Category Archives: literature

Qwertyman No. 173: A Page from 1937

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Qwertyman for Monday, November 24, 2025

I”M NOT a historian, although there are times I wish I were, and at an early crossroads in my youth, I actually had to choose between Literature and History for my major, settling for the former only because I thought I could finish it faster. But I’ve retained a lifelong interest in history, for the treasure trove of stories to be found in the past and for what those stories might foretell of the future. 

I’m particularly fascinated by the prewar period—what Filipinos of the midcentury looked back on as “peacetime” and what Carmen Guerrero Nakpil called our “fifty years in Hollywood,” which were enough to occlude much of the influence of our “three hundred fifty years in a convent” under the Spanish. It was an age of many transitions, from the jota to jazz, from the caruaje to the Chevrolet, from tradition to that liberative and all-embracing buzzword, the “modern.” Much of that went up in smoke during the Second World War, but you can still catch the ghost of this lost world on the Escolta, among other vestiges of our love-hate affair with America. (You might want to visit the Art Deco exhibition at the National Museum of Fine Arts, ongoing until May 2026; I have some items on display there.)

So entranced have I been by this time that I decided, during the pandemic, to set my third novel in it, at the birth of the Commonwealth and upon Quezon’s assumption of ultimate power, an upstairs-downstairs narrative about the comprador upper class and the world of the Manila Carnival set against the embers of the Sakdal uprising, the fuming and scheming Aguinaldistas, and the netherworld of printing-press Marxists and tranvia pickpockets. Progress has been slow because novels always take the back seat to life’s more pressing needs, but I still hope to get this done if it’s the last thing I do.

The research for the book, however, has brought its own rewards. Among my main sources for the background has been a slim volume—long out of print and now very  hard to find—titled The Radical Left on the Eve of War: A Political Memoir by James S. Allen (Quezon City: Foundation for Nationalist Studies, 1985). Allen (actually a pseudonym for Sol Auerbach) was an American scholar and journalist, an avowed Marxist who traveled to the Philippines in 1936 and 1938 with his wife Isabelle, also a member of the American Communist Party, to meet with local communists and socialists (then headed by Crisanto Evangelista and Pedro Abad Santos, respectively) and to get a sense of the Philippine situation under American rule. 

Even that early, the threat of a Japanese invasion was already looming on the horizon and causing great anxiety in the Philippines; Japan had earlier occupied Manchuria and as much as a quarter of the entirety of China by 1937. It seemed like a confrontation between Japan and the United States was inevitable, although some Filipino nationalists—fiercely anti-American—preferred to ally themselves with their fellow Asians than with prolonged white rule. At the same time, others like Pedro Abad Santos feared that the independence Quezon sought would be granted prematurely to give the US an excuse to abandon the islands and avoid confronting the Japanese. 

This is where I tell you why I’m bringing up James Allen’s memoirs this Monday—because of our present situation vis-à-vis China and (in one of history’s ironic reversals from victim to victimizer) its growing domination of the South China Sea. In Quezon, Filipinos had a leader who was deeply mistrusted and opposed by many; the United States’ willingness to defend the Philippines was in doubt; and the threat of a foreign invasion was clear and imminent. 

Allen actually sat down with Quezon for a long interview at the latter’s invitation, and was impressed by the man’s grasp of politics and his singular ambition. But the article that came out of that encounter displeased MLQ; Allen, after all, was still a communist at heart, which makes the following quotation—from a letter Allen would compose and send to his American colleagues in October 1937—even more interesting. I’ll leave it to you to observe the parallels, and to cast them against the Marcos-Duterte issues of our time.

“Filipino Marxists and radicals need to relate independence from the United States to the world crisis created by fascism. The immediate concern in the struggle for an independent and democratic Philippines is to safeguard the country against the threat of Japanese aggression. The objectives of complete independence from the United States and the internal democratic transformation must be obtained without endangering such gains as have been made or subjecting the country to new masters. The people must be awakened to the prime and pressing danger to their national existence. The United States is moving toward alignment with the democratic powers against the fascist bloc, albeit slowly and indecisively.


“Roosevelt is shifting somewhat toward the Left of Center to keep pace with his mass support from the surging labor movement and anti-fascist and anti-war popular sentiment. The national interests of the Philippines call for vigilance and precautions against Japanese aggression. This coincides with the interests of the United States in the Pacific area, and it would be folly not to take full advantage of this concurrence. In the broader perspective, the outcome of the struggle in China will be crucial for all the peoples of the Far East, and if the United States were to withdraw from the Philippines this would be a serious blow against China and encouragement to Japan’s designs upon Southeast Asia and the islands of the Pacific. The cause of Philippine independence at this time can best be served by cooperation with the United States.


“The situation also requires a change in the attitude toward Quezon, from frontal attack to critical support. Unprincipled opposition for the sake of opposition-as with some leading participants in the Popular Alliance is dangerous, for it plays into the hand of pro-Japanese elements and sentiments. Quezon certainly is not an anti-fascist, but he is not intriguing behind the scenes with Japan. The greatest opposition to his early independence plan comes from the landed proprietors, particularly the sugar barons, while it enjoys support among the people. The Popular Alliance should also support the plan, including provisions for mutually satisfactory economic, military and diplomatic collaboration after independence. Though Quezon is far from being a Cardenas or Roosevelt in his domestic policies, every effort should be made to move him away from his pro-fascist and land baron support by providing him with mass backing for such pro-labor and progressive measures as are included in his social justice program. In sum, the Popular Alliance should encourage a national democratic front devoted to the preservation of peace in the Pacific, the safeguarding of Philippine independence, and defense and extension of democracy in the country.”

Penman No. 479: Postscript to Frankfurt

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Penman for Sunday, November 2, 2025

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Penman No. 478: Best Foot Forward in Frankfurt

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Penman for Sunday, October 5, 2025

ON MONDAY next week, several hundred Filipino writers, publishers, artists, journalists and other workers in the book trade will be flying off to Germany for the Frankfurter Buchmesse (FBM), better known as the Frankfurt Book Fair, running this year until October 19.

Led mainly by the National Book Development Board (NBDB) and the National Commission for Culture and the Arts (NCCA), it will probably be the largest cultural mission ever sent out by the country to an international event—the equivalent of an Olympic delegation—and for good reason. This year, the Philippines is the FBM’s Guest of Honor (GOH), an annual distinction designed to draw attention to that particular country’s literature and culture, chiefly through its books. 

As GOH, the Philippines will have its own pavilion of curated exhibits highlighting our literary history and production, as well as the diversity of our works from historical novels and crime fiction to children’s stories and comic books.

Going back over 500 years, the Frankfurt book fair is the world’s largest gathering of publishers, authors, and booksellers, drawing thousands of attendees from all over the world to what is essentially a marketplace for publishing and translation rights. For countries like the Philippines, far away from the global publishing centers in New York and London, it is a matchless opportunity to showcase the best of one’s work. 

Looming largely over our GOH presence will be the work and legacy of Jose Rizal, whose deep personal ties to Germany—where he studied ophthalmology and completed Noli Me Tangere—continue to inform our relationship with that country. Indeed, our GOH slogan—“The imagination peoples the air”—is drawn from Rizal’s Fili, turning Sisa’s frantic search for her missing sons into a metaphor for the power of words to create moving realities.

There are hundreds of events on the Philippines’ official FBM schedule, both onsite and off-site. They range from panel discussions on “Our National Literature: Filipino Spirit and Imagination” with Merlie Alunan and Kristian Cordero, “Women’s Fiction from the Global South” with Cecilia Manguerra Brainard, Jessica Zafra, and Ayu Utami, and “Dismantling Imperial Narratives” with Filomeno Aguilar Jr., Lisandro Claudio, and Patricia May Jurilla to performances by National Artist for Music Ramon Santos and the Philippine Madrigal Singers, a demonstration of Baybayin by Howie Severino, and a book launch of the German editions of the Noli and Fili with historian Ambeth Ocampo. (For the full program, see https://philippinesfrankfurt2025.com/events/)

I have eight events on my personal calendar, ranging from the launch of the Spanish edition of my novel Soledad’s Sister to readings at the Union International Club and Bad Bergleburg, so it’s going to be a hectic time for this septuagenarian. This will be my third and likely my last sortie into the FBM, and I know how punishing those long walks down the hangar-sized halls can get. 

Practically all aspects of Philippine art and culture will be on display in Frankfurt, going well beyond books and literature into theater, film, music, dance, food, and fashion. In short, we will be putting our best foot forward on this global stage, although there will be no papering-over of our political and social fractures and crises. (Journalists Maria Ressa and Patricia Evangelista will be there to make sure of that.)

As with any large-scale national enterprise, our GOH effort has not been without controversy. A campaign by cultural activists to boycott the FBM—premised on Germany’s and the book fair’s perceived support for Israel in its genocidal war on Gaza—took off earlier this year and gained some traction, leading to the withdrawal of some authors from the delegation. There was spirited and largely respectful debate over this issue, but it was clear to both sides from the outset that a complete disengagement from the FBM—for which we had planned for many years running—was not going to happen. (I argued, like many others, for our critical participation, minding Gaza as one of the foremost issues facing humanity today. Not incidentally, on the Philippine program is a panel on “Writing Through the Wounds: Filipino and Palestinian Literatures in Relational Solidarity” with Nikki Carsi Cruz, Dorian Merina, Tarik Hamdan, Atef Abu Saif, and Genevieve Asenjo, among other initiatives in support of Palestinian freedom.)

Another criticism raised was the cost of our GOH participation—an effort bannered and sustained by Sen. Loren Legarda, the chief and most consistent supporter of the arts and culture in the Senate. Why not just pour all that money, some have said, into publishing and printing more books for Filipinos? There’s no argument that Philippine education needs more support (the trillion-peso infrastructure scam tells us the money was always there) but the targeted exposure that the GOH opportunity provides comes once in a lifetime, and Sen. Legarda wasn’t about to let it pass. 

As she noted in recent remarks, “When I first envisioned the Philippines as the Guest of Honor at the Frankfurter Buchmesse, some felt that it was far too ambitious, that we were too diverse and too complex for the world’s largest book fair to embrace. But I believed then, as I believe now, that our diversity is our greatest advantage, a gift and never a hurdle.

“The Philippines is more than an archipelago of 7,641 islands. It is a vast constellation of ideas and innovation, of ingenuity and distinct cultures and traditions joined together by the tides of hope and resilience. The 135 languages identified and described by the Komisyon sa Wikang Filipino turn into the voices and stories of Filipinos resonating around the world, reaching across cultures, transcending borders, challenging assumptions, and expanding the boundaries of human empathy.”

Let those voices and stories fill the air in Frankfurt, and spread around the planet.

Qwertyman No. 154: Politics as Melodrama

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Qwertyman for Monday, July 14, 2025

I’VE OFTEN argued that our most popular literary form isn’t lyric poetry, the short story, and certainly not the novel—it’s theater, and more specifically melodrama. Born in the West in the 18th century, melodrama weaves its spell on a suggestible audience through sensational and often ridiculous plots, exaggerated action, overblown emotion, and contrived solutions—all of which viewers happily lap up, and come back looking for more. When you think about it, it also happens to describe our politics, but more on that later.

I used to bring up melodrama when I taught playwriting and screenwriting, by way of analyzing how our Filipino sense of drama works. You don’t have to be a theater scholar or critic to observe that we Pinoys love drama, which to us really means melodrama, whether onstage, onscreen, or in real life.

Subtlety and silence have never been our strongest suit. We like to shout, to scream, to declare, to explain—and to explain some more. Take, for example, our preferred methods of murder. In Hamlet, the villainous Claudius pours poison into the king’s, his brother’s, ear. In The Seventh Seal, a knight faces Death on the chessboard. That may have been thrilling for fans of Shakespeare and Ingmar Bergman—but terribly dull and anesthetic for our kind of crowd.

No, sir, we Pinoys like our killings obvious, loud, and emphatic. Poison in the ear is for sissies. We prefer knives because they mean business, are as personal as personal can get, and they produce a lot of cinematic blood. And it’s never enough to stab someone, certainly not from behind, which would be a complete waste of dramatic possibilities. We like to announce that we’re killing someone, and to explain the reasons why: “Hudas ka, Raymundo, niyurakan mo ang karangalan ng aming angkan, kaya’t tanggapin mo ngayon ang mariing higanti ng hustisya—heto’ng sa iyo!” But of course Raymundo has to have his moment, and must raise that inevitable question: “Ano’ng ibig mong sabihin?” Whereupon our hero launches into another lengthy explanation, to which Raymundo offers an impassioned rebuttal, all to no avail, as he is stabbed repeatedly to the accompaniment of further oaths and recriminations.

I used to think that this kind of talkativeness and effusive gesturing was invented by us, until I went to graduate school and realized that it was all over the place in Restoration drama, where the likes of John Dryden had his characters indulge in copious speechifying in the name of love and honor before killing everyone onstage. I suppose a similar trend seized the French and Spanish theater, and thereby later ours, in the zarzuelas, moro–moros, and komedyas that provided us with both entertainment and education. The noisiness carried over to radio, and then to our movies, which never quite shook off the “Ano’ng ibig mong sabihin?” habit. 

And this brings us to our politics, which is not only full of sound and fury, of unbridled verbosity, but of plot twists that strain credulity and yet which manage to keep the audience on the edge of their seats, either roaring in rage, applauding in delight, laughing deliriously, or weeping in sorrow, depending on their persuasions.

The Duterte Saga, our biggest ongoing drama, is now in its fourth act—the Sara impeachment—after the Uniteam victory, the fallout, and the Digong arrest and banishment. A professional scriptwriter could not have done better than giving the VP lines like Sara’s vengeful vows, as the media reported: “I have talked to a person. I said, if I get killed, go kill BBM (Marcos), (First Lady) Liza Araneta, and (Speaker) Martin Romualdez. No joke. No joke,” Duterte said in the profanity-laden briefing. “I said, do not stop until you kill them and then he said yes.” Threatened with impeachment for that statement and for corruption, she said, “I truly want a trial because I want a bloodbath.”

To the uninitiated listener, a madwoman was merely frothing at the mouth, but to the theater-goer, she’s puffing up her feathers, going larger than life, saying outrageous things to define her character and stake out her space like a Maori dancing the haka. Her adversary, PBBM, is playing cool and coy, pretending to be occupied with work and a disinterested party in Sara’s undoing. And yet he whisks off her precious papa in the night to Scheveningen, provoking even more outbursts from the DDS faithful.

Now comes the tearful part. Melodrama moves from Olympian thunder to cloying tenderness, so our next scene, naturally, has Sara’s mom Elizabeth declaring that her estranged husband has been reduced in detention to “skin and bones.” But it’s all right, she says bravely. “And how is my son, acting Mayor Baste?” the Davao City mayor-in-exile asks in a dry croak. “He’s okay, too,” Elizabeth assures him. “His vice mayor is your grandson!” So but for the absent patriarch, all’s well in Duterteland—sort of.

Melodramas love subplots, so let’s introduce one: selling the Duterte house. Common-law wife Honeylet puts up a sign announcing the place for sale (“It’s too painful to sleep there all by myself,” she claims), but son Baste reportedly has the sign removed. Not so fast, VP Sara chimes in; Honeylet could sell her half of it but not her dad’s. Besides, where would Digong live when he returns from the Hague, if Honeylet sold the house? (Cue for hopeful, uplifting music, which tapers off into a melancholic minor key.) “Perhaps he could live with Mama Elizabeth again,” Sara muses. 

Ah, such poignant moments. No one’s been stabbed yet—expect a lot of that to happen, metaphorically, if and when the Senate finds its balls and starts the impeachment trial of VP Sara. What’s theater without traitors? Sen. Migz Zubiri has already thrown down the gauntlet by declaring the trial “a witch-hunt.” But Senator Migz, ano’ng ibig mong sabihin?

Penman No. 475: True Confessions

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Penman for Sunday, July 13, 2025

AS A collector (make that a scavenger) of old books, manuscripts, and what the market generally calls “ephemera,” I inevitably come across material neither written by nor meant for kings and presidents, but rather pedestrians like myself with things to say, perhaps secrets to whisper, likely to no one but to God and posterity.

I’m talking about diaries and journals, which people of my generation used to do (and millennials are back to doing). Worse than a pack rat, I hoard other people’s memories, some in diaries that would make people turn in their graves to know I had. I come across these often as discards or stray items among people selling and buying old books, but I find them equally if not even more fascinating than published (and therefore sanitized) material.

Back then, before computers and digital journals, New Year began with the purchase of a new diary, its pristine pages waiting to be filled with birthdays, appointments, expenses—and more interestingly, interjections of love, pain, joy, and grief, life’s highest and lowest moments. 

I myself kept diaries at one time, although the entries tended to peter out around March or April, when fatigue got the better of my enthusiasm. My most interesting one has to be my martial-law diary, which I rather presumptuously began as soon as I was thrown in prison at Fort Bonifacio; I say “presumptuously” because, at seventeen, I entertained the precious thought that somehow, someday, my juvenile musings would be worth something to someone other than my mother (I had yet to find a wife then). 

When the Italian Marxist Antonio Gramsci languished in a Fascist jail in the late 1920s, presumably between a meager breakfast and gazing out into the starless night, he penned lines like “The old world is dying, and the new world struggles to be born: now is the time of monsters.” He developed his theory of hegemony and held forth on the role of intellectuals in social change, published in his seminal Prison Notebooks.

My own teenage memoirs have survived, but instead of writing about the dominance of the ruling class or about harrowing details of torture and misery—which did happen to others—I chronicled the visits of the pretty young psychologists assigned by the military to interview us; of course we assumed they were spies, but that didn’t stop us from chatting with (more like staring at) them across a table that felt much too wide.

Indeed, for most of us more interested in the personal than the political (although arguably one will always be the other), the value of diaries lies in their true confessions, in their promise of intimacy and insight—along with, let’s admit it, the wicked thrill of voyeurism.

Among the most poignant of my inadvertent discoveries has been the diary—really more a scrapbook—of a once-famous and gifted writer (whose name I’ll leave out for now as he still has family around) who was imprisoned after the War for his stridently pro-Japanese sentiments and actions. In three languages, both typewritten and handwritten, he acknowledges receipt of his beloved’s supplemental rations—beef, fish, fruits, and coffee—but no letter yet again. “Nang buksan ko kagabi ang bayong, hanap ako nang hanap…. Na naman? Wala? Namanglaw ako nang lubos. Di yata at wala ka na naming panahon.” How many times do I have to tell you, he goes on to lament, that even for important to me than sustenance for my body is sustenance for my spirit?

I once came across a whole sheaf of journals in a ditch in front of our house, which I was inspecting because it had gotten clogged with what turned out to be a plastic bag full of papers. It had been carelessly thrown there by the home’s previous occupants or whoever cleaned it out—we had just moved in. They turned out to be the personal papers of a renowned UP professor, and as guilty as I felt about peeking into her life, I read a few pages, in which she confessed her admiration for a certain man (she lived and died a spinster)—only to remind herself, with what I could almost hear was a deep sigh of regret, that she considered herself wedded to God. I read no further, and decided to turn the papers over to a friend, a former and beloved student of hers who was the closest thing to a son.

Most recently, some diaries from the late 1930s and 1940s came to me along with a medical book, and they contain nothing so revelatory, but the details of everyday life a,re always engrossing. They obviously belonged to a doctor—perhaps more than one—and while they contain medical marginalia they also carry legal notes, so the owner must have been studying to be a medico-legal person. Rather moving is the narrative in one diary of bringing a very sick mother to the hospital; I flipped a few pages and the inevitable entry appeared: “Mother died.” And there lay the stark helplessness of a doctor who could not save his own mother.

For many years now, the writer and presidential historian Manolo Quezon has been on top of an important enterprise called the Philippine Diary Project, a digitized compilation of diaries and memoirs from such notables as Jose Rizal, Ferdinand E. Marcos, Dean Worcester, and Emilio Aguinaldo all the way to the murdered activist Ericson Acosta (clearly more women need to be added to the roster).

“To me there are two holy grails,” Manolo told me. “The first is the diary of Gregorio H. Del Pilar. The diary of the American officer who led the expedition that killed him, Frederick Funston, exists but has yet to be transcribed. It was he, by all accounts, who pocketed del Pilar’s pocket diary; perhaps his papers will reveal them after a thorough search. The other is the diary of Benigno S. Aquino, Sr. The late Benito Legarda, Jr. told me that it was shown to him by one of the sisters of Ninoy, and that, in Spanish, it began, “I have been summoned to a meeting in Malacañan by the commanding general of the Japanese Military Administration…” The thing is, the last sister who had it, lost her memory and her children have not found the diary since.”

He adds that “A large portion of the Marcos diary is missing and anecdotally is said to be in the possession of a former member of his administration. For me though, what I’m seeking are diaries by Filipinos. Our own voices are woefully underrepresented. I think many were lost in Ondoy, many others have been thrown away, still more exist, but families are afraid people will take offense and so prefer to keep them secret.”

What I find from my own small collection is that whether they wrote in English or Tagalog, or used fountain pens or typewriters, our forebears recorded the smallest details such as “Auto repair 15.00” and “Won jai-alai 5-3 event.” Today we do all that with digital ink. I wonder what some digital pack rat will be remarking about us 50 years hence.

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. 147: Literature Has Many Flags

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Qwertyman for Monday, May 26, 2025

IT WILL be a tempest in a teapot to most Filipinos still caught up in the aftermath of the midterm elections, a topic of interest to a limited few, but I’m bringing it up this week because it’s important enough for larger reasons.

The Philippines will be Guest of Honor (GOH) at this October’s Frankfurt Buchmesse (FBM), the world’s oldest and largest book fair. Being GOH means that the Philippines—its literature, culture, history, and politics—will be foregrounded in Frankfurt, through the dozens of writers, thousands of books, and the many exhibits and presentations that will be brought over to the FBM, through the combined efforts of the National Book Development Board (NBDB) and the National Commission for Culture and the Arts (NCCA), among other organizations. 

Much of the groundwork for this initiative, which began well before the pandemic, was laid by Sen. Loren Legarda, the principal advocate of arts and culture in the Senate. GOH status is an honor given every year to a different country, but it doesn’t come free; the project involves hundreds of millions of pesos, which its proponents see as a worthwhile investment in raising the global profile of the Philippines through its culture and expanding the international market for Philippine books and authors. The past two years have seen intensive efforts made by the NBDB and the Philippine GOH Committee to prepare the program, select the delegates, and arrange the logistics for our historic participation in October at the FBM.

Comes now a move, led by some prominent Filipino writers and activists, to boycott the FBM for various reasons, including what some see as the government’s misplaced priorities in funding our GOH participation, but primarily in protest of the FBM’s alleged support for Israel in its war in Gaza, and also of Germany’s complicity as an Israeli ally in that conflict. At the moment, it hasn’t gained much traction, but I wouldn’t be surprised if, in the intervening months between now and October, it gathers some steam—likely not enough to stop us from going, but enough to cause some dismay and dissension within our ranks.

I’m not in favor of this boycott, for reasons I’ll shortly explain, but first, full disclosure: I have been formally invited to attend the FBM as a delegate, and have accepted the invitation; I will be involved in several events—a launch of the new Spanish translation of my second novel Soledad’s Sister, several book readings, and possibly some panel discussions. All my expenses will be answered for. This will be my third (and at my age, likely my last) participation at the Frankfurt book fair, as an author whose books have been translated into Italian, French, German, and Spanish editions. In other words, I have a vested interest in going to Frankfurt. (To those who have never been to the FBM, it is no junket; expect long hours manning the booths, talking to people, selling book rights, and walking kilometers of hallways on the enormous fairgrounds. Frankfurt is not a particularly scenic city, although a side trip to nearby Heidelberg and its Rizal connections will be a welcome break.)

Some readers might find the connection between the FBM and Gaza tenuous and the call for a boycott bewildering, but it does have some basis worth serious consideration. The relationship between Germany and Israel, or the Germans and Jews, is long and complex (highlighted by the Holocaust before Israel even came to be, and the 1972 Munich Olympics massacre, among others), but the immediate trigger for the outcry was the FBM’s controversial cancelation of an awards ceremony for the celebrated Palestinian writer Adana Shibli in the immediate wake of Hamas’ attack on October 7, 2023. 

The outrage is justifiable and widely shared. In this column and other media, I myself have written against Israel’s assault on the Palestinian people (see “The Country I Wanted to Love,” from April 19, 2024), as have many other commentators. Indeed, I know of very few Filipino writers who have cheered the onslaught on—typically those holding orthodox Catholic views upholding Israel as God’s chosen nation. 

Israel’s relentless pounding of Gaza, resulting in the wanton slaughter of innocents, has long outlived its excuse of neutralizing Hamas. It is genocidal butchery by any standard, this calculated starvation of Gaza’s remaining residents, the killing of aid workers, and the mechanical attribution of atrocities to “operational errors.” Netanyahu’s encouragement of Trump’s crass and bizarre proposal to depopulate Gaza so he can turn it into “the Riviera of the Middle East” reveals the utter moral depravity of these two men. 

Israel’s barbarism in its campaign of terror and annihilation has now exceeded Hamas’ own (yes, unlike many protestors, I hold Hamas accountable for its own brutality—something that will surely not endear me to the far Left on this issue). Those of us who study Elizabethan revenge tragedy know this only too well: the line beyond which the revenger no longer seeks justice but mindless retribution, and becomes a horrifying, blood-soaked caricature of the very object it opposes.

The question for us writers is: will any of this be helped by withdrawing our participation from one of the world’s largest (if arguably not freest) exchanges of ideas through books? Will we prevent ourselves at Frankfurt—should the need and opportunity arise—from expressing our opinions on Gaza, among a host of other global issues concerning human rights? (Current German rules restrict financial support to artists seen as anti-Israel, especially those identified with the Boycott, Divest, and Sanctions movement or BDS, among other repressive measures.)

My answer is no. I stand for peace and justice for both the Palestinian and Israeli people—indeed, for all oppressed peoples of the world, including our own. But divesting ourselves of a historic opportunity to express our collective resistance to injustice—not just in Gaza or over this one issue, no matter how pressing, will only be counter-productive. Unless it catches fire (other prominent authors elsewhere, as in Indonesia—which was GOH some years ago—have expressed support), a symbolic boycott will be as deafening and as consequential as a tree falling in the forest.

In the end, this will come down to an individual act of conscience, however one decides, for which we must reserve our respectful acceptance. Whether one goes or stays, one’s reasons or motives have to be clear, so the gesture will not be wasted. I will go to Frankfurt proudly, with neither guilt nor shame, to speak about our people and our struggles for freedom through my books. Engagement, not withdrawal, will be the best service writers can perform for their country and for all oppressed and silenced people everywhere. 

Politicians like to wave one flag—Filipino, American, Israeli, Palestinian. Literature, like all art, has many flags: peace, justice, freedom, equality, truth, love, beauty, and harmony. Let all these fly in Frankfurt.

(Image from Studio Dialogo)

Qwertyman No. 143: I or AI?

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Qwertyman for Monday, April 27, 2025

I’VE RECENTLY been asked to talk about literature in the time of artificial intelligence (AI) in a couple of conferences in Dumaguete and Manila. What that tells me is that, with AI’s emergence and growing popularity, there’s been much uncertainty, anxiety, and fear—even outright hostility—generated by the seemingly unstoppable intrusion of artificial intelligence not just into literature but into almost every aspect of human life and society. As I’ve said before, depending on how you see and use it, AI is either God’s gift to humanity or the destroyer of civilizations. 

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. Studio Ghibli’s Hayao Miyazawa, for one, has forsworn the use of AI in his work, calling it “an insult to life itself.” 

For writers and other creatives, the big questions are: Will and can AI replace the author? Is AI capable of artistic imagination? Should writers, publishers, and readers feel threatened by its future development? Might there be a positive role for AI in literary creation? 

Now, we can be very brave and declare that the worst piece of writing or art done by a human is still better than the best of what AI can produce. I’ve heard many authors proudly insist that “AI can never replace me!” But do you honestly think that’s true, and will the readers of the future—say, the consumers of popular fiction—care? The sobering fact is that there is so much bad art and bad writing done by real humans that it shouldn’t be too hard to artificially produce something better, for which people will gladly pay. 

I know that this will strike some of us as being crassly commercial, but it would be naïve to deny that much of what know to be culture today has been commodified—produced and sold as entertainment, whether it be a book, a movie, a concert, a computer program, or the hardware with which to access them. These are all media in which AI is already playing an increasingly important role—initially, perhaps, merely as a facilitator, a simplifier of complex or difficult tasks, or as an aid to the imagination, but also as a co-creator or collaborator, such as in the generation and animation of images. 

Given the fact that most of us produce art to sell—and why shouldn’t we, especially when we promote the idea of “creative industries”—the entry of AI into our thought processes and methods of work could be a matter of survival for many. The question is, will it improve the mediocre, or degrade the excellent? Can we excel without it, or because of it?

Early AI’s clumsy mistakes or “hallucinations” are 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 especially as literary texts get digitized and tossed into the meatgrinder, until it can produce a decent if not impressive approximation of certain styles and approaches. 

(For AI professionals, the next phases of the AI revolution will move into Artificial General Intelligence or AGI, at which point AI can match human intelligence, and ASI or Artificial Super Intelligence, when AI becomes self-aware enough to improve and replicate itself without human intervention and possibly beyond human control. These scary scenarios will not take, they say, a century to happen—some experts predict that AGI could be realized as early as 2027.)

What’s going for us is that while literary styles can be copied, the human imagination is far richer and stranger than we think. AI tends to homogenize; the human artist strives to be unique. Even so, researchers are already talking about algorithmic imagination and experimental humanities as “true collaborations with culture machines.”

Given that it’s inescapable, I propose that instead of fearing it, ignoring it, or maligning it as I’m sure many of us are inclined to do, we study AI and use for what it might be able to offer in aid of the imagination—as unsettling or unappetizing as that proposition sounds.

We’re already tapping AI every time we use Google, and no one seems to mind. I don’t mind admitting that I have used AI—not in fiction but in creative nonfiction or CNF, specifically in writing the biography, where I ask AI to summarize and organize biographical material that I would have eventually found on my own, anyway—in days rather than seconds. 

I suspect that the use of AI in CNF is much less troubling for writers and theorists than its employment in, say, writing the novel or the poem, which we have been trained to think of as more personal, more “us,” than nonfiction. We will yield CNF to AI, but draw the line at fiction and poetry, where we feel we should resist the intrusion of the beast or the machine into the recesses of our imagination. 

I wonder, however, how long this fortress will hold, or what the first crack in the wall will be, if it isn’t there already. I’m pretty sure that somewhere out there, a plodding novelist is already using AI to chart a tree of plot possibilities—What will happen if Maria marries Oscar? What if they decide to live in Davao instead of Baguio? And so on. I wouldn’t do this myself, because the fun of writing for me is in working out the future of my characters in my head. 

And then again I write fiction for the love of it—unlike almost all other kinds of writing that I do for a living. But if I were a novelist under contract to produce a novel a year, I’m not so sure that I wouldn’t seek AI’s help to lighten my load and get the job done. So is AI OK for money but not for love? Is that what it all comes down to?

So right now we have many more questions than answers, and at the pace the world is changing, most answers we come up with will soon be obsolete anyway. But the basic questions will remain, the most vital of which could be, when we say “I am,” is that “I” me, or is it AI speaking?

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.)

Penman No. 469: Seniors and Their Stories

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Penman for Sunday, December 8, 2024

I HAD the privilege of attending the private launch of a book in Makati recently, a book titled Bridges of Memory produced by a group of seniors who had each contributed their poems, stories, and essays to the collection. None of them was a professional writer; I gathered that they came from distinguished backgrounds in banking, law, public service, and other pursuits. 

Prior to publishing the book, they had been mentored by an accomplished and experienced writer, the San Francisco-based poet Oscar Peñaranda, who just happened to be an old friend of mine. Oscar was in the US when the launch took place, so he sent a congratulatory video. I was pleasantly surprised to learn that this was already the “Sunshine” group’s (so named because they meet at the Sunshine Place for seniors in Makati) second such book.

As you might expect, the book contains the authors’ musings on life, love, and loss, the funny with the sad, the joyful with the tragic. The styles and the quality of the writing predictably varied, but the enthusiasm was palpably even, with all the contributors present eager to share their work.

At that very same moment, way across town, another mass book launch was being held at a major university, where one of the featured books was a long and distinguished biography that had partly been edited by me. I had also been invited to that event, but chose to attend the Makati one despite the Christmas traffic, because I had the feeling that it would somehow be a more enjoyable occasion, at least for me, as it would put me in touch with writers of a gentler disposition.

Having been caught in a whirlwind of literary activities over the past two months—from the Frankfurt Book Fair to the Palanca Awards to the PEN Congress—you’d think that I’d shy away from a small book launch, but aside from the fact that some of the authords were friends, I wanted to show my support for this kind of more personal writing and publishing that we too often take for granted as self-indulgence.

I’d seen books like this before, the output of writing groups, barkadas, high-school chums, and fellow alumni. They’re often triggered by an impending milestone, like a 50th anniversary or a grand reunion and homecoming.

The professional crowd might think of such volumes as vanity projects published by people who could never put out their own books. But then that’s the whole point: one person’s vanity is another person’s self-empowerment, and such private publishing reclaims the right to self-expression from the academic and commercial gatekeepers. The works they contain may not win any literary prizes, but they are as honest and heartfelt as writing can get, and satisfy the most basic urge that impels all good writers: to use words to give shape to one’s thought and feeling, and to share those words with others so they might think and feel the same way. They’re written neither for fame nor fortune, but to leave some precious memories behind for a very specific audience—although some pieces may be of such merit as to be more widely appreciated.

I’ve always said, even in my own creative writing classes at the university, that I believe that every person has at least one good story in him or her—and that it’s my job as a teacher to bring that story out. And people know this, too—many of them are dying to tell their story, but don’t know where and how, and who will listen. That’s particularly true for digitally-challenged seniors, who don’t have access to blogging, and who use Facebook for little more than “Happy Birthday!”

I’m particularly taken by the fact that these books are produced by seniors, who are increasingly being left out of a social world ruled by schemes and products for young people. Even within families—let’s admit it—very few grandchildren now have the time nor the patience to listen to their elders’ stories, much less to ply them with questions; they’d rather scroll through their social media than ask what a typical summer vacation was like half a century ago, or what people did before there were cellphones, computers, and satellite TV.

Years ago, fearing we would lose her soon because of her illness, I’d asked my mother to write down her memoirs in notebooks which I still keep. As it happened, she recovered magnificently, miraculously, and is approaching 97, still strong and alert, albeit a little slow. She walks every day, plays games on her iPad, and navigates Netflix on her own. When she’s staying with us (we siblings share her company), Beng and I pepper her with questions about her childhood in their village in Romblon, where she rode a horse and scooped fish out of the plentiful sea. The youngest of a dozen children, she was the apple of her father’s eye, and the only girl he sent to Manila for high school and college at UP. They had a rice mill, and snakes roosted in the large straw bins that kept the unhusked rice. But the snakes were to be feared much less than the beautiful encantos that came down from Kalatong on fiestas and lured their victims to join them with offerings of black rice. How could you not like and want to retell stories like that?

Our seniors are a treasury of stories to be told. They just need to be asked, encouraged to write, and published.

(For your copy of Bridges of Memory, email marketing@sunshineplaceph.com.)