Category Archives: Friends

Penman No. 481: Keepers of Memory

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Penman for Sunday, January 4, 2026

MAYBE BECAUSE of the name I chose for it, longtime followers of this column which I began more than 25 years ago will associate me with collecting vintage fountain pens, and they’d be right—partly. That’s because while I continue to collect pens with a passion, I’ve since branched out in half a dozen other directions, including typewriters, blotters, antiquarian books, midcentury paintings, canes, and even silver spoons.

It’s the kind of behavior that drives collectors’ wives crazy (although I’ll have more to say about the gender issue later), and I can only be thankful that my wife Beng has indulged me all these years. Beng collects bottles, tin cans, and pens herself, but nowhere near the intensity with which I check out eBay three times a day, scour the FB Marketplace, converse in geek-speak with fellow collectors, and subject my collections to never-ending cataloguing.

Seventeen years ago, some twenty people who must have thought they were the only ones interested in fountain pens met in our front yard in UP to form the Fountain Pen Network-Philippines. Those twenty have since grown to over 15,000 members on our FPN-P Facebook page. Unusually among hobbyist groups, and despite its explosive growth, FPN-P has remained one of the Internet’s friendliest and safest spaces, thanks to strict moderation and its openness to all kinds of pens and members, whether they come in with P100 pens from Temu or six-figure Montblancs (yes, there are Rolexes in pendom, although pens are far more pocket-friendly than watches). 

One natural offshoot of FPN-P’s expansion has been the emergence of sub-interest groups, among which is the “PlumaLuma” group, which began as one devoted to vintage pens and desk accessories, but which soon evolved into “PlumaLuma Atbp.” as it became clear that pens weren’t our only obsession. 

Some collectors maintain a clear and strict focus, like watches, santos, and tea sets. Others branch out into tangential areas (like other writing instruments and books and ephemera for me). The latter far outnumber the former, as collectors soon realize that one is never enough—not just of an object, but of collectibles. There are also “completists” who must have every single item known to have existed, catalogued and off-catalogue, in every collecting band (among my vintage Parker pens, for example, I have about 80 “Vacumatics” from the 1930s and 1940s—still far short of the hundreds of variants made).

Any serious collector in any field will tell you that a good collection takes more than money—although money surely matters in the rarefied realms. What’s just as important is connoisseurship—knowing what to want and why, and understanding the market. For budget-challenged collectors like me, knowledge and determination help balance out the odds, allowing me to buy low, sell high, and eventually trade up to the best goods without paying MSRPs. That also means taking more risks on places like eBay, but then there’s the thrill and pleasure of the hunt, which stepping into a boutique and plunking down a credit card simply can’t buy.

Those of us who collect vintage and antique items (by convention, “vintage” means at least fifty years and “antique” at least a century old) take even more risks , because what we collect could be damaged, stolen, or even fake. With the rise of auction houses and the allure of parking one’s money in some conversation-piece or status-symbol artifact, the stakes have risen even higher; there have been reports, for example, of forged master paintings sold and of “rare” coins being doctored to acquire more value at the auctions.

None of this has daunted the fatally bug-bitten collector, for whom the bar has simply risen; the Internet and the emergence of collecting groups has enlarged the competition, but at the same time it has opened more markets (I’ve bought pens and rare Filipiniana from as far as Bulgaria and Argentina). 

That explains the amazing range you’re about to see in the collections of four gentlemen I’ve picked out from PlumaLuma Atbp. who exemplify, for me, the finest in collecting and connoisseurship, being virtual walking encyclopedias of their particular specialties. (And to clarify an earlier point, PlumaLuma has many lady members with formidable pen collections—lawyer Yen Ocampo and cardiologist Abigail Te-Rosano among them—but despite what’s been said about women and shopping, they don’t seem to be anywhere near as profligate as most of these men.)

The exception to the charge of profligacy (to which I will readily confess) is Raphael “Raph” Camposagrado. Barely in his thirties, Raph trained in the UK and often travels to Europe as a software and AI consultant, imbibing Old World culture with keen devotion. He is the model of collecting focus and discipline, keeping his world-class collection of vintage fountain pens within clear numerical bounds. The one thing they have to be, aside from being old, is beautiful—as in Art Deco beautiful. No pen epitomizes that more than the 1930s Wahl Eversharp Coronet, as Raph explains:

“Considered the peak of Art Deco within the world of pen collecting, the Coronet is abundantly adorned with the symmetry, sharp angles, and geometric forms that enjoyers of the design movement obsess over. The cap and barrel are gold filled and strewn with longitudinal striations. Triangular red pyralin inserts and the pyramidal cap finial give a bold pop of color echoing the beams of search lights that would have streaked over 1930s Manhattanites. This particular piece is equipped with a slide adjuster that allows the user to change the stiffness of the nib from a firm writer of business letters to one with line variation for calligraphic pursuits. It even sports an ink view letting the user see if the pen is due for a refill. While modern pen making tends toward the large, gilded, and ornate, the Coronet achieves extravagance with just the right amount of restraint. It is golden without being a rococo explosion. It is diminutive and so maintains the dimensions of classic jewelry. It knows just how much to show like many other luxury pieces made in the late 1930s.”

Raph is also known for his sub-collection of exquisite desk pen sets, once the hallmark of executive success. The Wahl-Eversharp Doric sets, in particular, are visual stunners. 

“I personally scoured Ebay to build a mini collection around this model by Wahl-Eversharp called the Doric,” says Raph. “Other than the Coronet, the Doric is quintessentially Art Deco, sporting twelve facets. The marble desk base is supported by a thin chrome bed and has bracing that reminds me of a hawk’s neck and beak when viewed from the front or back. The depth of the celluloid on the various pens looks as if it were of stone as natural as the desk base itself.”

Investment consultant Alexander “Sandy” Lichauco has long been known in the collecting world as a collector of Philippine medals and tokens, having co-authored a seminal book on it with Dr. Earl H0neycutt (Philippine Medals and Tokens 1780-2024). However, dismayed by the rampant commercialism in that hobby (forgeries and malpractices abound), Sandy turned to fountain pens, amassing an amazing vintage collection in less than two years (including many Parkers that I—his budolero—wish I had). 

But aside from medals and pens, Sandy is also one of the country’s foremost deltiologists—that’s “postcard collector” to most of us. “I’m deep into deltiology now and have tracked down nearly 100 private mailing cards (which isn’t much compared to other collectors, but I’ve become very intentional and selective about these cards) from the turn of the century, including these two newly acquired color cards,” he says. “But the crown jewel is my 1898 Pioneer card of the Puente de España. I snagged it at a London auction, and I love the unique watercolor art. It’s postmarked and was used just three months after we gained our independence from Spain. It’s been on exhibit at the Ortigas Library since August.” 

Sandy also maintains the highly informative and interesting blog www.nineteenkopongkopong.com (and he can explain the origin of that word).

When he’s not practicing his trade as a licensed architect and project and construction manager, Melvin Lam—our newest convert to fountain pens—collects historical artifacts and documents such as the silver quill pen given as a prize to the young Jose Rizal, a letter from Andres Bonifacio to Emilio Jacinto, 1st Republic revolutionary coins and banknotes, a photograph of Rizal’s execution, the 1898 Malolos menu, revolutionary flags from the First Republic, the Murillo Velarde map, and an Ah Tay bed, among many others. 

Melvin is also an expert on the anting-anting, co-authoring the Catalogue of Philippine Silver Anting-Anting Medals. “My passion for history and culture was influenced by my father, Robert Lam, who began collecting antiques and artifacts in the 1970s. It has taken my family over 50 years to acquire our current collection. Our collection ranges from early prehistoric Philippine artifacts, items from the pre-colonial, Spanish colonial, American occupation, and Commonwealth eras, up to World War II Filipiniana items. It also includes antique anting-anting, antique santos, Philippine indigenous items, antique furniture, and Martaban jars.”

Not surprisingly, Melvin serves as president of the Bayanihan Collectors Club, known for its webinars, exhibits, auctions, and other historical celebrations, and as a board member of the Filipinas Collectibles and Antique Society (FCAS), which organizes international conventions for antiques and collectibles. 

For sheer collecting range and prowess, few can hold a candle to Augusto “Toto” Lozada Toledo, who retired from banking and insurance broking ten years ago. Never mind his 400 fountain pens (older than Toto by a few months, I have about just half that). It would be more accurate to describe Toto as a collector of collections, which comprise, aside from pens, mainly bottles (vintage and modern, soft drinks, medicines, ink, liquor, perfumes, pomades, insulators, Avon figurals, milk and baby bottles, and kitchen glassware) and Batman (action figures, vehicles, Lego sets, and comics). 

Ask Toto about the history of Parker Quink (no, not invented by a Filipino as the urban legend has it), and you’ll get a half-hour lecture on Quisumbing Ink and Quesada ink, aside from Quink itself—with all the right props, of course. 

A coffee fan, Toto also collects old brewing equipment, coffee cups, used (!) coffee bags, and Starbucks prepaid cards. From his banking and insurance background, he collects old passbooks and checks, vintage fire extinguishers and alarms, metal coin banks, prewar insurance policies, and Zuellig ephemera. (I’m leaving out a lot here, but you get the idea.)

“My main collection is vintage glass bottles—maybe 3,000 specimens—of Philippine products, because of my interest in Philippine history, and how bottles provide clues of their provenance, their makers, their likely users (who actually drank from them), art work (for bottles with paper labels), and the evolution of their logos, which are often tied in to changes in corporate history and ownership,” Toto explains. “The next largest collection is Batman objects—some 2,000 action figures alone. As a seven-year old boy, I read the 1939 issue of Detective Comics No. 27, featuring the debut of Batman, and have always been fascinated by his mental and physical skills that did not originate from alien powers but from his individual training and intellectual prowess. 

“The coffee collection comes from a lifelong affair with the brew. The banking and insurance collection comes from a 40-year career in these professions. My first fountain pen was a Wearever Pennant (still with me), that my father gave me as Grade 1 student in 1960. Briefly interrupted by the emergence of Bic ballpens in the 1960’s era, I picked up the collecting in the late 1970s. The others are a result of my interest in the Art Deco aesthetic, my career with the Zuellig Group, my love for Philippine history, and my longing for a return to the mid-century era. It’s always difficult to choose favorite pieces, but for bottles, it would be the Tansan Aerated Water because of the actual etymology of its name, and the (misplaced) brand association with the crown metal cap. The bottle is also very much a part of the American colonial era (strictly recommended for the US military), and was exclusively distributed by F. E. Zuellig, Inc. I also count the San Miguel Beer bottles, from its ceramic containers (from Germany), dark green bottles (from Hong Kong), and the establishment of its own bottle making plant which produced the now-ubiquitous and iconic amber steinies.”

My own most recent acquisitions beyond pens have been, of all things, paper blotters and silver spoons, which began as I idly searched for items Nouveau and Deco. It didn’t help the budget that there are literally hundreds if not thousands of such baubles to be found on eBay at any given time (220,000-plus for fountain pens this very minute). Like Raph, Sandy, Melvin, and Toto, I can spend sleepless nights sighing over some obscure object of desire that might leave wives and mates suspicious, but which they will accept in resignation over more dangerous liaisons.

I’m well aware that there are people who would consider us insane, but let me put it this way: to a world full of ugliness and discord, we bring beauty and order in the cabinets and cases that home and organize our collectibles, and at a time when people forget things after five minutes, we keep the memories of centuries. 

Penman No. 477: (Almost) Working with Mike de Leon

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Penman for Sunday, September 7, 2025

IT’S ALMOST criminal to admit this, given the understandable outpouring of grief and adulation that followed the announcement of film director Mike de Leon’s recent passing. But the truth is, I didn’t really know him or his work all that well. I’d seen a few of his movies—Kisapmata and Citizen Jake come to mind—but for some reason missed out on the best and most celebrated ones: Batch 81, Sister Stella L, Kung Mangarap Ka’t Magising, and so on. I shouldn’t have, but there it is, like all the great books I never got to read, because I was busy doing something else.

From the late 1970s to the early 2000s, I was writing scripts for many directors—mostly Lino Brocka, but also Celso Ad. Castillo, Marilou Diaz Abaya, Laurice Guillen, Gil Portes, and Joel Lamangan. (Never for Ishmael Bernal, either, nor for Eddie Romero; they’re all gone now except for Laurice and Joel.) Mike de Leon was and remained a mystery—until, on December 30, 2022, from out of the blue, I got this message in my inbox (I’ll be excerpting Mike’s messages to me from hereon; he typically writes in lowercase but I’ve edited everything):

Butch,

We’ve never met but I guess we know of each other. 

I just wanted to know if you are interested in working with me on a possible screenplay that I hope I can still turn into a film even at my late age (going on 76, Stage 4 prostate cancer, but still able to function). 

I admit I have never seen any of the films you made with Lino, and the only book of yours that I have is The Lavas which I have largely forgotten. But in that anthology book, Manila Noir, I found your short story, “The Professor’s Wife” the best of the lot. 

The only thing I can say about my film idea is that it is part of my memories as a young boy during summer months in Baguio in the late 1950s. In other words, it is just about a group of rich people who play mahjong and the battalion of maids and drivers who serve them. This is probably the result of the flood of memories that are still spilling out of my mind after completing my book Last Look Back. It is no big production because it is the characters I am most interested in. A picture of the members of the idle rich when Baguio was still the exclusive enclave of the privileged elite, from which I’ve descended, of course. 

I did ask Sarge Lacuesta and he was quite interested but he is going to direct his first film for Cinemalaya. So I picked up Manila Noir again and looked for that story and found out that it was you who wrote it. 

Anyway, as I always say, suntok sa buwan. Baka hindi rin matuloy because of my health but I’d like to give it a try anyway. If you think you might be interested, please email me back. 

I wrote him back to say that of course I was happy and honored to be asked to work with him:

The project sounds like something I’d be very comfortable with—a quiet family drama with an upstairs-downstairs element to it. Coincidentally, i’ve been working on a novel set in 1936 in one of those Dewey Boulevard mansions, with the Manila Carnival (and Quezon and Sakdalistas in the background). But that’s at least still another year from being done. I just wanted to say that the idea of revisiting the past to show how it has shaped the present—throwing light and shadow where they belong—is dear to me.

And now, the inevitable hitch: I’m working on three commissioned book projects at the same time, and these books will be due in 2023. I’m retired, but I’m also writing columns for the Star and teach one graduate class in UP.

I can imagine from your situation that this project is a matter of great personal significance and urgency to you—which is why I so want to be a part of it, despite my own load. At the same time, I don’t want to be a hindrance to you, especially if you want this done soonest. If you just need me to flesh out some scenes and develop some ideas and write up the sequences and dialogue as we go along, maybe we can do something together. Let the thing grow and go where it will. 

Then he sent me more notes about what he had in mind:

As you probably know by now, I like shooting a film in Baguio. I now own the former family house and I’ve restored it and maintained it well. It can still pass for an authentic American colonial house of the late 1950s. Actually, the house was built in the 1930s, but I’m not sure of the exact date until I find the papers. The original owner was an American officer named Emil Speth. He married one or two native women and was the vice-mayor of Baguio when the Japanese bombed the city on December 8, 1941. Quezon was in the mansion and I read an account that Speth asked Quezon to take shelter in his house (maybe not the same one because Speth owned many houses) because he had a bomb shelter. 

By the way, this is not an autobiographical film. It’s the mahjongistas I’m more intrigued about. I used to watch them with a fascination because it was not really gambling but a form of social intercourse with its own rituals. 

Within a few days, much to his surprise, I emailed him back with a full storyline based on what he said he wanted to do. I’ve always been a fast writer, and I guess it was one of those things I would be known in the trade for. I delivered quickly, without fuss, just needing to be paid.

He responded:

Quite surprised to get this email and story idea. I just read it quickly but I will read it more carefully in a while, when I’m wide awake. It seems too complex, the characters as well. I was thinking of more opaque characters (from the point of view of the young boy, and the viewer, they cannot explain their behavior, that is what I’m looking for). His memories are speculative and will probably remain so until his old age. By which time, most of them are dead anyway. But I’m amazed at how you put this story together. Give me a couple of days to react to it and I will jot down my own notes.

On January 9, in the New Year, began what would become a painful series of revelations:

Sorry for the late reply. I’ve not been feeling well, possibly because of the gloomy rainy weather. I can’t take my regular early morning walks around Horseshoe or Greenhills. Also, I’m kinda antsy about my scheduled PET scan next week. My doctors told me last year, after the first PET scan, that I may not live another eight months or so, but it’s been more than a year and I’m still here. Fortunately, I was able to finish my book. 

I am writing my “impressions” of what I feel the film should be or “feel.” One important thing is that I think the film should start in medias res, the family is already in Baguio, several weeks in fact. The kids are playing or doing what they usually do (perhaps a little bored) and mahjong sessions are ongoing. I don’t want to give them family names, just Tita Rita, Tito Hector, Nicky (the kid). 

I think I need to paint a more vivid picture of what life was like back then for your benefit. I’m selecting photos of my youth in Baguio and sending them to you. I would like to give the impression that the film is “almost” biographical but not entirely so. So please give me another week to put something together. So there can be nothing like a murder. Psychological violence is more interesting to me. 

Pahinga muna ako, I’m always tired. 

A couple of weeks later, he followed through:

Sorry for the long silence. I’m pondering a lot of things at the moment. I haven’t written anything but the concept keeps growing in my mind that it is becoming unfeasible. I finished reading a book on the 1950s and I started reading “Cameo” last night, and I really like the way you write. 

Don’t hold me to this but I’m thinking that “The Professor’s Wife” may be the right kind of film for me but I was wondering if it can be set in Baguio. Not in my house, of course, it’s too grand for the story. I have some very dear friends in Baguio who may help me look for the right location for the story. 

I’ve been asking myself the same question over and over, do I still want to make films? It’s not just my health but a lot of other things. 

I’m sorry if I seem very unpredictable but I feel you can understand and empathize with my situation. I thought I’d be dead by now, but I’m not. 

And then:

Sorry for the long silence. My new PET scan results are not very encouraging. Although the bone metastasis has not spread (from the prostate cancer), there is worrisome new activity in my liver that was not there before. I will have to undergo a liver biopsy, an outpatient procedure but my doctor wants to have me admitted. And if I can do this early next week, it takes a week for conclusive results to come out. 

So that kinda leaves in a kind of limbo. In many ways, I feel so vulnerable, something that I did not feel when I was first diagnosed with prostate cancer in 2016. I feel that my life has just stopped. Anyway, the story I’m most interested in now is the aborted script of my own “Unfinished Business,” or its new title “Sa Bisperas” for obvious reasons. I was beginning to make major revisions when Bongbong was elected, but now it seems very appropriate to my life—an existential film masquerading as a ghost story.

Sorry about all of this, butch. I will keep you updated. Perhaps we can co-write the revisions if you are open to that sort of thing. But in the meantime, I have to try to beat this thing.

In January 2024, a year after our first contact, he wrote me:

I hope you’re doing fine and I’m really sorry for the long silence. So much is happening in my life right now but I’m still hoping to make one more film next year, that is if my medical condition doesn’t take a turn for the worse. 

I was wondering if anyone has made a film of your short story “The Professor’s Wife”, included in Manila Noir. I’ve been thinking about it and it could be something I can still do. If it’s possible, I can option it for a certain period and pay whatever you feel is a good price. The same would go for the screenplay—that you will be paid whether I can make it or not. I think it has the potential to become a small but intimate and intense film, character-based, with a murder thrown in, like Kisapmata. 

I wrote and sent him a full storyline based on my short story, but told him that I wasn’t going to bill him for anything until the project was actually underway. Six months later, on July 10, he wrote:

There are a couple of questions I should ask you right away. The professors’  academic argument, could it be about some “obscure” historical event or incident like something set during the Japanese Occupation? Perhaps an issue of collaboration. That way, we can subtly bring in the political situation today. 

Is it still possible to shoot in UP? Or in some relatively quiet location at the teachers’ village, so I can record direct sound, and avoid dubbing. It would be wonderful to set the story in Baguio, but I don’t want to force it. 

I’m going to travel in Europe in November, perhaps for the last time. My excuse is the restoration of Sister stella which is currently being restored in Bologna. I don’t have a Schengen visa and an invitation from my friend Davide of Ritrovata may help a lot in getting me one and for my caregiver as well. 

He wrote later about visiting our home on the campus, where my story was set:

I think a visit to your place would help me tremendously. There are so many possibilities to this story and since this is the first time we’re working together, I must warn you, makulit ako. But at least this time, the germ is there, the story is there. I just want to know more about the milieu. 

It’s a noir film and a social drama at the same time, I think. As I was writing, I was thinking of Cornell Woolrich, James M. Cain, and even Patricia Highsmith’s Ripley series or the Cry of the Owl, yata. Are you familiar with the 1947 film “Out of the Past” by Jacques Tourneur? 

I will continue to write down my rambling notes and send them to you in a day or two. 

He came to the house on July 29, 2024. It was only the second—and would be the last—time for us to meet. We had a pleasant chat over a light merienda prepared by Beng in our garden gazebo in UP. I can’t recall if he even touched the food; he looked pale against his usual black shirt, but then he always seemed to be like that. We discussed the revisions I was thinking of making on my story to shade it even further. He said that he found me refreshingly easy to talk to, which I was happy to hear, but at the same time we were both aware that we were dreaming up a film neither of us would get to see. 

On October 12, 2024, I got the message I could not be surprised by. I wrote back to wish him well.

I’m sorry I have to write you this email, wherever you are. I’ve been quite sick these last two weeks. I was in the hospital for several days for a blood transfusion.

My recovery will be slow, according to my doctors. But they don’t really have to tell me that. I’ve been very weak, most probably due to a multitude of causes, foremost among them is the metastasis caused by prostate cancer. 

Needless to say, I don’t think I will be able to make a film, so you might as well know now. I even had to cancel my trip to Europe. I’m sorry that I wasted your time. I hope you understand.

Best and thank you very much

Mike

Qwertyman No. 159: No Room for Nuance

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Qwertyman for Monday, August 18, 2025

LIKE MANY of his friends from the University of the Philippines and the legal profession, I was extremely saddened last week by the events surrounding and following the announcement of Senior Associate Justice Marvic Leonen of the Supreme Court’s unanimous decision in the case of Duterte v. House of Representativesthat effectively stalled the impeachment process against Vice President Sara Duterte. As someone inclined to believe in the VP’s culpability, I was of course disappointed by the decision, and dismayed that it was Justice Leonen justifying it as the ponente. 

Scores of former justices, lawyers, editorialists, and activists have since weighed in to expound on the perceived infirmities of the decision, and on the damage it has wrought on both our political and judicial institutions. Not knowing any better than these sharper minds, I can’t add anything much to those arguments, except to observe that from my layman’s point of view, it does seem that Justice Leonen went well out of his way to make impeachment more difficult even for those deserving of it.

I was saddened, but not surprised, when Marvic—both the justice and the man—was pilloried in the press and social media for his role in the matter. Insinuations floated that Leonen had been “bought” by the Dutertes in exchange for a promise of being eventually appointed Chief Justice under a Sara presidency. Other critics pointed to supposed flaws in his character, even equating him with Senate President Chiz Escudero, under whose clever management the VP’s impeachment did not push through “forthwith,” but has instead been “archived” for at least the next sixth months.

I don’t mean or need to defend Marvic, who can very well speak for himself. He was and remains a friend—we worked together in UP administration, where he served as VP for Legal Affairs and then Dean of the College of Law and I served as VP for Public Affairs—although I don’t know him nearly as well as his own compañeros in the profession. One of them, a mutual friend, came out with a stinging rebuke of the decision, while attesting—like many who know the justice and his background closely—to his personal and intellectual integrity.

I know a bit of that background, having mentioned and quoted Marvic in my recent biography of Justice Conchita Carpio Morales. He was among the four justices who dissented when, in July 2016, the Court dismissed the plunder case against former President Gloria Macapagal-Arroyo for lack of evidence. His remark then was simple but damning: “The scheme is plain except to those who refuse to see.” Earlier, as UP Law dean, Marvic had served as chief negotiator for the Philippine government in talks with the MILF, leading to a comprehensive agreement. He had also led the call asking a sitting justice to resign for alleged plagiarism; instead, the Court cleared its colleague and got back at the complainants (Carpio Morales dissented). Even before that in 2004, as a young lawyer, Leonen had argued for indigenous peoples in the La Bugal case questioning the constitutionality of the Mining Act. The Court agreed with him, only to reverse itself later.

Marvic Leonen’s performance as a lawyer, a legal academic, an advocate for the oppressed, and a justice are a matter of public record—which understandably, most Filipinos likely don’t know or care about. The question that bothered me in the aftermath of the Duterte decision was, “Should one act—widely perceived to be wrong—occlude a lifetime of good and right deeds? Are we judging the decision, or judging the man?” (The flipside of this is the sudden elevation of heels to heroes, because of one popular stance taken, as in the Senate vote.)

I asked this only because of the increasingly personal nature of the attacks against Marvic—which of course in today’s environment he had coming, even from those of us who deplore the personalistic nature of our politics. The term “cancel culture” has been often brought up in this context, a phrase more likely to be used by those on the receiving side of it. 

There are pluses to this form of public outrage, in that it can be unequivocal, if sometimes crude and over-the-top. As a way of telling public personalities that “You’re wrong” or “You suck,” there’s nothing like a torrent of posts and memes deploring or ridiculing their actions, taking minutes to form a tsunami of public opinion. In propaganda, we might call this the art of posterization, of reducing complex issues and character traits to one clear image and message, of stripping out the nuances, the “but’s” and “maybe’s,” the kind of hand-wringing I’m doing now in an effort to understand why people do what they do. 

From this perspective, and to use one of this century’s most telling cliches, at the end of the day, only the public impact of your actions count. No one needs to know or to understand your personal motivations; no one owes you the benefit of the doubt. Public opinion can sway (Shakespeare famously called it “the vagabond flag”), can be savage and cruel, but as with bees in a swarm, it’s in the nature of the hive mind to congeal and to move as one, with no room nor time for demurrers. Social media assists the formation of that hive mind exponentially, in post after repost, seeking and gaining affirmation in numbers. 

On the other hand (a phrase you hardly ever hear online), the dramatist and fictionist in me—as opposed to the propagandist—likes to individuate the caricature, to tease out the nuances of characters and situations, to explore context and subtext. That viewpoint might appreciate Marvic as a person whose own brush with impeachment made him the ideal spokesman for eleven other gray justices, serving as both lightning rod and fall guy, putting his own hard-won reputation at risk. 

Duterte v. House of Representatives wasn’t and shouldn’t have been about Justice Leonen, and not even the judiciary itself, but rather about seeking justice over the gross misdeeds attributed to a high public official. To the extent that we’re not talking about the massive and blatant corruption that prompted the impeachment in the first place so much as we’re dwelling on our disappointment with a perceived champion of the public interest, then the dark side continues to win by distraction. Methinks we should refocus on the real crooks—there’s a few more to root out in the Senate, and they were never even the good guys to begin with.

Qwertyman No. 151: For Don, a Meditation

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Qwertyman for Monday, June 23, 2025

(Photo of Los Cabos by Kurt Nichols)

I WAS looking for a topic for this column last week when it occurred to me that I had been staring it in the face, in the news and in the Facebook feed that, like for many, my days begin and end with. It was the omnipresence of death, in its many forms and guises, swift and slow, painless and agonizing, arriving on whispery feet and crashing through one’s roof or window. 

“A screaming comes across the sky,” the line with which Thomas Pynchon famously begins his novel Gravity’s Rainbow, was how death and destruction came last week to hundreds in Kiev, Tehran, and Tel Aviv, in missiles and drones designed and manufactured for but one purpose: to deliver death by inexact algorithm to place-names plotted on digital maps. 

In India we marveled at the horror and the mystery of one survivor escaping a catastrophic plane crash barely a minute after take-off: a moment when most of us would have just begun to fidget with the entertainment controls, wondering whether to take in a comedy or a thriller for the next two hours and what the meal choices will be. 

In Minnesota, a MAGA gunman stalked Democratic lawmakers and their families, shooting four and killing two on a long list of intended targets—murders that a Republican senator reflexively attributed to “Marxists not getting what they want.”

Most appalling was the report of Israeli tanks firing into a crowd of Palestinians lining up for food in Gaza, an incident that led to about 60 deaths and more than 200 wounded, for which the Israelis apologized with this statement: “The IDF regrets any harm to uninvolved individuals and operates to minimize harm as much as possible to them while maintaining the safety of our troops.”

As if the news isn’t enough, every time we scroll through our social media accounts, more deaths emerge, in the now-familiar solitary-candle meme and in the garlanded portraits of the recently departed. Facebook has become our new obituary page, our book of condolences, our virtual wake. The friend or the kinsman in us takes the loss with the requisite pain and grief; the enemy with muttered thankfulness, or more rarely forgiveness; the human with relief, that we are reading and not being read about.

Death in the news is meant to outrage us, and it still does, at least for a while, especially senseless and preventable death, willful murder, and patent genocide. But sadly we can only take so much, even with the keenest of consciences; there is something in our brains, a control or shut-off valve, that says “Enough” and leads us back into the immediate and comprehensible present, back to chocolate cupcakes, Torx screwdrivers, tomorrow’s court hearing, and Lola’s birthday. This, we remind ourselves, is life, the only one we have, our chief responsibility above all others to live and to give meaning to. 

We try to make sense of death as much as we do of life, and for those of us of a certain age, that means the acceptance of its inevitability. I suspect that those of my generation who came of age under martial law and fought it, who saw dozens of our comrades die, can do that with more equanimity than most, never having expected to live beyond twenty-five; every year and decade since has been a grace note, a blessing we have been careful not to waste. We are lucky to have come this far, and can leave without regret.

The Buddhists have what they call maranasati, the practice (says Google, meat-eating me being decidedly non-tantric) of contemplating one’s own mortality to cultivate mindfulness, reduce fear of death, and appreciate the present moment. The practical Swedes have döstädning, celebrated in The Gentle Art of Swedish Death Cleaning: How to Free Yourself and Your Family from a Lifetime of Clutter by Margareta Magnusson, a Nordic Marie Kondo who advises us to downsize and clean up our mess before we croak to save some grumpy nephew the trouble of sorting out which things go to the trash and which go to the resale shop. 

Speaking of which, my devotion to Japan-surplus stores and their wonderful bargains is tempered by the knowledge that most of these items were likely made available by the peculiarly Japanese practices of hikikomori, or withdrawing from society and living alone, and the even sadder kodokushi or “lonely death,” where the bodies and belongings of the forgotten might be found days after their passing. But then, as a collector of vintage fountain pens and antiquarian books, I am well aware that these precious objects have passed through many lives and survived their owners, and will certainly survive me, which is strangely reassuring. They offer proof of an afterlife—maybe not paradise, but the life of the people and things you leave behind.

In a way, death’s predictability (or the illusion thereof) is comforting, because we think we can therefore prepare for it, as for the coming of a friend who will lead us away by the hand, down to the smallest detail. Despite her surprisingly good health, my 97-year-old mother has written out her DNR instructions, and a year ago we made a light-hearted trip to the mall to pick out her funeral dress, in a deep, pacific blue. Well before my father died of an aneurysm almost thirty years ago—he was a chain-smoker and a candidate for early passage—I had written out a scene in my first novel where the protagonist comes home to his father’s wake, which was my way, the privilege of imaginative writers, of cushioning the real pain when it struck; when it did, I still wept like my father’s child.

I’m writing this because I’m actually not very good at dealing with death and processing grief, as detached or as flippant as I may sound about it. I avoid or don’t stay long at the wakes of friends because I tend to say the lamest things. 

Last week I lost good friend—a high-school classmate named Don Rodis, brother to lawyer Rodel and producer Girlie, whom more people know—our Philippine Science High School batch’s livewire and indefatigably perfect host, to those visiting him in San Francisco. On vacation with his family in Los Cabos in Mexico, Don was strolling on the beach when a rogue wave known by the locals as the mar de fondo caught and swept him out to sea. Despite a massive search, his body has yet to be found. We are all stunned and awash with grief, but what struck me was how pretty that beach was from all the pictures, how blue and inviting its waters. And now I’ll say a stupid thing, for Don: rather than dying from a rocket to your head, or rotting from within, or freezing alone in Yamagata, sometimes we die in beauty’s arms. 

(Don Rodis, 1954-2025, with his wife Jocelyn)

Qwertyman No. 150: Let the Curtains Rise

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Qwertyman for June 16, 2025

UNLIKE MANY newspaper columnists, I don’t have much of a political or business network, being a not-very-sociable recluse who prefers to play poker with a few regulars and going out on dinner dates with the wife than to clink glasses with the cognoscenti. 

But every now and then I get a seat at the table with people who seem to truly know what is going on—political operatives and operators with the inside track on where people really stand and who’s in bed with whom, and bankers who find themselves serving as confessors to clients pouring out their tales of woe (e.g., the going rate of commissions on government contracts). 

As the fly on the wall with little to contribute but my amazement and credulity, I leave such meetings often profoundly depressed but also grateful to be more of a fictionist than a journalist, a writer who fancies the eternal verities of life instead of someone who has to gulp and swallow the unreportable.

Last week, I sat down to one of these powwows with a group of eminently connected friends whose identities shall go unmentioned, and the talk of course quickly went to VP Sara Duterte’s impeachment, and to the twists and turns the process has taken from the House to the Senate and back to the House again. The consensus among these pundits—who all come from different political persuasions—was that (1) Sara was guilty as hell of something or other; (2) but the trial wouldn’t take place; and (3) even if it did, she would surely get off the hook. 

The reasoning was that, as the last elections showed, the Dutertes were still surprisingly strong, and that the old man Digong’s banishment to the ICC only galvanized his base; therefore, Sara remained a viable candidate for 2028 (barring her impeachment and perpetual disqualification). If the administration slate had done better and had a lock on the numbers, that impeachment and Sara’s future would have been moot. 

But with the tide seemingly shifting Sara’s way—remember, she doesn’t need as many senators to acquit her as those required to convict her—then it may prove opportune for some senators to straddle the fence under cover of impartiality and assure their political future under Duterte 2.0 by at least keeping the door open for the lady. A more impish conjecture had it that this “remand” maneuver—which seems to have taken everyone by surprise except its chief instigator—provides an interlude during which certain crucial negotiations can take place. “It always comes down to money,” concluded one of our cohort. It was in everyone’s best interest not to have a trial, said another, because it would open a Pandora’s box of embarrassing revelations that would make Sara’s alleged transgressions look as petty as, well, Piattos.

Finally, the little Quixote in me had to speak up, and all I could say was, “If there’s no trial, there’ll be big trouble.” Feeling a bit bolder, I added, “And it’s not even just about winning, but holding people accountable—not just Sara but the senators as well.” Cynicism, I thought, was the real enemy in matters like these; we can’t let ourselves be paralyzed by cold reality, and it’s surprising what a little hope and even folly can do to change that reality.

Exactly what I had in mind when I said “big trouble,” I have to admit I wasn’t too sure of. I know people have been talking about an “Edsa IV” (let’s put that in Roman numerals to make it look more historic). But while I like the sound of it and would probably join the angry mob marching to the Senate to the beat of “Do You Hear the People Sing,” there’s an inherent problem or two with this “Edsa IV” scenario. 

Edsas are usually aimed at shaming and shooing someone out of office, but who would we be up against this time? Certainly not BBM (about whom more, later), who’s been enjoying a free ride on the center-left’s campaign against the Dutertes. VP Sara? She’s beyond shame and will never quit. SP Chiz Escudero? It would flatter him too much to be rallied against; besides, if you counted all the needles already being stuck into his homunculus by the enraged public, he’d look like a porcupine. Also, Edsas work when they reach a turning point, like when the Army decides to go south when they’re being ordered north; no such tactical possibilities here.

So it looks like we’re going to be stuck with the notion of a trial, which I believe will happen despite all the noises to the contrary because—take note I said this—we Pinoys can’t resist putting on and watching a good show and this impeachment promises to be a blockbuster of a melodrama. One way of framing it would be to present a beleaguered princess on the dock, invoking an exiled father and suffering the wrath of a cousin who usurped the throne; or, a comely damsel is revealed to be a hissing and slithering snake-witch when sprayed with the Holy Water of Truth by the village elders. There will be ample opportunity for all players to emerge as heroes or villains in this unfolding narrative.

And then there’s BBM, whose coy “hands-off” pronouncements no one at our table would take at face value. Even as I fought off cynicism, I reminded myself how we fictionists and dramatists sometimes have to be even more cynical than the most hard-bitten journalist to do our work well. We work with human nature—not with data, like good social scientists do, which is also how and why we can make people cry and laugh like the best scholars can’t. We have to see both the best and the worst in our characters to understand them thoroughly. “Ask yourself,” I often tell my writing students, “what does your character most strongly desire? What can he or she least afford to lose? In their moments of direst need, what do they pray for? If you can answer that, then you know who they are.”

So I asked myself: what does BBM want? To survive and prosper, of course—and then again, whether he’ll admit it or not, as a character in a play, he will want redemption, if not for the family name then for himself, to be a Marcos and yet be his own man. What does Sara want? Survival as well, of course, and exoneration—and beyond that, as she has made abundantly plain, revenge for betrayal and willful injury. 

I may not know that much about politics or business, but this has moved to the realm of theater. Mark my words, those curtains will be rising soon.

(Photo by Ted Aljibe/AFP)

Penman No. 474: Looking Back and Letting Go

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Penman for Sunday, June 1, 2025

AS ANY friend who’s had the privilege of being invited to his Makati home quickly realizes, Ambeth Ocampo is more than the engaging public intellectual we all know, whose Looking Back series has made history come alive for young Filipinos. He’s also an inveterate collector of rare Filipiniana—books, ephemera, art, and historical objects—all of which come with the territory he works in. 

There have been many Filipinos of a similar bent—the legendary Alfonso Ongpin and the late Ramon Villegas come to mind, as well as the more contemporary Jimmy Laya, Melvin Lam, and Edward de los Santos, among others—but the way Ambeth has amassed his collection is noteworthy on its own, as it folds the personal almost imperceptibly into the professional. 

It comes pretty close to the classic prescription for murder—means, motive, and opportunity—all captured in his classic story of how he stumbled on and picked up Emilio Jacinto’s silver quill, a writing prize, from an antiques dealer who didn’t bother to learn what it was and let it go for its scrap value. (Having as much of Ambeth’s desire for antiquarian junk but with much less knowledge and certainly less means, I’ve often joked, between the two of us, that Ambeth’s the scholar and I’m the scavenger.)

Jacinto’s quill, along with a trove of other historical treasures from Ambeth’s personal collection, will be up for auction on June 7 at Leon Gallery. They include Juan Luna’s silver belt, Felix Resurreccion Hidalgo’s walking stick, an official copy of the Malolos Constitution, Philippine maps from 1616 and 1647, and the Noceda and Sanlucar Vocabulario de la Lengua Tagala from 1860, among many others.

Knowing how precious these objects were, I had to ask Ambeth more about them, and this is what he said.

What made you think of selling these treasures now? Surely it can’t be easy letting go of them after being their caretaker all this time?

Over the years, I have come to the realization that collecting is not the hobby it used to be. As a boy I collected stamps and learned geography, history, and the culture of foreign countries in the process. I was fortunate that my father’s company had an international correspondence, so every week his secretary would send me a batch of envelopes to sort out.

I started collecting Filipiniana books in the 1980s, stocking up from the National Bookstore Quezon Boulevard branch bargain bin where I completed my Nick Joaquin essay collection because they cost one peso each. After school, I went to the Heritage Art Center in Cubao that I learned only years later was the site of the old Philippine Art Gallery. It was a ramshackle grouping of rooms upon added rooms made from old house parts that Mario Alcantara, the owner, bought from mambubulok. I had a favorite nook where I did my homework and when bored I would explore the rooms that I think gave me an eye for art and the ability to choose what I thought was good or not.

Looking back my collecting, and my life, has been the happy intersection of skill and opportunity. Napoleon once said “ability is nothing without opportunity.” I have always seen collecting as a responsibility. Collecting significant Filipiniana is not a hobby. It is not an investment. Collecting is a responsibility, the collector a steward who preserves the collection for the next generation. 

The objects I put at auction have enriched my life in many ways and I think they will enrich the life of their next steward. Some of the lots like the Malolos Republic one-peso banknote and the printed copy of the Malolos Constitution have been tucked away in a drawer. If I drop dead tomorrow these might be carelessly thrown away as trash. They should go where they are better appreciated. Collectors de-accessioning keeps the market alive and buzzing.

Let’s get this out of the way: it’s none of our business, but what will you do with the money?


Since I am not a dealer the material reward does not really factor in the equation. I have sold other things before at cost or even at a loss, just thinking that my gain was the enjoyment I got chasing after them and acquiring them. What will I do with the proceeds? When I started selling my rare Filipiniana I thought that instead of having shelves of books, maybe I should just sell and use the proceeds to buy one or two incunabula or samples of early Philippine printing from 1593-1640. Instead of caring for a whole library I will just care for half a dozen very important books.

How did you start out as a collector of historical objects? How and where did you find them? Aside from Jacinto’s pen, what was your most serendipitous find?

Collecting historical objects came naturally from my work as a historian. I would find things in used bookstores and when supply was still plentiful in the Ermita antique shops. One of the serendipitous finds was the cedula or residence certificate of a certain Julian Felipe, a musician from Cavite. It was in a heap of old papers, initially priced at one hundred pesos. I haggled it down to fifty, paid, and ran away. 

Another time my favorite antique dealer brought a “European painting” of a Virgin and Child to my home. I looked at it and knew it was Philippine. When I opened the frame to inspect the painting, hidden under the frame was the signature of the Filipino master Mariano Asuncion (1802-1855). The silver belt of Juan Luna and the bank draft in his name were acquired from Mario Alcantara. It came with the famous trove of paintings inherited by Grace Luna de San Pedro that are now in the National Museum. While everyone was going wild over the paintings, I spent many afternoons browsing the boxes of memorabilia that included the bloodied uniform Antonio Luna wore when he was assassinated, the palettes and brushes of Juan Luna, the memorabilia, some architectural plans of Andres Luna de San Pedro, and much more. I offered to buy the palettes and brushes and the painter’s smock but Mario said these were destined for the National Museum. There was also the last letter Juan Luna wrote to his son from Hong Kong, written a day before his death, not only was this letter significant, Luna did a watercolor of Hong Kong Harbor on the first page of the double-sided letter. All I could afford was the silver belt that came with Luna’s black suit that Mario said was also destined for the National Museum. Unfortunately, the Heritage Art Center burned down and with it all these memorabilia.

Do you or can you separate the collector from the scholar? Did the collecting happen naturally as a consequence of the scholarship?

The collecting grew and was enriched by my research and scholarship. If I had a PhD in Math I probably would not have recognized these odds and ends now considered treasures. I have been divesting over the years. A large part of my Filipiniana collection was donated to the Center for Kapampangan Studies, Holy Angel, Pampanga. All I keep at home are the books I need for work for teaching, lecturing, and writing, but now that I am retired from Ateneo (but still employed on a post-retirement appointment) it is easier to let go. 

The full catalog of Leon Gallery’s Spectacular Mid-Year auction can be accessed on its website at https://leon-gallery.com. 

Qwertyman No. 146: A Shift in the Tide

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Qwertyman for Monday, May 19, 2025

THE PUNDITS have spoken and all kinds of analyses have been made about the recently concluded midterm elections, with most observers remarking on the surprise victories of Bam Aquino and Francis Pangilinan in the Senate and of Akbayan and ML in the partylist, as well as the steep decline of the hard Left alongside the continuing strength of the pro-Duterte forces. 

Some read the results as a sharp repudiation of the administration, others as a resurgence of the “Pinklawan” moderates, and yet others as just more proof of the Pinoy voter’s kabobohan in keeping the same old names in power. What’s clear is that it was a mixed outcome, giving everyone something to either crow or complain about.

At my favorite poker haunt, where I’ve been playing with a bunch of regulars for nearly twenty years, the table talk inevitably came around to the election results. The people here—mostly young and but with many seniors, mostly men, mostly middle class and urban (you need some money to play poker)—represent for me a good cross-section of our society, perhaps statistically imperfect but more grounded in gritty reality: neither scholars nor ideologues but homeboys coming from both Manila and the far provinces, brought together by nothing grander than chasing after a straight flush and pocket aces.

Maybe to rattle their opponents or to deflect attention from the cards, these guys can talk up a storm about politics. My general strategy is to shut up and smile to keep them guessing; although they know me as a UP professor and could presume on my liberalism, I’ve decided that listening rather than arguing would yield me a truer picture of the Pinoy mind, and protect my hand.

Back in 2022—to my great dismay—that mind was overwhelmingly pro-“Uniteam.” Despite all the information floating out there about Marcosian martial law and Dutertean bloodlust, my fellow pokeristas and even the dealers loudly proclaimed that they were voting for BBM, hushing the few Kakampinks in the room. 

Last week, the atmosphere in the poker place was decidedly different, one of great amazement and relief. There was surprise–but also joy—that Bam and Kiko won. The biggest buzz revolved around Pasig City Mayor Vico Sotto, less over the win that everyone expected than his political future, which everyone agreed should include the Senate and at least the vice presidency, the only concern being his youth (not that he was too young for the job, but for the legal minimum age). No tears were shed over the loss of popular entertainers and media personalities. Not much was said about BBM and VP Sara, who seemed strangely irrelevant, despite the fact that the midterms were effectively a proxy war between them.

Now of course you could say that a gambling den is hardly representative of the Filipino people, but then gamblers are among the most hardboiled cynics you can find, not easily given to idle wonderment. (And then again, poker wouldn’t thrive without foolishly hopeful patsies like me—called “fish”—who go all-in on a pair of deuces, hoping to catch a trio. Remember Anton Chekhov’s description of gamblers as people who “go out for their daily dose of injustice.”) That a shift in the tide seemed to ripple on the surface of these poker faces was encouraging. I suspect that these dehadista sentiments were there all along—but have now been emboldened to surface, and I can see this happening all over the country: it’s okay to hope, to bet on the long shot.

It’s probably a measure of how desperate we’d become, more than anything else, that progressives all over the country are ecstatic to have won two out of 12 seats in the senatorial race, never mind that the other winners were mostly your usual crowd of trapos and Family Feud participants.

After previous wipeouts and defeats that, we were convinced, only massive fraud could have engineered, these signal victories—along with a smattering of other partylist and local wins—have now raised our hopes for a more enlightened electorate and a resurgent opposition.

The question is, who will that opposition be, and who and what will it be opposing? Frozen out of the Palace and facing impeachment, VP Sara has claimed the mantle of opposition leader in her post-election statement. That’s “opposition” in the trapo sense of the word—another faction of the same ruling elite, another version of greed and lust for power.

It should be clear by now that a real, viable, and electable opposition can come only from the middle forces that are beginning to regain their footing after the hard loss of 2022. The sad but not surprising defeat of the more radical Gabriela and Bayan Muna partylist groups—which some see as the triumph of Red-tagging—puts the burden of the fight against corruption and for good governance on Bam Aquino, Kiko Pangilinan, Risa Hontiveros & Co., because it’s something that no one else in the government, certainly not the Dutertites, have the moral authority to undertake.

For this battle, and in preparation for 2028, this opposition has to adopt and master coalition politics—or rather their supporters have to learn how to unite, to maintain focus on the big picture, and to yield ground when necessary for the greater good.

For example, as I noted in an FB comment, Luke Espiritu and Heidi Mendoza turned in good performances—but they could have been better if some of our “liberal”-minded friends didn’t junk them on single issues: Luke for supposedly being an “abortionist” and Heidi for being a “homophobe.” Until we can get beyond our enclaves and agree on broader issues, the real evil will win. Sometimes we look for perfect candidates, people who align with all our principles, check all the boxes, lead blameless lives. But everyone’s flawed—any writer from the Greek playwrights onward knows that. 

We hand-wringers can be our own worst enemies. As a recent opinion piece in the New York Times put it, “Members of the educated elite… tend to operate by analysis, not instinct, which renders them slow-footed in comparison to the Trumps of the world…. Such elites sometimes assume that if they can persuade themselves that they are morally superior, then that in itself constitutes victory; it’s all they need to do.”

We have three years to see what was really achieved in May 2025, and if, like a good pokerista, our middle forces will know how to play a weak hand from a strong position, with a single-minded audacity and resolve.

Qwertyman No. 141: Purity and Perfection

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Qwertyman for Monday, April 14, 2025

LAST WEEK, former Commission on Audit Commissioner and senatorial candidate Heidi Mendoza—a staunch exponent of good governance and nemesis of crooks—drew flak from some people who would have been her natural allies on the liberal side of the political spectrum: the LGBTQ community. At issue was her expressed disagreement with same-sex marriage, as a personal belief she did not seek to impose on anyone else. That still wasn’t enough for some same-sex marriage advocates, who announced their withdrawal of their support for her candidacy.

Of course both Heidi and her detractors have a right to their opinions, but I can’t help thinking that the only people chuckling at this situation are avatars of neither good governance nor gender rights, but the enemies of both.

Heidi Mendoza hasn’t been alone in this position of being seen to have been right on many things but wrong on—well, something, but something big enough to destroy and erase whatever good they’d done before. “Being seen” is important here, because it’s a matter of perception; like beauty, “wrongness” is in the eyes of the beholder. 

Today’s social media is populated by such beholders who can’t wait to see personalities make what they deem to be mistakes, and often to point those out with all the hawkish attentiveness of dancesport judges and the ruthless certitude of Pharisees. 

I’m sure you’ve come across many more such instances of people whom you thought you knew and whose ideas you had largely agreed with, only to find them—suddenly one morning—the object of the nastiest vitriol the Internet can be capable of dishing. Once blood is spotted in the water, the sharks start circling and a feeding frenzy follows. Many comments simply echo the previous one, seeking to be even louder and crueler; little attention is paid to context and nuance.

Witness what has happened just these past few weeks:

A political scientist and commentator who had grown a substantial following for his liberal positions got skewered for comparing Mindanao to sub-Saharan Africa. Never mind his explanatory reference to a scholarly study which made that comparison based on certain criteria. In the verbal shorthand of a TV interview, the soundbite was all that mattered to many.

An expert on infectious diseases—globally recognized in that field—was savaged for opining that former President Rodrigo Duterte should have been tried by a Philippine court instead of being bundled off to The Hague. Never mind that the good doctor made it clear that he was against EJK and all the wrongs that the old man is now in the dock for. Netizens seemed to take it against him that he tried to explain how many Mindanawons felt about Duterte, and that he had worked under that administration to help stop Covid during the pandemic.

A prominent journalist and exponent of ethical journalism—also a fervent convert to evangelical Christianity—upset and lost many friends when he declared his disagreement with the idea of transgender athletes competing with their biological counterparts. (It was a view shared by a former student of mine, a lawyer and legal scholar of the same religious persuasion.) This man’s longstanding commitment to the truth and to justice seemed trivial compared to what he had to say on this one issue.

No doubt these issues are centrally important to some, the litmus test by which they judge people’s character and their “true colors.” But which color is truly “true”—the mass of blue or the spot of yellow? And what effect does single-issue politics have on the big picture?

I wonder what all those Arab-Americans who withheld their vote for Kamala Harris because she didn’t sound pro-Palestinian enough are thinking now that the man they effectively helped return to power is speaking unabashedly about Gaza as “an incredible piece of real estate.” I know that some continue to insist that they did the right thing in holding on to the one issue that mattered to them, and of course it was their right to do so. But I can’t help thinking of all those Fil-Ams who trumpeted the Orange Guy’s alleged support for the rights of the unborn, in disregard of all the pain and misery he’s causing to the born. 

Me, I’m as liberal as they come, with all of that word’s pitfalls and contradictions. I believe in civil liberties and human rights, in free speech, in freedom from censorship, in the equal application of the law for all. I also support divorce, same-sex marriage, abortion rights, transgender rights, and gun control. I stand neither with Zionists nor Hamas but for peace for the people of Israel and Palestine. I believe in and pray to God—a God who is good and just—but mistrust organized religion and both extreme Right and Left (indeed, anyone who claims to know how life should be lived) and resist doctrine of any kind, whether Church, State, or Party. If you’re my FB friend and you find any of these too reprehensible for comfort, feel free to unfriend me, or to stop reading this column. 

I have to admit that, following major upheavals like the 2022 election and the Duterte arrest, I’ve lightened my roster of Facebook friends by offloading a number of characters whose preferences I loathed. I didn’t have any qualms about that, because they were “friends” only in the shallowest Facebook sense of the word. (I find Facebook useful, but blame it for its degradation and devaluation of “friendship.”) Most had never interacted with me, and neither of us would miss the other.

But there are friends you have in real life who are arguably worth more than their politics or religion. By this I don’t mean that they fatten your bank account or make your life easier (although some might); if anything, they remind us how much more complicated people and life can be, and how ideological purity or moral perfection may ultimately be less important (and certainly more boring) than the challenge of finding some common ground and surviving together. In continuing to talk with them, we talk with ourselves and those parts of us still capable of doubt and wonder. 

So disagree as I may with her on this particular point, I’m voting for Heidi Mendoza. I suspect I stand a better chance of convincing her to support same-sex marriage than of straightening out the crooks and dimwits eager to take her place in our already benighted Senate.

Qwertyman No. 140: The City of Stories

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Qwertyman for Monday, April 7, 2025

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

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

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

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

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

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

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

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

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

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

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

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Penman for Sunday, April 6, 2025

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

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

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

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

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

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

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

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

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

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

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