quiet.” Now “quiet” isn’t a word you normally associate with the clackety-clack of an Underwood or a Remington. But take typing as a rejection of digital noise, which is what the many thousands of typewriter collectors around the world profess to like about their Olympias and Olivettis—complete disconnection from the outside world, replaced by total focus on what you’re typing, which you can’t simply erase without making a mess. Handwriting and typing demand deliberation.

So does, for that matter, film photography, to which young people are returning in droves, as if film were some holy membrane to be treated with respect if not awe (an attitude encouraged by the eye-watering price of film plus processing). I have a good friend who, like many millennials, turned away from megapixels and pocketable phone cameras to embrace expired Tri-X and clunky RB67s. I’d kid him about spending a fortune on his new passion and for thinking every shot through before pressing the shutter button—the mark of the classic photographer, a la Henri Cartier Bresson in wait of the “decisive moment”—only to send the roll through for digital conversion. But I can understand his commitment, because it’s about more than photography; it’s a decision to take fuller control over sensors and algorithms, to almost literally stamp one’s vision over the image, in defiance of AI, putting natural beauty over artificial prettiness.

And then there’s the element of what researchers call “meta-nostalgia,” a longing to capture and reinterpret the past on one’s own terms. In a world hurtling forward into the void, the imagined past offers clarity and security, if only because it already happened. Writing with a pen—especially a vintage one that your Lolo or Lola might have exchange love letters with—returns us to a fantasy of innocence (forgetting, of course, that someone like Josef Stalin signed death warrants with a tiny Pelikan 100–the pen beneath the Leica in the pic above). 

But returning to pens, it was clear from the MPS that this wasn’t a jump back to the ‘40s or ‘50s, except for the few of us who specialize in that period. The “kids,” as Beng and I like to call them, were buying pens to play with, employing a raft of designer inks that not only sheened but shimmered, most definitely no longer your Lolo’s reliable blue-black Quink. They also brought and bought journals, cases, stamps, washi tapes, and such accessories as make not just a hobby but indeed an industry. 

Retro is back with a vengeance, and as we oldies—the so-called “OGs”—sat back and marveled at what the young ones were willing to spend on what we used to think of as no more than writing tools, one of them came up to us with a flashy pen and said, “In fifty years, this will be vintage!” Indeed. Sooner or later, we’ll all belong to the past, and as today’s Gen Z’ers are beginning to realize, it can be far more fun and comforting than the uncertain future.

Email me at jose@dalisay.ph and visit my blog at http://www.penmanila.ph.

Qwertyman No. 179: Omitting Flowers

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Qwertyman for Monday, January 5, 2026

THIS COMES a bit too late to affect the box office in any way (and it’s not as if anything I write sends people scurrying anywhere), but my wife Beng and I just saw “Manila’s Finest,” and we left much impressed and hopeful for Philippine cinema.

We were out of town for most of the Christmas holidays so we unfortunately got to see only this one film among all of the Metro Manila Film Festival entries. We’d heard good things about the other entries as well, and the fact that “Manila’s Finest” ended up in only third place for Best Picture tells me that we probably missed out on what seems to be a bumper crop. But this isn’t about the MMFF, and I won’t even call it a formal review. It’s more of an emotional reaction to a period and a milieu I happen to have some familiarity with.

“Manila’s Finest” is set in a precinct of the Manila Police from 1969 to 1972, a time of great social and political turmoil. It revolves around the character of Lt. Homer Magtibay (very capably played by Piolo Pascual), a policeman who, despite his flaws, holds on to an old-fashioned sense of duty just when the police service is becoming more politicized in preparation for martial law. He has his hands full with a gang war, only to realize that an even deadlier kind of factionalism is emerging within the force itself, with the rising power of the Philippine Constabulary’s Metropolitan Command, or Metrocom. He also has to deal with trouble at home, as his daughter has become a student activist, the kind that he and his fellow cops have to face with truncheons at the rallies. It dawns on him that it isn’t petty crooks creating chaos in the streets, but the government itself, setting the stage for a crackdown. The movie ends, rather abruptly, on a dire note of warning, hinting at darker times ahead.

The film appealed to me on many levels—the political, the aesthetic, the narrative—but most strongly at the personal, because of the memories it inadvertently brought up. To begin with, my late father Jose Sr. was a cop—or almost. A law student who never finished (like the movie’s Homer), he joined the police academy, in the same batch that produced the future MPD chief James Barbers. The very first picture in my photo album is that of him in police uniform, at parade rest. He never joined the force, perhaps because he married, but he did become an agent for the Motor Vehicles Office, and I remember how impressed I was by his silvery badge when he flashed his wallet open on the jeepney rides we took. That was the kind of thrall in which lawmen at the time were held, or at least I so imagined; they kept the world safe and peaceful, and held evil at bay. (I was too young to understand that my dad’s MVO badge got us free rides.)

I became an activist in college and joined many rallies and street marches; this changed my view of the police, who became fascist pigs, the enforcers of laws for the rich and powerful. During the Diliman Commune of 1971, I held a kwitis that I was supposed to fire if I saw cops approaching on the perimeter of UP’s Area 14. And then something happened that would reverse my perspective: I dropped out of school to find a job. At age eighteen, I finagled my way into becoming a reporter for the Philippines Herald, with zero units in Journalism but with loads of pluck and some writing talent. Seeing what they were dealing with, my editors led by Oskee Villadolid and Joe Pavia decided to give me a crash course in journalism by designating me as General Assignments reporter and making me do the rounds of the beats: police, education, sports, and so on.

Of course, the police beat turned out to be the most challenging and instructive. I was stationed at MPD headquarters on UN Avenue, and put on the graveyard shift that ra through midnight until the morning. When nothing much was going on, we played ping-pong and waited for the fire alarm bell to ring (we ran out only for major fires, like the Family Clinic fire where my job was to count the dead). I kept a little black book of phone numbers where I could ring up hospitals to ask if any major accidents had come in. I learned of a restaurant near the Luneta where killers could be hired for not too much. Being a snot-nosed newbie, I trailed veterans like Ruther Batuigas to avoid being kuryented or bum-steered. I covered murders and suicides, visited the city morgue at three in the morning, and joined cops on their drives along Ermita, checking on vagrants, just like in the movie. It was all heady stuff for an eighteen-year-old.

But what proved to be most stressful was covering demonstrations, now that I was looking at them from the other side of the barricades, parked in a Herald jeep with a driver and photographer. Despite my job, my sympathies strongly remained with the activists, and I dreaded watching the police donning their riot gear and preparing for certain trouble. These being the days long before cellphones and pagers, there was no way I could warn my comrades about what I thought to be snipers or provocateurs or just agents taking their pictures from the rooftop of the Shellborne Hotel near the US Embassy. When the tear gas canisters began flying all I could do myself was duck and run, and I remember visiting some wounded marchers in the ER later. After I covered the funeral of a rebel killed in combat, praising him effusively and playing up the drama, an editor cleaned up my prose and gave me a very dry lesson in reportage: “Omit flowers.”

That’s the kind of treatment director Raymond Red gives his material in “Manila’s Finest.” Nothing is romanticized, no hero left unsullied, except perhaps for the young activists whose further awakening yet lies ahead of them. This well-crafted and well-acted film deserves all its plaudits; the mature Piolo Pascual is outstanding, as is the period production design (except again perhaps for everyone’s new-looking uniform, the bane of period movies, and a few questionable references time-wise—“barangay,” “the New Society,” and Pierre Cardin-style barongs all came after 1972, if memory serves me right). Most of all, “Manila’s Finest” deserves and indeed demands a sequel, into the time of tokhang, when the moral choices facing the police became even starker. But as it is, at least for me, “Manila’s Finest” may indeed have been the finest of its kind this year.

(Image from walphs.com)

Penman No. 480: A Call to Serve (Untold Stories of Rosa Rosal)

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Penman for Sunday, November 23, 2025

IT WAS with great sadness and regret that I received the news of Rosa Rosal’s passing last week—sadness, because of what everyone who knew her and her work would have seen as the end of an extraordinary life of artistry and service; and regret, because I had completed her biography fifteen years ago, and it came this close to publication before being shelved, for reasons I can no longer remember. I think Rosa said she needed to look into it a bit more, but never came around to doing so, until the months became years, and we eventually lost touch.

The book had been commissioned by the Philippine Red Cross, the organization to which Rosa had devoted much of her life’s work away from the cameras. Having established herself as one of the country’s biggest movie stars—and not just a star, either, but a truly talented and accomplished actress—Rosa decided to put her celebrity to good use by aligning herself with the Red Cross, its blood donation drives, and other humanitarian efforts she pursued on her public-service programs.

It’s a pity the book (Rosa herself chose the title: A Call to Serve) never came out because Rosa’s life story was a stirring and remarkable one, centered on a woman vastly different from her onscreen persona and yet filled with such drama that it would be hard to believe as a movie. Her life seemed a constant pairing of triumph and tragedy, of maintaining courage and composure in the depths of pain and despair. Toward the end—she was already in her eighties then, and prepared to face her Maker—she left everything to God, being the person of faith that she was all her life.

I recovered the manuscript from my files, hoping that with Rosa’s passing, the Red Cross and Rosa’s family might decide to revisit the project and bring it to being—we owe it to Rosa and all she did. Herewith, some excerpts from the book that might yet be:

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In retrospect, the opening sequence of Anak Dalita (LVN Pictures, 1956) captured what its star, Rosa Rosal, would be doing for the rest of her life: bringing comfort to the afflicted, as unlikely as her appearance and position may have been for an angel of mercy.

In that prizewinning film, set in the war-torn ruins of Manila’s Walled City, Rosa’s bargirl-character Cita steps into the frame in a black, spaghetti-strapped dress, almost ethereally beautiful and glamorous amid such squalid surroundings. It is daytime and she seems to have worked all night, but her first concern is to seek out a dying woman whose soldier-son has been stationed abroad. 

The beauty and the glamour were genuine, and vintage, vampish Rosa Rosal. But just as real, offscreen, was the compassion that animated her in a long and still continuing life of virtue and public service. Rosa Rosal was as lustrous a star as stars came, but her feet remained on bare and solid earth; over the decades, it was the star within her that shone even more brightly than her on-camera celebrity.

The woman who would be known as the Florence Nightingale of her country was, fittingly enough, born with that name. Rosal Rosal was born Florence Danon on October 16, 1931 to Julio Danon and Gloria Lansang del Barrio. 

Very little is known of Julio, a French-Egyptian-Jewish businessman. “My father died when I was very young, so I never got to know him,” Rosa says. It was her mother whom Rosa grew up with and looked up to. “She was a simple woman from Sta. Rita, Pampanga, a typical Kapampangan—a great cook, and very industrious. The wisdom she gave me is what made me who I am now. It’s a great thing that I chose to listen to her words instead of resenting her constant presence.”

When Rosa was six, Gloria remarried a Filipino named Ruperto del Barrio; they would have four more children—boy-and-girl twins, and then two more girls. “We weren’t rich, but we lived a decent life thanks to my mother and stepfather’s efforts. They bartered with people from the province. My mother was such a hard worker. She used to sand down all our furniture with is-is, a rough-textured leaf.”

The family lived in a two-story house in Sta. Cruz, Manila. Theirs was a simple, unassuming life, where time spent with one another was highly valued. “My mother made sure that the whole family ate together, so everyone could talk to each other and share stories. We spoke Tagalog in our house.”

Rosa went to the Antonio Regidor Elementary School. Early on, a lifelong trait of hers would surface here. Rosa saw herself as a “strong person,” but instead of using that strength to get ahead of others, Rosa used it to protect the weak. “When I was 10 years old, there was this girl who kept on bullying one of our other classmates. At first I tried talking to her,” Rosa recalls. “I begged her not to cause any more trouble for anyone. But she ignored my request. So one time, when the two of us were in the girls’ restroom, I dunked her face into the toilet bowl. She begged me to stop, but I made her promise not to bully anyone anymore before I did.”

On screen, Rosa continued to do what would have made most Filipino mothers faint. She seemed to think nothing of doing kissing scenes, wearing figure-hugging bathing suits, and playing the other woman. She was the character people loved to hate, but were also secretly entranced by, because she did freely what they could not.

In private, however, Rosa was anything but that kind of woman. She was deeply religious and devoted to her family, and her main objective was to give herself and her siblings a proper education. “Unlike my colleagues, I wasn’t too fond of going out and socializing. I didn’t frequent clubs or places like that. It was only later on that I formed friendships with my fellow actors, like Delia Razon. Actually most of the people that I hung out with were men, and everyone else thought of me as one of the boys. When we went out on the field I had my own accommodations, but I still preferred to sleep and hang out where the crew stayed.”

Oscar Miranda bore witness to the other Rosa: “In our neighborhood, Rosa was admired. Even when she was already a star seemingly beyond our reach, she had a nice smile and a kind word for everyone. In spite of her growing contravida image, everyone knew she was a nice girl, a good girl who was respectful and devoted to her parents, a very pious girl who heard mass every Sunday. Everyone sensed that her new image was just for show and Rosa was their star. Because the neighborhood saw her grow up, she was really one of them.”

“One time there was this girl at the PGH ER who had fallen from the top of a five-story building, and was in a coma. I returned to the hospital two days later and the girl was still there. I couldn’t help but ask around about her. I was told that the child needed a neurologist, so I talked to Dr. Vic Reyes, a good friend, and had him look at the child. The doctor said that it was a hemorrhage and that the girl needed blood. So I went to the Red Cross, got some blood for the girl and brought it back to the hospital. Even with the blood, the doctors were not sure if the child would make it. The mother was there, crying the whole time.

“When the blood was about to run out, the girl’s hands suddenly moved. Her eyes opened, and she cried out, ‘Mama!’ and the mother cried again, this time in relief. So with that experience I saw first-hand what blood can do. I realized that blood is something very precious. It can really prolong someone’s life. That’s when I decided to dedicate myself to the Red Cross,” Rosa recalls. 

Even before this, Rosa had already attended blood donations through the Red Cross. “At the time, before you were accepted as a Red Cross member, you had to undergo training. I would come home from shooting at 5 am and then go straight to the training at 7. I didn’t have a car then so I had to take a cab to the Red Cross.”

The Red Cross and its blood bank would become so important to Rosa that they would eventually become the focus of her life, well beyond the movies. “You know I don’t celebrate my real birthday. I celebrate July 4,1950, the date of the first blood donation drive that I organized. It was held in Muntinlupa. I used to personally deliver blood to hospitals in Subic. On one such delivery run, a group of Huks—Communist guerrillas—stopped me in Pampanga. They told me that the next time I passed by, I should attach a Red Cross banner to my car so they would know that it was me.”

There was a tragic background to that encounter with the Huks. She had become friends with Baby Quezon, President Manuel Quezon’s daughter. “The two of us would meet at the Army-Navy Club. One day, I had just made a personal appearance, and they were asking me to hang out with them. Normally I couldn’t say no to Baby, but my mother was waiting for me at home. On the way home, I was with Alfonso Carvajal, and we heard on the radio that Baby and her friends had been ambushed by the Huks, and they were all killed. When I got home I told my mother what happened. I realized that my love for my mother saved my life.”

Working for the Red Cross also began to change how Rosa might have wanted others to see her. “When I became a regular volunteer for the Red Cross, I requested Manny de Leon if I could veer away from contravidaroles. I was tired of playing one, anyway. So he gave me Sonny Boy, opposite Jaime de la Rosa, and I won a FAMAS award for that.”

* * * * *

Not everyone appreciated Rosa’s efforts. Some suspected her of hypocrisy, of using her social work to promote herself. One incident is embedded in Rosa’s memory. “One time a group of teachers wanted to raise money to build a school in Tondo. I was able to raise P10,000 and I gave it to them. I was about to go home from Tondo when I noticed that one of my car’s tires was flat—the tire had been slashed. A man stepped up to me and said that he was the one who did that to my car. He said that I was doing all of my volunteer work not because I wanted to help people but because I wanted to sustain my popularity as an actress. The teachers helped me fix my car and told me to ignore the man, but I was still affected, and I cried on the way home. My mother saw me and I told her what happened. She didn’t tell me to stop doing charity work. She just sat with me and comforted me.” 

Years later she would meet this man again—a girl was badly in need of a blood transfusion, and Rosa provided the help she needed. A man who identified himself as her father approached Rosa in tears, begging her forgiveness. “I was the one who slashed your tires,” he confessed. “I’m so sorry I doubted you!” Rosa wept with him, astounded by the irony of the situation.

* * * * *

That part of the country—Batangas, Cavite, Laguna—lived up to its reputation as a hotbed of rebellion and outright banditry. Steeped in poverty, people resorted to desperate acts; the comforts and glamour of Manila were another world away, and the only contact that the provincial folk had with it was through the movies—or, better yet, on those rare occasions when the movie stars themselves deigned to make a personal appearance in the boonies, usually in conjunction with a town fiesta, of which their ethereal visitation became the highlight.

And so did Rosa find herself again, another time, on another bus in Batangas, coming home from an appearance with an entourage of about 20 actors, singers, and dancers. Suddenly the bus was stopped in the middle of the road by a gang of robbers. “There were about ten of them,” Rosa remembers. “They boarded our bus and asked for our belongings. I told everyone to just comply. The thieves heard my voice and thought that I sounded familiar. To be sure, they asked me who I was, and I said I was Rosa Rosal. ‘Aren’t you the one with the Red Cross?’, one of them said. I said yes, and to everyone’s great surprise their leader ordered his gang to return what they stole. “Return everything. Don’t touch her, because she helps people like us.’ And then they left. We all cried afterwards. It was quite an experience. But I didn’t tell my mother about it.”

I wish I could share more—we’ve barely scratched the drama of her real life—but the rest will have to wait for the book. Let me end with something Rosa wrote in her preface (with a reference to her beloved grandson James, who died in an accident in 2010):

“I am ready to go anytime that He calls for me. I know that when that time comes, Jesus, my mother, and James will be there to welcome me. I can imagine the smile on their faces when God shows me the permanent home He has prepared for me. I thank Him for all the awards He has given me. I praise Him for the death of my grandson, James, as well as the 30 years of suffering of my mother. We praise God not just for the good times but also for the painful times. I have gladness and joy in my heart as I have obeyed His commandments and I answered His call to serve.”

Qwertyman No. 171: “Quezon” as Theater

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Qwertyman for Monday, November 10, 2025

I’M COMING late to the party, having been away for a couple of weeks, but even in faraway Frankfurt, I was itching to come home to see what the brouhaha over the “Quezon” movie was all about.

Rarely does a Pinoy movie stir a hornet’s nest like this one did, and even without seeing it, I took that as a good sign for our film industry, especially big-ticket projects which sometimes leave people wondering why they were even made.

What especially piqued my interest, of course, was the reaction of Quezon family members and friends who thought the old man’s cartoonish depiction as a womanizing, scheming, and power-hungry politician despicable.

Now, my own grandfathers led pretty quiet lives, so I’m sure that if anyone called them womanizing, scheming, and power-hungry, I’d be mighty upset, too.

The difference is, unlike my lolos and going by what the historians suggest, Manuel Luis Quezon seems to have been all of the above—which isn’t to say he wasn’t much more than all those negatives put together. It was apparently that “much more” that the Quezonistas were looking for—MLQ the patriot and freedom fighter—to balance out the picture, especially since most young Filipinos know nothing of the man except as a place-name. Had that been shown, the outrage might arguably have been muted, the image softened.

But of course that wasn’t what the movie’s makers were going for. As has already been noted by dozens of reviewers before me, “Quezon” is no documentary (and let’s not forget that even documentaries can be biased—just watch Leni Riefenstahl’s adoring portrayal of Hitler and his Nazis in her bizarrely beautiful “Triumph of the Will”). From the outset, it declares that it is mixing up history with “elements of fiction,” which is just as good as using that old commercial come-on, “based on a true story.”

I’m no historian—I’ll confess to being an enthusiast—but as it so happens, I’ve been a playwright, screenwriter, biographer, and fictionist at various points of my otherwise uneventful life, so I can probably speak to these issues with some experience. I can attest, for example, having written some biographies of the rich and famous, that families and descendants can inherit myths about their patriarchs, and treat and pr0pagate them as God’s own truth. 

My take is, I don’t think we should receive “Quezon” as history, biography, fiction, or even film. It’s theater (captured on film), and it declares itself as such right from the beginning, as I’ll shortly explain. This may be due to the fact that the script was co-written by one or our most accomplished playwrights, Rody Vera, alongside director Jerrold Tarog. His approach was explicitly stylized and non-realistic, from the use of silent-movie title cards, ghoulish makeup, and painted backdrops in the black-and-white sequences (including that almost balletic choreography of the young MLQ rising from the floor of his prison cell) to the conception and blocking of such scenes as those of Quezon working the floor of the House and the capitalist bosses gathering round the table. (If all this seems obvious and elementary, dear reader, my apologies—in these days of TikTok, I don’t know what people are looking at anymore).

So what if the movie is theater disguised as film? Does that explain or excuse its supposed excesses and exaggerations?

Well, theater is, almost by nature, exaggeration—movements and motives get simplified and magnified, the easier to get them across. Theater is agitational—it aims to provoke emotion, to bring people to their feet, clapping in delight or screaming in rage.

And that’s what “Quezon” did, didn’t it? It got its message across, effectively and efficiently, like a train on schedule, and taking it as theater, I found it roundly entertaining. By and large, the actors carried themselves off with aplomb, from Jericho Rosales’ masterful Quezon, Romnick Sarmenta’s comic-cool Osmeña (his was actually the most difficult role to play, to my mind), Mon Confiado’s aggrieved Aguinaldo, and Karylle’s restrained Aurora. The employment of the fictional journalist Joven Hernando was what a smart scriptwriter would do, to weave the narrative threads together. (Teaser: Quezon and Aguinaldo figure in the novel I’ve been writing about prewar Manila.)

My quibbles have to do with minor complaints like (don’t be surprised) “Wrong period fountain pens again, all of them—why don’t they ever ask me?” (Quezon did hold his pen that odd way, though) and “Does every movie chess scene have to end with a checkmate?” I could have added “Why does everyone’s shirt and pants look fresh in a period movie?” but we’ll excuse those as theatrical costumes.

If there was anything I would have added to the content, it would have been a quiet moment of self-reflection, in which we realize just how Quezon sees himself. That alone might have lifted up his character from caricature.

The real Quezon seems to have been every bit as petty as the movie shows him to be, but also every bit as great, as it seems to have taken for granted.

Quezon had something of a history with the University of the Philippines, whose protesting students (one of them a young buck named Ferdinand Marcos, who accused Quezon of “frivolity” over all the dance parties in Malacañang) led him to ride into UP’s Padre Faura campus astride a white horse to either charm or intimidate them.

He had a long-running tiff with then UP President Rafael Palma over the Hare-Hawes-Cutting Act, and when Palma retired after ten hard years in the hot seat, citing a technicality, the government denied Palma the gratuity that was his due. When Palma died, however, Quezon reportedly went to his wake to deliver a eulogy worthy of the man.

You didn’t see that Quezon in the movie—and then again, maybe you did.

(Image from banknoteworld.com)

Penman No. 479: Postscript to Frankfurt

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Penman for Sunday, November 2, 2025

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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