Category Archives: Travel

Qwertyman No. 209: The Pinoy Odyssey

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Qwertyman for Monday, August 3, 2026

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

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

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

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

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

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

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

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

(Rizal image from RizalsofAbra on IG)

Penman No. 488: Artists in Residence

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Penman for Sunday, August 2, 2026

IT ISN’T every day that I get to spend time with two outstanding artists, and while I’ve become something of a recluse myself, exhausted by literary polemics and limiting my social life to very close friends, I couldn’t say no when my wife Beng asked me if I cared to join her on a day trip to Los Baños to visit the sculptor and painter Junyee. Junyee was a good friend of Beng’s from the UP College of Fine Arts, and while he lives in Los Baños with his wife Tess, Junyee has done many art installations around Diliman and often comes by our house on campus to drop off some buko pie. I’d enjoyed chatting with Junyee whenever our paths crossed, taking in his stories about his arduous struggle to become an artist, including a time when he had to work as a make-up artist for the dead in a funeral parlor in Cebu. But more on that later.

I was doubly pleased to learn that we would be accompanied to Los Baños by another artist-friend, Fil de la Cruz, whom I had known for over fifty years, and by his son Janos, also a talented and highly regarded young artist. Fil stands among our most brilliant, versatile, and accomplished printmakers; both he and Junyee have been nominated for the National Artist Award.

We had long been planning to visit Junyee in LB, where he and his wife Tess, who taught in UPLB, have lived for decades. When Tess retired a few years ago and they had to give up their home on campus, they found and bought a private lot just beyond the university property line, and built a new house there. Since anything that Junyee built was bound to be interesting, we wanted to see it, but the house was honestly just an excuse; we were going there for the artist himself. Now 84, Junyee recently hasn’t been in the best of health.

Though younger at 75, Fil has been facing serious challenges of his own. They had a lot to talk about, for sure—but we resolved to undertake this trip in high spirits, to celebrate art and life in joyful company. 

First we picked up Fil at his home in Muntinlupa. Aptly named Bahaysining, the three-story brick house is part (if not largely) studio, part gallery, and part living space, but immediately the visitor knows it’s a house made by artists for artists in both form and function. “This was much smaller early on,” Fil says of the place, ”and then I just kept adding to it as my practice and capabilities grew.” He shares the space with his son Janos, who keeps a studio of his own on the premises and helps his dad with both work and the daily business of living. 

The rooms teem with paintings, prints, drawings, sculptures, and most visibly, printmaking presses in various sizes that Fil himself designed and had made over the years. Much of his equipment rolls on wheels, the better to move them around when the studio has to meet a commission, and Fil and Janos have to labor long days and nights to get the job done. Fil is amazed that clients remember him and his work from way back and return to order new pieces. 

Fil also paints and sculpts as does Janos, but it’s in printmaking—the art of producing numbered copies of a design pressed on paper in limited editions—that you know his heart truly lies. I met Fil in the early 1970s in one of my past lives as a printmaker. He had graduated from his studies at UST, and I had just come out of martial law prison—where, to pass the time, I had taken up drawing with my fellow detainee Orly Castillo, who then took me under his wing at the Philippine Association of Printmakers in Ermita. The PAP was a hotbed of production for young artists then, and I was lucky to run into the likes of Bencab and Tiny Nuyda (not to mention a pretty girl named June “Beng” Poticar, who became my wife)—and yes, Fil de la Cruz, who even then was already establishing himself as a master of one of printmaking’s most difficult techniques, mezzotint, which produces an almost velvety texture. 

Perhaps because prints are relatively cheaper and come out in multiples, they’ve never quite gotten the respect they deserve, especially here in the Philippines, where the art market is enthralled by multimillion-peso paintings by the masters and by the exclusivity they exude. (Around 1974, when we were all working and hanging out at the PAP studio on Jorge Bocobo, it was a big day when a dealer came by to purchase our prints in bulk for as low as P15 per print, so she could stick them into frames she sold as décor to American servicemen in the bases.)

Fil’s come a long way from those days, and Bahaysining is a testament to his professional success, which has traveled a long arc from his youth in Bulacan and his student days at UST to further studies in New York and Paris, to over thirty solo exhibitions that have brought his prints to France, America, the former Czechoslovakia, Germany, China, Hong Kong, Korea, Spain, Belgium, and throughout the Philippines.

As it was a sunny weekday, the drive to Los Baños didn’t take long through the Jamboree route. Junyee had offered to take all of us out to lunch, but of course we first had to see and tour his and Tess’ three-year-old home. 

To know Junyee—“Luis Enano Yee Jr.” on his birth certificate—is to understand how inseparable art and life can be in the person who, from his youth onward, has seen art not only as descriptive or decorative but liberative, rooted yet transcendent, impermanent yet memorable. Widely acknowledged to be the father of installation art in the Philippines, Junyee has always been testing and pushing the boundaries of art, unbothered by commercial trends. Whether he works with discarded wood, woven metal, or wisps of sooty smoke, Junyee seems compelled to give physical shape to our thoughts and emotions, often using outdoor space as his canvas.

Born in the South and discouraged by his father from pursuing his artistic inclinations, Junyee fled to Manila and UP, where he apprenticed with Napoleon Abueva and found support from Jose Joya—masters whom he would soon surpass in competitions. Caught in the insurgent politics of the sixties, Junyee crafted work like his “Balag” trellis on which protesters could hang their slogans, but unlike many other artists of his time, he never let ideology dictate his insight and technique. He would later devote most of his art to environmental themes.

This was most evident in his new home, a modestly modern structure from the outside, nothing showy, but warm inside with wood, stone, and other natural elements, from the balayong door to the leaflike tapestry to the upturned hammock serving as a lampshade. 

Welcoming our party, Junyee points to a blank wall and remarks with a chuckle that something big used to hang there but had to be let go of, presumably for his crushing medications. It’s one of the few times he’ll advert to his maladies, of which he—and Fil for that matter—don’t make a big thing. When Junyee learns that Fil is similarly afflicted, the men knowingly embrace and call each other “classmate.” They smile, they laugh, they speak excitedly of the work that occupies their waking hours. There’s no time to be glum. Fil and Janos keep racks of sporty bicycles at home, hanging from the ceiling; Junyee shows off a gleaming high-performance BMW motorbike which he received from a patron, adding with a chuckle that “I don’t even know how to ride one!”

Over lunch at a favorite restaurant nearby, we have an animated discussion of AI and its likely effects on art and literature. I expect them to resist, but Junyee in particular is surprisingly open to the possibilities of hybridizing art and technology, as I am. “I’ve always been a fan of science,” he says, “and when I write my memoirs, which I’ll be doing soon, I’ll make sure to include a section on how science has influenced my life and work.” But even more useful and valuable than science for both men right now is faith, and Fil and Junyee speak unabashedly of how their faith strengthens them through their trials. As an installation artist, Junyee has never worried about transience and impermanence. “Everything in this world will pass anyway,” he says.

We pay a visit to the Sculpture Garden that UP Los Baños has put up on campus to showcase some of Junyee’s most important pieces. It is an outdoor gallery of some of his finest pieces, displaying the full range of his concerns, techniques, and capabilities. It’s hugely impressive, but Junyee makes it clear that he isn’t done yet. Across his home, he is constructing an art museum that he hopes will help spark a cultural renaissance in Los Baños, better known for agriculture and forestry, which Junyee’s art has also tapped into. His labors have not gone unnoticed; on top of his numerous local and international awards, Junyee will soon be receiving the highest recognition his alma mater can confer, among the worthiest of its recipients.

Neither is Fil de la Cruz resting on his laurels. He’ll be showing his newest paintings in an exhibit titled “Ephemeral & Eternal” opening next Saturday, August 8, running until the 22nd at Art Camp in Greenbelt 5, Makati. “The central thesis of the exhibition revolves around the duality of existence—the fleeting ‘ephemeral’ moments of lived experience versus the ‘eternal’ span of divinity,” according to the exhibit notes. “De la Cruz does not present time as a linear progression but as a divine force, encompassing all. In this series, he treats the passage of time not with anxiety, but with a refined serenity and deep reverence, seeking to capture the precise point where the transitory nature of life intersects with the infinite.” 

It’s as good a description as any of that trip to Los Baños and of our visit to these artist-friends’ homes, at this point between our shared past and the eternity that beckons to all of us.

Qwertyman No. 191: A Letter to Julie

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Qwertyman for Monday, March 30, 2026

I HAVE a dear friend in America named Julie Hill whom I have written about before, an old friend of our country and people. She turned ninety this past week, amid a host of personal challenges that come with age and with living alone. A prolific and published author whose books I edited, Julie was born in Alexandria, Egypt, and moved to the US for graduate school. She traveled and lived around the world, including Manila, with her late husband Arthur, and served as a multinational executive before retiring to Southern California. She has returned to the Philippines many times to visit with her old friends and quietly supports some private charities. 

When I last came to see her last year, despite her own mounting needs, she graciously donated a substantial amount to the University of the Philippines in aid of UP’s poorest students. Despite the entreaties of concerned friends, she refuses to be confined to a nursing home, preferring the company of her memories to the chatter of strangers. She can sometimes be lonely and fearful, but she is proud and brave, and the horizon she gazes at stretches far longer than we can imagine. I thought of writing her this birthday letter to cheer her on.

Dear Julie,

With your ninetieth birthday coming up in a few days, a lot must be going through your mind. I don’t know if your roses are blooming and your oranges fruiting outside your window, but I hope they are, because they always bring you joy and delight, of which our world is desperately short these days.

You have been around that world and have seen both the best and the worst of it. Over the five travel books and memoirs I have edited for you, you found kindness and humanity in the earth’s farthest reaches, and you singled out the Philippines for your warmest affections. Even before we met, you established lifelong friendships with many Filipinos, and continued to visit them and to maintain a special relationship with this place.

And thus you would have seen that the Philippines you knew half a century ago is far different today in many ways, yet unchanged in others. You came here with your husband Arthur, when the Ford Foundation sought to help Philippine education and rural development—priorities which remain unmet. Our population and our cities have grown far beyond their capacity to sustain a decent living. Manila now teems with tall buildings and sleek condominiums, at the literal feet of which the hovels of the poor abound, a cliche we’ve become inured to, and accept as God’s design. We breed children we can barely feed, who can’t read, who seemed doomed to servitude.

Your generous donation to the University of the Philippines, meant to help the poorest of UP students complete their studies, will provide some much-needed hope and relief. While intervention at the college level is often too late for these children, your support, and that of others, gives them a fighting chance. Beyond external assistance, we need massive educational reform, which will require a singular and strategic will on the part of our government to invest in our natural intelligence, before we even speak of AI and other shortcuts. Sometimes I think we need to love ourselves enough.

And so is America changed as well—no longer the welcoming sanctuary you found when you fled Nasser’s Egypt to study in Minnesota, but a paranoid society, hostile to foreign faces, accents, and ideas. You know this yourself, living in an affluent community whose manicured lawns are dotted with MAGA flags. I’ve met some of your neighbors over lunches in your home, and they’re very nice people, except for their politics, now explainable only in terms of mass hypnosis or idolatry. 

For how else could otherwise well-educated and upright citizens condone and even applaud a mad megalomaniac who starts a war without knowing why, delivering death and suffering the world over? What does it say of people happy to be led by a man utterly without morals, without conscience, and without compassion? Not long ago, with appalling but typical coarseness of spirit, this draft dodger publicly celebrated the passing of a combat veteran he saw as his enemy—an act of crass cowardice to which his followers turned a blind eye.

I’m reminded of those science-fiction movies from the 1950s, where your smiling, all-American neighbors turn out to be aliens beneath the skin, except that, ironically, today we are the aliens, to be excluded and exterminated by ICE, the American Gestapo.

I told you that I’ve sworn not to revisit the US until after Trump and his kind are banished from office, which makes me feel sorry that Beng and I might not see you again for some time, if ever again. The fare situation seems to have made that moot. The way things are going, we can’t even afford a flight down south, let alone across the Pacific. To all those MAGAs and Fil-Ams who tell us to butt out of US politics because it’s none of our business, well, here’s the g—d—n proof: never mind my bellyaching about plane tickets and all the nice beaches I’m missing out on; our jeepney drivers are plying the streets for 12 hours a day with tears in their eyes because they can’t even make enough to cover the gas they’re consuming, let alone pay their operator their “boundary” or daily minimum. When our oil supplies drain out in a few weeks, the agony will worsen. Beng and I will get past this—we’ve been through worse—but the suffering for many poor Filipinos will be incalculable.

I know that you, too, are suffering the aches and pains of old age, and that my periodic bouts with sciatica are nothing compared to yours. Twenty years ago when we first met we were still flush with energy and optimism, full of ideas about books to write and places to go. We wrote most of those books and followed our respective itineraries. When you come to think of it, we’ve led far fuller lives than most people can even dream of.

We can be thankful for the past and for the life partners we have been blessed to share this journey with. We could not have been more fortunate than for you to have had Arthur for half your life and  for me to have Beng for most of mine. But we are not quite done yet. 

We cannot let the bastards win. Our mission is to survive—and to survive them. If only for that, you have to live to 95, or even beyond that, and I have to do the same, so that we might, before finally exiting, regain our cheer, enjoy humor without irony, feel unmitigated joy. Be strong, be safe, and bask in the afternoon sun.

Affectionately,

B.

PenmanNo. 483: High School Is Forever

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Penman for Sunday, March 8, 2026

ASK YOUR Boomer uncles and aunts what period of life shaped them the most, and I’ll bet you anything I have that their answer won’t be grade school, when they were still wetting their pants and wondering why God had to make the other, completely unnecessary sex as well. It won’t be college, either, by which time you were convinced you had the world figured out and that it was obliged to conform to your vision for it.

No, it’ll be that time of our lives that never seems to lose its vividness—not the metamorphosis of one’s body and of its most secret parts, not the quivering thrill of a first kiss or the crushing finality of a rejection, not the ecstasies and the embarrassments. That period, of course, is high school, when we all suddenly grew up, perhaps more in body than in mind.

If there’s any doubt that high school stays with us longest for the rest of our lives, just take a look at Facebook—today the social dominion of Boomers and Gen Xers, deserted by the young ones for Instagram, TikTok, and Discord. Some days you just don’t want to open Facebook because of all the flickering candles you’re bound to see—but you do, anyway, because you’re curious to know if Classmates X and Y are still together, how Classmate Z surely must have botox’ed or AI’d her way to that profile picture, and—on your Messenger or Viber group chat—when and where the next batch reunion is going to happen.

Ah, the high-school reunion! Time to look one’s best, to line-dance and to cha-cha, to trot out the family pictures, to share stories of doing the Camino and of struggling with sciatica, to scan the poundage on one’s old crush, to revive rumors and recriminations dormant for fifty years, to compare maintenance meds, Holy Land tour packages (well, maybe not right now), dermatologists and urologists, and adobo recipes. Most reunions are fun and happy, but not a few end up with someone grumbling, “I knew I should’ve stayed home!” While they say that time heals all wounds, nothing will tear the scabs off like a class reunion.

But then of course it all depends on the class chemistry, and I’m glad to report that mine has been blessed with extraordinary goodwill—maybe because, unlike many alumni batches, we don’t have class officers, we never published a jubilee yearbook (a surefire prescription for High School Horrors Part 2), and we don’t handle money beyond pooling it for impromptu causes.

A Subic sortie last weekend with my batchmates in the third cohort of the Philippine Science High School, which we entered in 1966, proved exactly that—get together for fun and food, no great overarching agenda like “Let’s contribute our talents to the betterment of the Filipino future!” (we’ve been doing that for half a century), just spend time chilling out, healing and commiserating, and feeling good to be alive, given that class reunions never really get larger over the years.

If there’s a group of people I know I should speak plainly and humbly with, it’s these guys and gals. If I think I’m smart, well, many of the folks I went to Subic with are certainly smarter—not just in math and science but in the complicated business of life itself (and I don’t mean just in making money—although some of them have done that quite nicely—but in such existential decisions as spending years in the revolutionary resistance and resurfacing to seek social justice in other ways). My friends are engineers, chemists, physicians, managers, educators, pastors, etc., all achievers and leaders in their own ways. But what I appreciate about them is that, in each other’s presence, no one feels obliged to boast about this and that—except perhaps about grandchildren. (Fair warning: if you start a bragging war in this company, you will lose.)

The thing about high school is that forty years down the road you could become a hotshot CEO or a senator, but your classmates will never forget when you were caught caricaturing the teacher or were busted by a crush or locked yourself in the restroom. High-school truths are for life, and you will never outlive your high-school self. That weekend in Subic allowed us to revert to those younger selves, albeit burdened by excess avoirdupois and challenged memory. 

My PSHS life was anything but studiously boring. I came in as the entrance exam topnotcher in 1966, almost got kicked out after our freshman year (my grade in English was 1.0 but in Math was 5.0, saved only by a letter of appeal in my best 12-year-old, 1.0 English).

Having gone to an all-boys elementary school, girls were an exciting mystery to me and I became something of a party animal and I jerked, boogalooed, and shingalinged to the Beatles, the Rolling Stones, DC5, the Bee Gees, Herman’s Hermits, the Monkees, Spiral Starecase, Procol Harum, the Hollies, Freddie and the Dreamers, Gerry and the Pacemakers, etc. etc. I sometimes came to these dances in a green-and-white striped turtleneck and red-and-green checkered bellbottoms. 

We watched “Woodstock,” “The Graduate,” and “Camelot” in the moviehouses of Avenida and Cubao, huddled around a black-and-white TV in a boarding house on Maginhawa Street to watch the moon landing, and marched in the streets shouting “Student Powah!” Our eyes popped when we stumbled on a cache of Playboy magazines in a friend’s house. We bought Lumanog guitars in Raon and followed “Shindig” and “Combat” and “Ang Hiwaga sa Bahay na Bato” on TV. Despite the Vietnam War and the stirrings of activism in our ranks, there was an innocence about the ‘60s that vanished in a poof when the ‘70s opened and the tear gas and the truncheons began to hurt us more than heartbreaks.

That weekend we didn’t talk about anything much more serious than ER and OR survival stories—followed by the familiar catalogue of metformin, statins, saw palmetto, vitamin XYZ—the sort of chatter that would turn Gen Zers catatonic. 

A war broke out above our heads and we all sadly agreed that the world we were leaving was worse than the one we entered. We knew something about wars, but thankfully also knew something about having a good time, in spite of time. We went home thinking that indeed, like it or not, high school is forever.

Qwertyman No. 177: Another Way to Lose Money

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Qwertyman for Monday, December 22, 2025

NEXT WEEK, after Christmas, my wife Beng and I are flying to a southern city—I won’t say yet exactly where—for a short break from the stresses of the season. (Surely you’ll agree that there’s no time fraught with more anxiety—and the entire gamut of emotion from euphoria to depression—than a Pinoy Christmas, from its tinkly inception in September to its grim, budget-busting conclusion post-New Year. Let’s not even talk about the traffic.)

Beng and I have done this for years now, making it a point to visit some local place the two of us have never been before—among them Balabac, Camiguin, Dipolog, Roxas City, and Virac, destinations usually passed over by tourists in search of thrills and spills outside our septuagenarian menu. 

We’ve done this out of a deep love for and interest in our country and culture, despite all the inconveniences we associate with local travel. We’ve never been first- or business-class-type passengers to begin with, and despite our age can take a few bumps on the road in search of native fabrics, fresh iterations of suman and fish tinola, and a dip under a waterfall.

In other words, tourism-wise, we’re the easy sell, the low-hanging fruit, with modest expectations and demands and a developed tolerance for discomfort (delayed flights, rough roads, no aircon, the occasional mosquito or cockroach).

Not surprisingly, it isn’t people like us who lift up the Philippine tourism industry. We remain heavily dependent on foreign visitors bearing dollars, won, and yuan, and those tourists—typically educated, digital-savvy millennials seeking leisure and adventure experiences—have literally a planetful of destinations to choose from, and the figures clearly show that even within Southeast Asia, we’re hardly their first choice.

A comprehensive report by Zhan Guo on the ASEAN+3 Macroeconomic Office (AMRO) website notes that while Philippine tourism has rebounded somewhat since the pandemic, major structural bottlenecks continue to restrain the sector from achieving its full potential.

The report notes that “Compared with ASEAN peers, the Philippines’ international tourism market remains relatively small. Even before the pandemic, the country lagged regional peers in foreign arrivals—8.2 million foreign visitors—well below Indonesia’s 16 million, Malaysia’s 26 million, Thailand’s 40 million, and Singapore’s 15 million. Moreover, foreign tourists remain concentrated in a few destinations: the National Capital Region and Central Visayas (home to Cebu) account for over 60 percent of total foreign overnight stays. Many promising sites remain underdeveloped or difficult to reach.”

In 2024, foreign arrivals barely reached 6 million. As of November 2025, we haven’t even hit 5 million. 

Completing the picture, AMRO notes that “Tourism has long been a cornerstone of the Philippine economy. In 2024, the sector’s gross value added reached ₱3.5 trillion—7 percent higher above pre-pandemic levels—and accounted for 13.2 percent of GDP. It also supported 4.9 million jobs, or 13.8 percent of the labor force. AMRO’s analysis shows that tourism-related industries—such as hotels and restaurants—can generate higher domestic value-added per unit of production input than the average for all sectors, making the sector a key driver of the country’s post-pandemic recovery.”

Now, these figures are helpful, and AI can spout them any time, but what we really need to hear are ground-level stories from real people—tourists and expats—who’ve been here long enough and who can tell us in all candor what we need to do to catch up with our neighbors. I know we Pinoys can be extremely sensitive to criticism, especially when it comes from white people who fly in from their comfort zones and begin to expect everything here to work just as well as they do back home, and who then broadcast their woes and gripes to the world like the Philippines was the foulest and most benighted place on earth, ever. I’m sure we’ve all met louts like these.

But then there are foreigners who actually and deeply love this country—sometimes more than some of us do—despite everything they and we have to bear with, and these are the friends we need to listen to. It was an online encounter with one such expat last week that triggered this column, when I came across the blog of a European who goes by the moniker “The Lazy Traveler,” who’s been living in the Philippines for over a decade now and has traveled quite a bit around the country and the region. 

Let me quote what he wrote (with some minor edits just to improve the flow):

“Main problem: accommodation is bad and overpriced. I’m planning a motorcycle route in Vietnam from south to north. Almost everywhere there, you can sleep for $3–$4. $10 already feels like luxury. In the Philippines, it’s hard to find anything under $10. The average is $25–$30, and the quality is usually terrible.

“I remember sitting at White Beach in Puerto Galera with a resort owner. He showed me rooms priced at almost $100 per night. Inside, everything was broken—doors, toilet flush, fittings. I told him, ‘Don’t be offended, but who is paying 5,000 pesos for that crap?’ His answer: ‘They come fifteen people, so it’s cheap.” (Sleeping on the floor and everywhere.) I asked why he doesn’t fix the rooms. He said, “It will be broken again in two weeks.” That mindset explains a lot.

“If I ride from Pagudpud to General Santos, the trip will cost me at least thirty times more than Vietnam, with more hassle and less comfort.

“Another big issue: transportation. If you don’t have your own transport like a motorcycle, roaming around the Philippines can be a horror—slow connections, overpriced tricycles, limited public transport, and wasted time. Mobility here often feels like a struggle, not freedom.

“Second issue: domestic flights are insanely expensive. Not long ago, Manila–Siargao was close to $400.

“Third issue: too many restrictions, no real freedom. Hiking? Register at the barangay.

Simple trail? Mandatory guide. Then come the fees: ‘local support’ fee, environmental fee, parking fee, toilet fee, shower fee…. That’s why some foreigners call it Feelippines.

“Not to mention the official Facebook page of the Department of Tourism—it’s full of Frasco and Marcos faces instead of destinations. With 1.4 million followers, their posts get 30–40 reactions. Sayang. (I checked the page, and it’s true—JD)

“I love the Philippines. That’s why I’m still here. But if tourism wants to improve, these problems need to be called out—not ignored.”

I’m sure this isn’t the first time we’re hearing these things, and that the government knows what it needs to do. The AMRO paper lays it all down: better transport connectivity, basic utilities and infrastructure, digital readiness, and visitor facilities. 

Now we need BBM to treat this like flood control: another way to lose a lot of money aside from thievery is not to make it when we very well could.

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.”

Qwertyman No. 168: A Vote at the Vatican

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Qwertyman for Monday, October 20, 2025

iN GERMANY right now attending the 77th Frankfurter Buchmesse or Frankfurt Book Fair as a member of the Philippine delegation, I’ve been fortunate to engage in many interesting discussions with German journalists and fellow writers from all over. But one of the most important and frankly troubling conversations was one I had with a Filipino writer now based in Italy, someone with a deep knowledge and understanding of the political situation in his home country and particularly in Mindanao.

“There are two Philippine embassies in what most of us simply call Italy,” my source explained to me. “One is in Rome, and the other, called the Philippine embassy to the Holy See, is in Vatican City, which is a sovereign city-state. Most overseas Filipinos in Italy—over 100,000 of them, mostly domestic helpers and nurses—cast their votes for Philippine elections in our embassy in Rome. Those in the Vatican—priests, nuns, and other religious workers—vote there.”

“And so?”

“This is where it gets interesting. During the most recent midterm elections, where OFWs could vote for senator, there were 23 votes cast at the Vatican for Apollo Quiboloy.”

I had to let that sink in for a moment. “Wait a minute—you’re telling me that two dozen Catholic priests, nuns, and whoever at the Vatican voted for a disgraced and now imprisoned cult leader who calls himself the Appointed Son of God and New Owner of the Universe? Are you sure?”

“I couldn’t believe it myself,” he answered, “so I double-checked that with our embassy there, and they confirmed that it was true: Pastor Quiboloy got 23 votes in the Vatican. Now, I can try to understand if some Filipino Catholics would still vote for Duterte despite everything, but Quiboloy?” He shuddered. “That shows how far we have to go, and how we can’t assume that the Dutertes are spent as a political force.”

I had to laugh at his story, but it was laughter of the nervous kind, born out of irony than mirth. “Here we are in Frankfurt,” I said, “attending the world’s largest and oldest fair devoted to books and literature, to novels and fiction of the most imaginative variety, with many of us having a hard time selling our stories, and then comes along this Quiboloy tale that seems to show that people will believe the craziest things. This is fiction, popular fiction!”

You had to see the humor in the situation—I can easily imagine a cartoon depicting a soutaned priest receiving absolution from Quiboloy garbed in, well, shiny robes befitting a New Owner of the Universe—but its implications were anything but comic. It meant that presumably sane deeply spiritual men and women, living and working at the very heart of the Catholic faith that defined their lives, had found common cause with an accused sex trafficker and abuser of minors. Sure, the accusations remain just that until they’re proven, and sure, these Vatican voters were merely exercising their democratic rights. 

But really? Quiboloy? Might the pastor’s claim of bearing “the exact DNA of the Almighty Father and the New Jerusalem” and of being “the bodily manifestation of the unseen God” have resonated with them? Could they have been enticed by his devotion to “enthroning prosperity and abundance, and (being) a trustworthy steward of the Father’s financial business on earth”? 

Whatever the reason, it’s clear that the Pinoy’s political imagination is capacious enough to combine disparate perspectives and philosophies into one noggin. Pope Leo? Sure, obey. Senator Quiboloy? Sure, support. 

All throughout my talks here in Frankfurt, I’ve been asked who and what the modern Filipino is, and my best response has been to assert that the Filipino (and the Filipino nation) continues to be a work-in-progress, a compound of various historical and cultural influences contending for primacy. An example I conveniently cite is that of a New People’s Army cadre, presumably Marxist, who remains a practicing Christian and prays to Jesus, but who also begs the indulgence of resident spirits when he passes an anthill in the forest. We’re seguristas, investing in alternative fortunes. 

That’s not to say we don’t have people who think only one way and not the other—thankfully many if not most of us still stand on some kind of principle—but the exceptions make more interesting subjects of study. In this regard, Quiboloy’s Vatican voters may have been DDS who saw no contradiction between their Catholic faith and Dutertismo (something we’ve seen and continue to see among the religious, especially in Mindanao). 

I suddenly recalled an article published on Rappler in July 2020 by Fr. Amado Picardal, CSSR, who wondered aloud why so many of his colleagues, including a university president, openly rallied behind a man who cursed God and the Pope. He wrote: “In the religious community where I was living, most supported his candidacy, and I felt like a lonely voice warning them about the dire consequences…. One confrere proudly told me to my face that he was voting for Duterte, knowing my stance. A seminarian wore a Du30 bracelet. There were three confreres who posted their photos on Facebook doing a fist bump. A contemplative nun campaigned on Facebook for him and even made her pet dog wear a Du30 collar.” Fr. Amado offered some explanations: regionalism, the Left’s deluded belief in Duterte’s progressive pretensions, his strongman appeal. 

Given these, the Vatican result makes more sense, without offering any comfort to those of us who might have been under the illusion that proximity to the Vicar of Christ and Successor to the Prince of the Apostles induced enlightenment. Being the New Owner of the Universe apparently exerts more power, even from prison, and we should be afraid, be very afraid.

(Image from aleteia.org)

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. 151: For Don, a Meditation

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Qwertyman for Monday, June 23, 2025

(Photo of Los Cabos by Kurt Nichols)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Qwertyman No. 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)