Category Archives: lifestyle

Qwertyman No. 149: American Idiocracy

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Qwertyman for Monday, June 9, 2025

IN HIS controversial but surprisingly popular 1987 book The Closing of the American Mind, the philosopher Allan Bloom lamented what he saw to be the decline of intellectual inquiry in America, indicting its universities for failing their students by promoting “relativism” over the time-honored values embodied by the “Great Books” of Western thought. “The consequences of the abandonment of the quest for the best are far-reaching and destructive,” Bloom intoned. 

Bloom was no flaming liberal; in fact, he was anything but—a true conservative who disdained rock music for its overtly sexual messages and its narcotic effects on the young (imagine what he would have said about TikTok). But his book and its arguments struck a responsive chord in many Americans—half a million of them bought hardcover copies—who were worried that the counterculture that had crept across American society since the tumultuous 196os had weakened it from within and had dulled the blade of American exceptionalism—the rock-solid article of faith that America was, or had to be, No. 1 in everything, because of its unique history and attributes.

That sounds a lot like “Make America Great Again,” although MAGA wasn’t driven by a longing to study Plato, but by deep-seated, grassroots-level grievances and prejudices. One wonders how Allan Bloom, who died in 1992, would respond to the political situation today, which on the surface mirrors some of his concerns, but only just so: a conservative President has declared war on America’s liberal universities, for all the wrong reasons, leading up to the “far-reaching and destructive consequences” that Bloom bewailed. 

Of course, Donald Trump is no Bloomian or even Reaganite conservative; all he seems to be about is unbridled power and money, and testing the limits to where they can go. “Trumpism” has been described as a mash of nationalism, populism, and industrialism, with a generous dollop of pettiness and egotism. 

Sometime last April, messaging on Truth Social (with a shift key typically gone berserk), Trump attacked Harvard University, claiming that “Harvard is an Anti-Semitic, Far Left Institution, as are numerous others, with students being accepted from all over the World that want to rip our Country apart. The place is a Liberal mess, allowing a certain group of crazed lunatics to enter and exit the classroom and spew fake ANGER AND HATE.” 

Shortly after, he ordered the federal government to withdraw more than $2 billion in funding for research grants to Harvard, and sought to cancel its ability to enroll international students. Trump wasn’t alone in declaring war on American academia. Years earlier, his VP-to-be JD Vance had told the National Conservatism Convention that “Universities in our country are fundamentally corrupt and dedicated to deceit and lies, not to the truth…. We have to honestly and aggressively attack (them).”

Not surprisingly, Harvard and a cohort of other leading universities have fought back, taking the administration’s tack as a frontal assault on academic freedom—and, more strategically, on America’s albeit waning intellectual leadership.

MAGAworld’s anti-intellectualism is interesting, because it draws on a long and dark tradition of tyrants from Franco’s Spain to Pol Pot’s Cambodia waging war on scholars—to cite only the most visibly horrifying examples under which hundreds of thousands of intellectuals were massacred. Mass murder makes the withdrawal of grants and visas seem benign, but they come from the same deep mistrust of critical thinking, contrary opinion, and the alien element. Dictatorships thrive on herd mentality and unquestioning obedience, both anathema to academia.

It’s not as if Trump and Vance never went to good schools. Trump went to Wharton and Vance to Yale Law; whether they learned something worth their tuition is another matter. Political instinct, not intellect, drives these men. 

Right now, that instinct is telling them that culture (or its reversal) is more important than anything else—specifically “woke” culture, the greatest threat to the hegemony of straight white men: civil rights, women’s empowerment, abortion rights, gay and gender rights, minority representation, affirmative action, Black heritage, environmental protection, and internationalism, among other values espoused by the liberal Establishment and its bastions like Harvard. 

The collateral damage of this insane and reckless urge to reshape America in Trump’s own image has included truthfulness, justice, accountability, sound science, and, ironically, America’s own long-term economic and academic well-being. MAGA’s success will be America’s diminution from the intellectual powerhouse that has accounted for more than 70 percent of all Nobel Prize winners (about 30 percent of them immigrants to the US) to the fools’ paradise contemplated in the 2006 movie Idiocracy—a comedy that won’t be so funny when it materializes.

Trump’s insistence on characterizing foreign students as potential terrorists and troublemakers will be particularly counterproductive, as it will banish many of the world’s best young minds to more receptive climates, and erode America’s influence on global thinking. 

That may not necessarily be a bad thing, as it reminds everyone that the US has no monopoly on excellence, and never really did. But as a two-time Fulbrighter who, like thousands of other pensionados to America, look back with gratitude and not a little pride on that opportunity to imbibe not just new knowledge but America at its welcoming best, I cannot imagine anything stupider than this willful squandering of American goodwill and soft power for the price of a few missiles. 

It will not even be Donald Trump & Co. who will pay that price, but generations of Americans down the road who will recall this period of infectious lunacy with bewilderment and regret. They will have no one to blame but their red-capped grandparents, who thought that trusting a despotic dunce with all that power was a bright idea. (And I know how much that statement smacks of the elitism that Trumpers hate, but tell me it isn’t true.)

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.

Penman No. 472: Manila Pen Show at Manila Pen

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Penman for Sunday, March 9, 2025

FOR A group that began in our Diliman front yard with less than 20 people almost 17 years ago, the Fountain Pen Network-Philippines (FPN-P) has come an awfully long way. With over 14,000 members online, meeting physically by the dozens in regular “pen meets” held in hapless cafes and restaurants, and thousands more informal recruits among families and friends, FPN-P should really register soon as a partylist devoted to “spreading the joy of handwriting with fountain pens.” We have active chapters in Baguio, Bacolod, and Davao, among other places; quite a few members even reside abroad but keep in regular touch through the group’s FB page.

As I’ve often written here before, the allure of fountain pens lies in their rediscovery by digital natives as a means of self-expression—of recovering one’s uniqueness in a universe homogenized and anonymized by computer code. Our ranks include Supreme Court judges, Cabinet undersecretaries, artists, professors, doctors, and lawyers, but most of our members are young professionals in their twenties and thirties for whom writing in cursive is itself an adventure. There are probably hundreds of thousands of pen fanciers (as they used to be called) around the world, mainly in the US and Europe, but what distinguishes FPN-P is its youthful vibe and the infectious fanaticism of its members.

Some fall in love not just with the pens but with penmanship itself, and become calligraphers. Others grow enamored of inks and papers of a bewildering assortment—inks that shimmer and sheen, combining lustrous gold with a deep oceanic blue, and papers that range from silken smoothness to almost parchment-like toughness.

Next weekend, hundreds of these penfolk (and the general public) will converge at the 5th Manila Pen Show that will be taking place March 15 and 16 at—fittingly enough—the Peninsula Manila. 

Top pen makers and dealers from Japan, Hong Kong, Singapore, and Malaysia have been coming to the MPS, attracted and impressed by the level of sophistication—and the deep pockets—of Filipino pen collectors. While the MPS has pens for everyone at every price point—from the low hundreds for students to six figures for the big guns—Filipino pen collectors and users at any level have been known for their deep knowledge and obsessive familiarity with all aspects of the hobby. 

They can tell you how Japanese artisans produce the various kinds and textures of urushi resin that renders pen surfaces impermeable to even acid. They can discuss minuscule but hundred-dollar differences in Parker Vacumatics from the 1930s, or argue passionately for vintage Pilot Myus and exotic inks like the perfume-scented De Atramentis.

This year’s MPS will not only bring sellers of pens and assorted writing paraphernalia, but also feature workshops and panel discussions on topics ranging from nature journaling and nib care to Art Nouveau and Deco pens (and, most intriguingly, “Your Pen and Your Brain: A Love Story,” to be conducted by Gang Badoy Capati). A group of advanced collectors will discuss the finer points of pen connoisseurship (including that point when pens stop just being writing instruments but become jewelry or even art). 

I’ll be on the Art Nouveau and Deco panel, but this time, instead of discussing pens (which others will do this time, all of them experts at particular models and periods), I’ll talk about the peripherals and accessories of the writing trade—the desk pen sets, inkwells, and ink blotters of the kind you would have seen in a typical office desk of the 1930s. 

As with past Manila Pen Shows, nibmeisters or professional pen repairmen will be around to fix that Montblanc nib you dropped on the kitchen floor or your Lolo’s gunked-up Sheaffer that’s been lying in a drawer since he died. One thing most people don’t realize is that most pens, no matter how old, can be fixed (I myself routinely revive 100-year-old Parker Duofolds among other vintage pens in my workshop—you’ll need some special skills and parts, but it’s not rocket science).

You don’t have to be an FPN-P member or even a current fountain pen user to come and enjoy the show. Indulge your curiosity and feel free to see, touch, and test the pens on display (with the exhibitor’s permission, of course, as some pens may require very careful handling). Most sellers will take credit cards or online payment. There will be a modest charge for entry and for the presentations, but all funds raised will be donated after expenses to the Save the Children Philippines, FPN-P’s sponsored charity for the past MPSes. You can find more details about the show at https://manilapenshow.helixpay.ph.

(Image thanks to Raph Camposagrado)

Penman No. 471: A Promise to Keep

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Penman for Sunday, February 9, 2025

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Qwertyman No. 129: The Punishment Theory

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Qwertyman for Monday, January 20, 2025

LOS ANGELES is burning as we speak, with raging fires consuming an area larger than the whole of San Francisco—or, in our terms, about seven times the size of Makati. I’m sure you’ve been just as horrified—and, let’s admit it, mesmerized—by the TV coverage showing huge swaths of what used to be thriving California communities crumbling in flames. 

Particularly compelling for onlookers is the awareness that many of those homes belong to Hollywood’s elite—people with millions of followers on social media but who, in their moments of personal distress (as in their divorces and run-ins with the law), often find it difficult to generate genuine sympathy. Not necessarily meaning to be unkind, pedestrians like us like to see the mighty (or their houses) falling; misery is a great democratizer. Even as the mansions of the rich go up in smoke, our first urge is to think that (a) they can always afford to build a new one, followed by (b) they’re just being punished for something they did wrong.

Indeed the “punishment theory” for the Great LA Fire has gained a lot of traction in social media, both within and outside the US. In Middle Eastern media, the fire was quickly seen as divine retribution for America’s support to Israel’s destruction of Gaza. As one Qatari journalist wrote, “The American aid squandered by the occupation [i.e., by Israel] in its Gaza war amounted to about $60 billion. The damage caused by the recent US fires has reached about $150 billion. Trump said a few days ago that he will bring hell upon the region, yet hell has arrived in the heart of the US, with hundreds of thousands of Americans displaced and thousands of homes and mansions lost. I trust in the vengeance and in the victory of the One and Only Almighty God.”

Not at all, said others—the fire had nothing to do with Israel but with Los Angeles, indeed California, itself. Again invoking the Almighty, Christian evangelicals rushed to proclaim the disaster “God’s punishment” for liberal licentiousness and its adherence to the false religion of “wokeness.” For being the land of hippies, Democrats, legalized marijuana, and Hollywood, California was now being chastised by an angry God. (Don’t believe it? Check Genesis 19:24-25, Amos 4:6-11—sayeth the FB and Reddit faithful. I myself suspect that if God was fair and a keen follower of American politics, he would’ve swept Mar-a-Lago away in a tsunami or a hurricane. But then I believe in an indifferent God who doesn’t take sides in wars or football games.)

Whatever, there seems to be a palpable compulsion here to go and punish the wicked, who have only themselves to blame for their calamities. Never mind that the fire has ravaged both Democrats and Republicans, blacks and whites, Christians and Muslims, Asians and Europeans, rich and poor. To those outside looking in, it’s the “other” whose tragedy we celebrate, with the innocents as collateral damage.

The word often trotted out in these situations is that old German standby, “Schadenfreude,” meaning the delight we take in the misfortunes of others. It’s all over social media when you read about the LA fires, almost to the point of gleefulness over a kind of divine justice befalling the deserving (most notably, that of a fellow named Keith Wasserman—an Elon Musk fan and Cybertruck owner who had railed against paying higher taxes, and was now begging for private firemen to save his home). 

Of course, there’s nothing like crisis to bring out both the best and the worst in people, from heroes to heels. Harder to read and more difficult to assess than these extremes is the slow and steady burn—rather than the raging inferno—in our societies.

All this talk of retribution leads me to an odd and totally unscientific theory about people. I wonder if, in fact, there’s a more proactive form of Schadenfreude that goes well beyond a smug snicker at the missteps of the perceived elite to an active courtship of their downfall.

I’m speaking not as a political scientist or sociologist, neither of which I am, but as a sometime playwright who likes to look into the darkest and strangest of human motivations. That’s normally the job of psychologists, for whom I have a healthy respect, but if psychologists could put all their patients together in a room and find a way to make sense of their nightlong chatter, then we playwrights and fictionists would be out of business.

Here’s how it goes: 

We get bad laws like the pork-laden GAA because we elect bad lawmakers. And we elect bad lawmakers because we fancy that voting for people we think we know (like entertainers and dynasts) makes us matter. With the vote being the only utterance left to the voiceless citizen, choosing the familiar becomes an act of assertion, of participation in national affairs. “He may be a lousy leader, but I put him there.” Call it the revenge of the bobotante, a term we Pinoys coined for supposedly ignorant or forgetful voters. My theory is, they’re more cunning and deliberate than we think.

Many MAGA voters didn’t so much vote for Trump the man as for the grievances they bore that he had the smarts to amplify and articulate. A convicted felon, habitual liar, bully, and egomaniac, Trump was after all the very antithesis of the righteous and virtuous leadership that evangelicals especially like to uphold (not that they don’t have their own crooks and pervs in their uppermost echelons). If they were true to themselves, even his most ardent supporters would have acknowledged—and looked past—his monstrously obvious character flaws.

They voted for him nonetheless, because—on top of the price of gas and groceries—he embraced and legitimized their consternation and disgust with a world gone far beyond their comfort zone, peopled by neighbors who don’t speak English, who have sex with the same pronouns, who kill their babies, and who run races against runners with different genitals (and go to their bathrooms). How could Donald J. Trump be worse than these? 

Today DJT takes his oath as America’s 47th, as Los Angeles continues to burn. I wonder who is being punished for what.

Penman No. 470: A Collector’s Christmas

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Penman for Sunday, January 5, 2025

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Qwertyman N0. 117: Our Best Books Forward

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Qwertyman for Monday, October 28, 2024

NOW ON its 76th year, the Frankfurter Buchmesse (FBM)—better known outside Germany as the Frankfurt Book Fair, the world’s oldest and largest such event—ended successfully last October 20 with a significant representation from the Philippines, which sent scores of authors, publishers, and book industry officials to the fair. All that was in preparation for FBM 2025, when the Philippines will be Guest of Honor (GOH), the country whose literature will be the focus of the fair’s attention.

You can think of the Frankfurt Book Fair as the Olympics of the global book industry, with over 200,000 participants (book industry persons and the public) representing over 100 countries. However, there are no prizes for Best Novel, Best Nonfiction Book, Best Children’s Book, and so on. Everyone is effectively in competition with everyone else, but the real rewards are in the professional and personal connections made between and among authors, publishers, agents, editors, and translators at the fair, connections that materialize into deals for translation and publication rights. Although exhibited books can be sold at the close of the fair, the FBM isn’t meant to sell books, but rights to books, for which it has become the world’s oldest and largest marketplace. This means that, through the right contacts, Filipino books can be translated into and sold in French, Turkish, Spanish, and Urdu editions, etc. and vice versa. 

Becoming GOH is a signal distinction—but it doesn’t come free. Nations vie and pay for the honor, which this year went to Italy and in 2026 will go to the Czech Republic. I’m sure that there have been and will be more criticisms of our participation in Frankfurt, chiefly of the costs of our foreign exposure vs. the local promotion of our literature, but it’s not a zero-sum game. We need both kinds of investments. We have impressive literary production from all over the country—much of it unknown even to ourselves—but we also need to share the best of it with the world, to raise their understanding of the Filipino above the stereotypes they know (Imelda’s shoes, Manny Pacquiao, DHs, cruise ship crewmen, etc.—not all of them bad, for sure, especially our OFWs, but in need of context).

If FBM 2024 was any indication, FBM 2025 will be an even more resounding success for the Philippines. All literary genres were represented this year in terms of books and panel discussions, and valuable connections were made with European publishers, translators, and agents. Philippine literature will never be the same after this. (This year’s upshot for me is that my novel Soledad’s Sister will be coming out soon in Spanish, after its versions in Italian, French, and German.)

Having followed trends in international publishing for some time, I’m particularly impressed by the way the FBM has helped to promote our new writing by young authors in literary categories that have traditionally received less attention compared to what I’ve called “the big white whale” of publishing, the novel. Approach most publishers and agents at the FBM, and what they’ll ask you is, “Where’s your novel?” For primarily commercial reasons, the novel remains the most saleable and traded commodity at book fairs. (I know many who will wince at my reference to books as commodities, but let’s be absolutely clear about this: the bottom line of book publishing and book fairs is business, not “Kumbaya”-type international peace and understanding.) 

Sadly, however, Filipinos have historically not been a novel-writing, novel-buying, and novel-reading people. In this respect, Rizal’s Noli and Fili are aberrations, familiar to us only and thankfully because of the law requiring their study. That said, our writers are masters of the short literary forms—poetry and the short story in particular. I’ve often remarked that we Pinoys are world-class sprinters, not marathoners; our world-view is not Olympian, but pedestrian, formed close-quarters at street level. 

This year, I’m told that over 70 deals were made between Filipino authors and foreign agents and publishers for the translation and publication of works that went well beyond the traditional novel, including children’s stories (another of our strongest suits) and genre and graphic fiction. These authors were young, and some had their works translated from languages other than English. If anything, this surge in translations, long overdue, is one strategic benefit that our FBM participation has enabled, and our GOH status next year should boost it even further.

According to FBM Director Juergen Boos, “I am very excited about the Philippines’ Guest of Honor presentation in 2025. The motto ‘The imagination peoples the air’ resonates with the universality of storytelling. Even though the Philippines is the world’s thirteenth largest nation with more than 109 million citizens, I believe for many of us in Europe, Philippine literature is currently still rather unknown territory. As the country steps into its role as Guest of Honor, we will learn a lot about the importance of storytelling and today’s cultural scene for Philippine civil society. With an incredible 183 different languages spoken on its 7,641 islands, the country’s diverse influences are one of the aspects I am looking forward to seeing in Frankfurt in 2025.”

I did say that there are no prizes awarded at the FBM, but I have to correct that to acknowledge the Diagram Group Prize for the Oddest Title at the FBM, given since 1978 and now voted upon by the public, and won by such books as Proceedings of the Second International Workshop on Nude Mice, The Joy of Chickens, How to Shit in the Woods: An Environmentally Sound Approach to a Lost Art, and If You Want Closure in Your Relationship, Start with Your Legs. This is not a prize to which Filipino writers have so far aspired, but who knows? Pinoy wackiness (alongside wisdom) knows no bounds.

Many thanks to the National Book Development Board, the National Commission for Culture and the Arts, the German literary organization LitProm, culture champion Sen. Loren Legarda, and our other sponsors and supporters for this great opportunity to put our best books forward on the global stage. Mabuhay!

Penman No. 467: Recovering Our Memory of the Sea

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Penman for October 20, 2024

I’VE OFTEN remarked, in academic conferences, about the glaring absence of the sea in our mainstream and modern literature, beyond serving as a decorative backdrop or romantic element. I recently learned that this may not be so true of the native literatures of the Philippine South, for whose people the sea is their economic and cultural lifeblood, but for most of the rest of us, the only sea we’ll ever know is Boracay, or the Dolomite Beach.

That’s a sad thing when we consider that the Philippines—the world’s second largest archipelago after Indonesia—also has one of the world’s longest coastlines (over 36,000 kilometers), is rich in marine biodiversity, and can look back to a long, proud, and continuing seafaring tradition. Despite the alarming depletion of our marine resources due to overfishing and damage to marine ecosystems, we continue to rank high among the world’s fish producers; ironically, our fishermen are among our country’s poorest citizens. And for many decades now, the Philippines has sent out its seafarers to crew the ships of the world—over 550,000 of them last year, making up a fourth of all the world’s seaborne workers.

To go back even farther into the past, pre-Hispanic Filipinos built the balangay that helped populate Austronesia as well as the speedy warship, the caracoa; in Spanish times our ancestors built the galleons that crossed the oceans. In Moby Dick, Herman Melville referred to Filipinos aboard the whalers as “Manila men.”

Behind these figures runs a compelling human and social drama, but it’s a story largely unknown and untold to our own people, and what little we know is fading even faster as more of us leave our islands for the big cities, slowly but surely losing our personal connections to the sea. We encounter sea life only in the fish market or the seafood section of the grocery, or in tin cans; our children do not know the names of fish, which many now refuse to eat, in favor of sausages and noodles.

Thankfully, the National Historical Commission of the Philippines (NHCP) has done something critically important to fill this gap in our collective memory—by establishing a Museum of Philippine Maritime History (MPMH) that tells the story of our seafaring past. And it’s significant that this museum isn’t located in Manila, which would seem to be the logical first choice given Manila Bay and its port, but in Iloilo, which has also had a long and continuing affinity with the sea. Iloilo has historically supplied many if not most of the country’s seafarers to the global market. The city has a plethora of schools offering maritime courses, ensuring the continuity of talent.

I stumbled on the MPMH during a recent visit to Iloilo—among my favorite local destinations for all the obvious reasons (the food, the Esplanade, the heritage houses, the churches, the hospitality, the culture, and of course the people). The amazing boom it’s undergone over the past two decades under the sponsorship of former Sen. Frank Drilon and his local counterparts has dramatically transformed the city’s physical and economic landscape, but it hasn’t forgotten its past as it moves resolutely forward. 

Iloilo has long been known as the city of museums. Aside from the Museo Iloilo and any number of restored mansions, it now boasts the Museum of Philippine Economic History, which chronicles the city’s and region’s central role in sugar, shipping, and commerce; the Rosendo Mejica Museum, which celebrates Iloilo’s journalistic heritage (and I’m proud to say that my wife Beng descends from a Mejica); and the Iloilo Museum of Contemporary Art, which places Iloilo squarely in the center of cutting-edge art production.

The MPMH, which opened in January 2023 at what used to be the Old Customs House on Calle Loney and Aduana in City Proper behind Sunburst Park, walks the visitor through exhibits covering the past until the Spanish era, and the American period to modern times. One very informative section presents the variety of Philippine boats (biray, casco, vinta, batil, etc.); scale models bring some to life. Key figures in our maritime history such as Luis Yangco (1841-1907), who had a shipping empire and supported the revolution are introduced. Historical photographs, posters, and other artifacts provide vivid visual proof of how vital the maritime industry was to our economy and society. Another panel notes the many waterborne festivals we Filipinos hold throughout the country, such as the Pista ‘Y Dayat in Lingayen, Pangasinan every May, and the Bangkero Festival in Pagsanjan, Laguna every March.

It’s not a huge gallery, and one wishes there were even more artifacts on display to ponder, but in terms of curation and presentation, the MPMH can hold its own, given its present limitations, against other international museums of its kind, with crisp, clear graphics, well-chosen items, and useful and interesting detail. (I’ve had the privilege of visiting the National Maritime Museum at Greenwich in the UK and the Museo Naval in Madrid, so as global standards go, those two maritime giants would be tough to match.) The MPMH’s best come-on—which probably accounted for the hordes of students present when we came by—is that it’s absolutely free, although donations are welcome. That’s a great start, with the kids, toward recovering our memory of the sea.

Penman No. 466: Desktop Delights

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Penman for Monday, September 1, 2024

MY LONGTIME readers from way back know me as a collector of vintage fountain pens—and maybe of typewriters and antiquarian books as well. You’d think that would have kept me busy enough, but as all collectors know, it never ends with what you already have. The eye strays, new interests emerge, and whimsy soon turns into obsession, manifested in haggard looks that follow a night’s forays on eBay.

These past few months—all because of a chance encounter with a vintage brass rocker blotter at a flea market in Paris when we visited last April—I fell into the black hole of vintage writing accessories, and I still can’t see the bottom.

Of course, with my previous collections all linked to the writing trade, this was probably bound to happen. I mean, there’s more to the vintage table than pens and books, right?

If you have pens, then you have inks, ink bottles, inkwells, the aforementioned blotters (rockers and rollers), staplers, tape dispensers, pen trays, paperweights, letter holders, letter openers, etc. And let’s not forget the picture frames, gooseneck lamps, rotary phones, and steel-bladed fans that filled the rest of the acreage.

The nostalgic impulse behind this madness seems to be the recreation of our fathers’ desks, or our imagination of them. Whether boys or girls, we sat in their swivel chairs and rocked ourselves, our heads barely bobbing above the mahogany horizon. Instinctively we understood that we were in the seat of power, especially in those pre-feminist times when dads went to offices and moms stayed at home.

At least that’s how it works for me. My mythical prewar or midcentury modern (MCM in antiques parlance) desktop is now much larger and more crowded than my father’s office table ever was, but the oh what a gorgeous overflow it is of Art Nouveau, Art Deco, and Art Moderne beauties. 

Like I said, this began when Beng and I found this huge brass ink blotter at the Porte de Vanves flea market in Paris, followed by a couple of others. Now, hardly anyone uses a blotter these days, or even knows what it is, and that’s because people stopped using fountain pens, which used ink that took a long time to dry. Blotters mopped up the excess ink, which you otherwise had to blow on or wait minutes to seep fully into the paper. As life sped up after the war, ballpoints, felt tips, and rollerballs with quick-drying ink took over, and blotters took a back seat. But with the recent resurgence of interest in fountain pens and the plethora of new inks available, blotters are back in business—and their charm as art pieces rediscovered by a whole new generation.

Ink bottles have always been collected on their own quite apart from pens, from their early versions in pottery and pewter to high-end cut glass and crystal. (Some inks themselves have become rare and collectible, such as the legendary Sheaffer’s Persian Rose from the 1950s and even the modern Montblanc Carlo Collodi and the original Lamy Dark Lilac.) Beyond individual bottles, inkwells often come in pairs, on ornate brass or smooth marble or carved wooden stands; they can be glass or porcelain inserts set in brass or porcelain, with a pen rest in front. Having been meant for dip pens, today they would be mostly decorative.

Desk pens and pen sets, however, remain functional. In our fathers’ time, they were the hallmark of consequence, a signifier that pens were meant for important signatures. Here, often more than the pens, the bases—usually marble, onyx, metal, or bakelite—provide artistic value. Art Deco desk sets from the 1930s and 1940s are most impressive, as well as those with figural elements such as animals.

Trays for pens, paper clips, stamps, erasers, and such other 20th-century staples (and yes, let’s not forget the real staples and staplers) were produced in brass, wood, glass, and bakelite. Even these were turned into art pieces, and one by Tiffany could set you back a thousand dollars.

Not having that kind of money, I loiter around eBay—the world’s largest flea market—looking for these obscure objects of desire at prices I could afford, and I’ve even taken to buying and selling them both to pay my way and to share the bounty with friends. I don’t always get what I want—who would have thought that I would dream of rocker blotters and desk pen sets—but the quest itself is often worth it, the continuing discovery of treasures from the pre-computer, pre-cubicle past, when desktops were displays of taste and style and when you thought hard before putting indelible ink to paper.