Category Archives: UP

Qwertyman No. 197: Cultural Lobotomy

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Qwertyman for Monday, May 11, 2026

OUR FRIEND Toym Imao, among our most talented and productive sculptors, also serves as dean of the UP College of Fine Arts where my wife Beng teaches art conservation. Lately, like many academic administrators, Toym’s been feeling embattled because of the lack of resources given to his college, whose buildings may look new and good on the outside but whose roofs leak, among other ailments and deficiencies. (At least they have a building; my home College of Arts and Letters is still a vagrant in Diliman, more than ten years after the Faculty Center burned down.) Beng—who envisions the creation of a formal art conservation program and center in UP to serve the country’s longstanding needs in this area—sometimes has to teach in the garage of our campus home for lack of table space in their department. 

Let me quote a few salient lines from Toym’s self-described “rant,” which he published online:

“When students are treated as customers (rather than our future), when education becomes a service (than a mission), and when institutions are driven by metrics, compliance, and efficiency, we lose something essential.

“We lose the art school as a space of imagination. As a space of critique and discourse. As a space where we form not just skills, but ways of thinking. A space of engagement and confrontation. A space to take risks and make mistakes in a nurturing environment.

“An art school is not a diploma factory, it is a well of souls, it is a spirit house. If we lose these purposes, we do not just weaken education. We weaken our culture, we lose our spirit as a nation.”

But now Toym & Co. are up against an even bigger enemy, beyond leaking roofs and bureaucratic indifference: a government-sponsored initiative to gut the humanities and to bleed it out of the college curriculum so young Filipinos could enter the workforce sooner. 

The comeuppance of certain pseudo-journalists aside, no issue stood out in our FB feeds over this past week as much as the widespread outrage over the Commission on Higher Education’s proposed “Reframed General Education” program, cutting required GE units from 36 down to 18. They’ll do this by shoehorning the old (and already much-compressed) arts and humanities courses into such brainy-sounding but essentially hollow subjects as “Data, Evidence, and Ethics in a Knowledge Society” (which sounds to me like a puffed-up way of saying “Don’t use AI to plagiarize and write your homework,” which I’ll bet is how it’s going to be taught).

It isn’t hard to imagine how this act of cultural lobotomy came about: the CHED people were given marching orders from the start to find a way of cramming some GE subjects into a three-year curriculum. Never mind what kind of chop suey recipe they would come up with—like mixing a smattering of Philippine history into a sludge of Rizal; just fit everything in three years, and all will be well. 

I’m not even going to discuss in detail how and why the CHED proposal is such a sad, silly, an even stupid solution to a problem that, to begin with, is ill-defined. You can look up the analyses of people more attuned to the theory of education than I am—aside from Toym Imao, experts like Profs. Antonio P. Contreras, Mark Joseph Calano, and Jose Wendell Capili have already written extensively about this, and about the necessity of the humanities in our formation as humans and citizens. 

I will, however, raise a few points and questions for further thought:

Is the problem employability, of not teaching our young the skills our workplaces require? Are the arts and humanities–including language and history—therefore excess baggage that workers don’t need to do their jobs well?

General education isn’t about creating unemployable artists. It’s about helping ordinary people think like artists do—creatively, intuitively, critically, out of the box, to find better viewpoints and solutions than numbers alone can provide. And speaking of unemployed artists, why not build up and support creative industries like South Korea and other countries do, to channel our natural abilities in design, performance, and expression into globally competitive endeavors?

And who and where are the synoptic geniuses who are going to teach these massively integrated courses? Instructors who have a hard time teaching even basic English, and whose own grasp of history and philosophy is tenuous at best?

There’s a lot of the “digital” in the “reframed” GE program, a nod to the pervasiveness of the Internet and AI in education. But the real challenge is not how to detect and use AI, but to be naturally intelligent: to think and reason for yourself without reaching for your phone.

Bad education isn’t going to fix a bad economy and bad governance. But a good education that teaches young people the difference between right and wrong and between good and bad—and only the humanities can do that—will help them elect good leaders who can then make the best decisions for our economic well-being. 

“We have to do something!” cried Beng, as always the more ardent activist between the two of us. “Let’s rally in front of CHED. Let’s show them how strongly we feel about this issue!”

Of course I’ll go march with Beng wherever she goes, but I suspect that in this day and age, rallies don’t work as well as they used to. You’ll shout yourselves hoarse telling your co-marchers things they already know, while the people inside the office go about making coffee and sharing BTS chismis. You might get on the evening news, in between a mugging and a fashion piece.

You have to find the people who can actually change policy, and exert pressure there. They’re in Congress and the Senate, which controls the pursestrings and can make state university presidents and agency heads mumble like marionettes at budget hearings.

The trouble is, even people you’d expect to know better don’t seem to know any better. Sen. Sherwin Gatchalian, who chairs the Senate Basic Education  Committee while co-chairing the influential Edcom 2, is behind the push to cut college down to three years. His proposed Senate Bill 51 aiming for just that is the wind behind the CHED technical committee’s wings. That leaves us with Higher Education Committee Chair Loren Legarda, a staunch champion of the arts and culture, to bear the burden of our arguments in the arena where it matters.

She’ll have a lot of championing to do, against the likes of Sen. Robinhood Padilla, (mind you, the one in charge of constitutional amendments) who has opined that the job of opposition senators is, well, to oppose anything and everything. Indeed, the fact that we have people like him in the Senate is the best argument for a strong GE program—not just to educate them, but to make sure young Filipinos don’t vote donkeys (I’m using the kinder term here) into the Senate ever again.

Just thinking about it makes me want to put on my marching shoes, and I don’t care if Beng and I end up shouting into the wind. 

Qwertyman No. 196: Caught in the Crossfire

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Qwertyman for Monday, May 4, 2026

THIS IS a piece I dread writing, knowing that I am bound to say something over the next thousand words that will almost certainly offend, dismay, and even enrage some people who might have thought better of me otherwise. But I also feel that it will be a gross dereliction of the duty that comes with the privilege of being published on this page if I avoided commentary on one of the most painful headlines to have sprung up this past week. 

I am not a political scientist, a theorist, or a coffeeshop regular with access to backroom information, so as I often do, I will draw on personal memory and experience—on the distant but insistent past—to reflect on the present.

I refer, of course, to the recent deaths of 19 young Filipinos—two of them American citizens—at the hands of the Philippine military in Toboso, Negros Occidental in what the military described as an “armed encounter,” which a New People’s Army spokesman denounced as a “ruthless massacre” that included civilian students and activists embedded in the community.

It is not difficult for me to see how a bright young college student like Alyssa Alano would find herself in that far-off barangay, living with the locals and studying their way of life. I think she and her comrades knew the risks of being there and getting caught in the crossfire of a long-running war. Whether they believed or not in the armed struggle, they entered its deadly embrace. Even RJ Ledesma’s presence in a combat zone, I could understand. As an 18-year-old reporter at the Philippines Herald, I begged my editors to send me to Isabela, when we heard that a ship called the Karagatan had arrived to deliver arms to the NPA; I was certain it was a government plot (it was not) and wanted to discredit it. The desk sagely ignored me.

But one thing I can assume is that Alyssa & Co. were spurred by a genuine desire to serve the people, in that particular way, in that particular place and time. We may disagree with the methodology and certainly the results, but we can grant them the sincerity if not the nobility of their intentions. 

I recall a summer back in the early 1970s when I joined a cohort of UP Nationalist Corps members—mostly city-bred teenagers—in week-long “learn from the masses” trips to the countryside in Quezon and Bulacan where we lived with the common folk and subsisted on our purposely meager rations and whatever shrimp we could catch in the leech-infested river. There were no NPAs with us, nor did anyone indoctrinate us; we were there to realize our fundamental ignorance of and disconnection from the vast majority of our impoverished people. However, I have to admit that if the purpose of these sorties was to de-romanticize life in the countryside, to steer our perceptions away from Amorsolo’s gilded sunsets, the effect (at least on me) was the exact opposite. I came away even more convinced that struggle and sacrifice in the midst of suffering were heroic. The experience only confirmed what I had read in high school, in William Pomeroy’s The Forest, detailing the arduous treks of the old Huks in the mountains: I was looking at hard reality through a soft lyrical lens.

If I had not been arrested and imprisoned here in Manila in 1973, I would very possibly have gone on to the countryside, like many of my comrades did, and been killed within two weeks because of my sheer incompetence and ineptitude at guerrilla warfare, which most college boys and girls are simply not trained to do (and then again, quite a few learned and survived). 

And that perhaps was the most traumatic part of those times—receiving and viewing the horribly mangled bodies of our fallen friends, hearing the screaming at the UP Chapel over someone whose skull had been blown open: “That’s not him, that’s not him!” There was much criticism last week of someone’s use of “corned beef” to describe the Toboso dead as crassly inhuman, but I can confirm that it was a term we ourselves used—carne norte—for the bodies that came back shredded not even in hermetic body bags but in rice sacks.

Now we, too, have been caught in the crossfire, horrified by the wanton slaughter of our young but unsure of whom and what to believe in. An independent inquiry is absolutely called for, yes, to establish what happened, determine accountability, and define the rules of engagement in these circumstances. The brutality of that assault was barbaric in its execution. But exactly who are accountable, and what for?

I worry that these remarks could create more confusion than clarity. But sometimes we need to be unsettled or unmoored from our stoutest presumptions to begin to understand ourselves, and what we believe in, and why. One thing I’ve noticed about both extremes on the Left and Right is how certain they seem to be about everything, as if they had the whole universe and its rights and wrongs all figured out, and expect nothing less than absolute belief and compliance from their recruits and adherents. At one point in my life this was true of me; I could quote from Chairman Mao’s “Little Red Book” chapter and verse, and lived by its tenets (or at least tried to, inevitably failing in matters of personal discipline).

As I grew older, I began to appreciate the value of doubt, and even of skepticism. Mao may have been a brilliant revolutionary, but he also became a fat and filthy sexual predator (whose tomb I even visited twice in Beijing). The organ that generations of idealistic young people venerated turned out to be as murderous and as cynical as its professed enemies. 

If I were asked to advise a granddaughter or a nephew in college how to fight for justice and freedom, and if that girl or boy seemed intent on joining the armed struggle, whether as an observer or combatant (note that the military does not distinguish between them), this is what I will probably say: “I cannot stop you from doing what you so fervently believe in, because I would have done the same thing in my time. But think about this, before you go: your time is different, and many things have changed. I know that poverty and injustice have not gone away, and may even have worsened. 

“But if there is something that half a century of struggle has taught us, it is that violence, however justified, never really works; it will only be met with even greater violence, with tragic results for all. The harder battles to fight are right here—in the communities you know and can influence, for the issues that matter to them. You do not need to go far to reach the suffering and the underserved: they are around you, wherever you turn. 

“Fifty years ago we may have had little choice but to go underground; today we have civil society to embrace your causes. Call me defeatist, cowardly, or myopic, or even a comfort to the enemy; but I remain alive and fighting for truth, justice, and freedom the best ways I can, which include what I’m telling you now—the strongest weapons are in your hearts and minds, not in your hands.”

Penman No. 485: Forever Young—in Yearbooks

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Penman for Sunday, May 3, 2026

THERE’S SOMETHING terribly sad and yet also strangely soothing about thumbing through the pages of college and high school yearbooks from decades past. As a diehard UP alum and collector of UP memorabilia, I’ve accumulated a stack of yearbooks from the University of the Philippines called the Philippinensian (a name likely inspired by that from one of UP’s formative models, the University of Michigan’s Michiganensian). 

Going through them inevitably fills me with what I know to be a naïve longing for seemingly simpler times; the past gets rosier the farther we move away from it. But these images, imbued with innocence, still offer relief from today’s sordid realities. When I look at the youthful visages of such figures as Juan Ponce Enrile and Jose Ma. Sison, I am reminded that we had choices, and that, while indicative, college could be too soon to plot the full trajectory of our lives. Yearbooks are also, of course, an intellectual and social history of the university itself, balancing the frilly fun of a Cadena de Amor with the sonorous seriousness of editorial commentary.

The first issue of the Philippinensian came out in 1915, seven years after UP opened in 1908—occasioned, argued its editors, by the realization that “There has heretofore been little consolidation of interests on the part of students of the University and the so-called University spirit, which should be stronger here because of the maturer quality of the students enrolled, was subordinated to the college spirit.” (I was fortunate to find a copy of this maiden volume, once owned and signed by Guillermo Tolentino.) 

In 1928, the Philippinensian apparently assumed the name of UP Alpha. If you studied then at the College of Liberal Arts your professors would have been people like Maximo Kalaw, Conrado Benitez, H. Otley Beyer, Vidal Tan, Carlos P. Romulo, Maria Agoncillo, Paz Marquez Benitez, Manuel Bernabe, Jose P. Laurel, Marcial Lichauco, Mauro and Mendez, and Pura Santillan. The college’s editorialist expressed the tenuous hope that education would resolve the class struggle: “Far out in the villages away from cities reign ignorance, selfishness, suspicion, all things that a life of isolation and narrow-mindedness afford. We recognize the need for light in those nooks, that light which will add strength of vision to the eyes of the unlearned, which will make them see the invisible ties that unite hearts the world over. We are aware of the selfish exploitation of the poor by those who have greater cunning, and higher intelligence; but we believe that the broadening of the sympathies of the latter and the opening of their closed, hard hearts will banish away all suspicion and hatred that rend souls asunder.”

A decade later, the 1938 Philippinensian opened with a dedication to that year’s commencement speaker, Field Marshal Douglas A. MacArthur, followed by postcard-worthy shots of UP’s Manila campus, carefully curated to show off its best facets. The staging creates ironic if not tragic overtones, especially when taken with the photographs at book’s end of UP’s cadets in smart formation, many of whom would march into the maw of war in a few years. Padre Faura itself would be bombed to ruins, albeit with the Oblation statue still standing defiantly.

After the war, with school having been closed for a while and the whereabouts of hundreds of students and graduates unknown, the Philippinensian resumed in 1946 under the temporary banner of the UP Phoenix 1942-1946, to cover the lost years. The yearbook staff could only note that “Some letters [of invitation to the yearbook] were received postmarked ‘return to sender’ for various reasons: “addressee unknown,” “no such address,” “moved.” In many cases, the addresses were among those burned or shelled during the war. In a few cases, the graduates were already dead. But so long as there was a clue, no matter how unreliable, the staff did not fail to track it down, sending letters, again and again, to the same person, at different addresses.”

Among those who fortunately responded were Narita Manuel of San Andres, Manila, BSE 1942 (soon to marry a writer named NVM Gonzalez); Damiana Ligon Eugenio of Cabanatuan, Nueva Ecija, BSE 1942, cum laude(long before assuming the deanship of Philippine folkloric studies); and Renato Constantino of Manila, PhB 1946, cum laude, then already working for the Malacañang PR Office. (There were no privacy issues then, and one’s full address could be published at will.)

The closer we get to the present, the more familiar the names become, although their juvenile faces always come as a surprise. My mother Emy—who turns 98 next Sunday—was among those who first made the move from Padre Faura to Diliman. She appears as Emilia A. Yap, BSE, from Guinbirayan, Sta. Fe, Romblon, in the 1953 Philippinensian, a volume in which also appear such luminaries as Rafael M. Salas, Rony V. Diaz, Amelia Lapeña, Andrez Cristobal Cruz, Jose T. Joya, and Napoleon V. Abueva. For many alums, the ‘50s were UP’s golden age, and the yearbook reflects that; with the war over, it could claim that “The UP spirit is of beauty…. The tradition of looking for beauty everywhere, even where none is supposed to exist, is born… to temper an otherwise skeptical, cynical mind.”

But by the end of that decade, on the cusp of the ‘60s, and in the midst of the great debates between secular liberals and sectarian conservatives on campus, UP had to be ever reminded of its unique position as social critic. Introducing the 1958 Philippinensian marking UP’s golden jubilee, E. San Juan intoned that “Ours is an age of rebellion…. Man of the twentieth century… strives for a blessedness yet unbestowed, the blessedness incarnated in him as rebel-artist.” Petronilo Bn. Daroy would warn the following year that “It is at this point that we begin to see the estrangement of the university from the mainsprings of life, from the fact of the national reality. With politics controlling the focus and acting as guidepost from which the university must stand to gain its angle of vision, the reality that is revealed for inspection is necessarily fragmented and false.” 

UP’s vibrant social and cultural life continued, with the fraternities and sororities leading the way. The yearbooks lauded the smartest and the prettiest. But the dark clouds were gathering, and the mood was shifting. Writing in the 1966 Philippinensian, Temario C. Rivera began his essay with a stinging line: “Frivolity has always been the most vicious stigma of youth.” But, he concludes, invoking protests around the world, “The youth have finally come of age.”

In a few more years, the First Quarter Storm and the Diliman Commune would erupt, and the last Philippinensian would come out in 1971; the last Cadena de Amor had taken place in 1968. Many of those street warriors, myself included, would live on to their seventies and eighties, brandishing canes and hostage to metformin.

But in these yearbook pages, full of faces brimming with hope and idealism, we remain forever young and forever free.

Qwertyman No. 184: What I Told the Fil-Ams

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Qwertyman for Monday, February 9, 2026

LAST WEEK, at the Executive House of the University of the Philippines where he officially resides, UP President Angelo “Jijil” Jimenez graciously hosted a delegation of about twenty Filipino-American business and community leaders from San Diego, California, led by our honorary consul there, Atty. Audie de Castro. 

I was happy and proud to have helped facilitate this visit, having some close personal and professional ties myself to San Diego. Our unica hija Demi married a San Diegan, and has happily lived there with her husband Jerry for almost 20 years now. My wife Beng and I visit her nearly every year if we can afford it. 

San Diego also happens to be where a dear friend of mine, Mrs. Julie Hill, lives in a lovely home in Rancho Sta. Fe. Julie stayed in the Philippines for some years many decades ago when her husband was the Ford Foundation representative here and fell in love with the country and its people, and despite having traveled and served all over the world, the Philippines retains a special place in Julie’s heart. The last time I dropped in on her a year ago, Julie (who’s approaching 90) announced that she was donating what came out to more than P20 million to help the poorest of UP students. Atty. De Castro helped to formalize that donation as our consul in San Diego, cementing our relationship.

Professionally, but through Julie’s recommendation, I also served as Pacific Leadership Fellow in 2014 at the University of California San Diego, where I had previously lectured on Philippine-American affairs. Beng, meanwhile, observed operations and state-of-the-art techniques at the Balboa Art Conservation Center.

In other words, we’ve established rather close ties to this sunny and vibrant city in Southern California, where many generations of Fil-Ams have taken root, mainly because of the US naval base there, where thousands of Filipino sailors recruited from the Philippines have served. That’s how Demi’s in-laws came to San Diego from Bicol, their children born as Americans but deeply mindful of their Filipino heritage.

Many of our visitors never saw the Philippines until they were grown up, and I think most were setting foot on the UP campus for the first time. So we gave them the warmest reception and the best orientation we could, and engaged them over lunch in a lively discussion.

One of them asked: “What is the Filipino dream?” My UP colleagues responded to that in various ways, coming from different technical and academic disciplines. I tried to give a pedestrian answer: “The Filipino dream is actually a fairly simple one: a roof over one’s head, food on the table, a good education for the children, peace and justice in our communities. We dream for our families. But like all seemingly simple things, achieving that dream is difficult and complicated.”

The visitors had earlier asked President Jimenez about UP’s role in national leadership, and beyond citing how many presidents, senators, and Supreme Court justices we’ve produced—which, to be honest, has also contributed to the ruination of our nation—Jijil emphasized the value his administration places on service to the Filipino people, which can manifest even from beyond our shores. He spoke of UP sharing its knowledge and resources with other SUCs, of UP assuming its responsibilities as the country’s national university—a concept perhaps alien to the American situation but entirely relevant to ours. (I was aware, of course, that UP has many internal issues and priorities of its own to sort out—it always has, regardless of administration.)

A more challenging discussion was one that I had on the side with two ladies who admitted that they represented two ends of the American p0litical spectrum, but had managed to remain friends despite their differences. Their question for me was, what did I personally think of what was happening in America?

No longer in UP spokesman mode, I could have answered as bluntly as possible, but I wanted to give them the more nuanced answer their friendship deserved. 

I began by saying that I considered myself an exemplar of American colonial education, having gone to a private elementary school in the 1960s where I learned about “heifers” and “mackinaws” long before I ever got to see real ones, and even memorized American states and their capitals, to the dismay of my future American friends when we played Trivial Pursuit. I shed off much of the mystification as a student activist in the 1970s and took a far more critical view of the American influence over our history, economy, and politics. 

But the indoctrination was so effective that I retained a fundamental affection and even admiration for many aspects of American culture and technology, and maintained a lifelong and ultimately professional interest in the US. I studied and worked for five years in the Midwestern heartland, in Michigan and Wisconsin, I taught American literature—not just in UP but in America itself, to college students who seemed surprised that I seemed to know more about their country than they did. Not just because our daughter lives there, I continue to follow American affairs keenly, starting my day with the digital editions of the New York Times and the Washington Post (the latter now sadly degraded).

What I told them was that this America was no longer the America I once thought I knew and looked up to, despite its excesses. I said I thought I understood, at least in part, where MAGA was coming from, in the neglect of the American working class and their anxieties in a rapidly changed world. At the same time, Donald Trump had ridden on those grievances to empower and aggrandize himself and the billionaire elite, trampling on the very liberties that had once defined American democracy, imposing his racist and imperialist vision of America, and endangering global peace and security. The shootings in Minnesota were profoundly shocking and depressing. I said that as much as it saddened me, with loved ones in the US, I did not plan on visiting America again until this madness had passed. If even American citizens could be dragged by masked men into vans and summarily deported to El Salvador, then I did not want to risk an encounter with the American Gestapo.

I could have added that both Americans and Filipinos, as polarized as we have become, need to find some common ground, as we share problems that cut across our differences. Bu the time was short, and we sent our guests off with a smile.

Qwertyman No. 183: Lawyers for the People

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Qwertyman for Monday, February 2, 2026

I MIGHT have become a lawyer in another life, given that, back in the sixties, the profession of law still carried with it a certain gravitas, a presumption of not only intellectual brilliance but a commitment to public service. The best of legal minds found themselves in the Supreme Court and the Senate, and the latter was studded with such stars as Jovito Salonga, Jose Diokno, Arturo Tolentino, and Tecla San Andres Ziga. (To Gen Z’ers unfamiliar with these names, Diokno topped both the bar and CPA exams—despite the fact that he never completed his law studies, for which the Supreme Court had to give him special dispensation, and was also too young to be given his CPA license, for which he had to wait a few years. Ziga was the first woman bar topnotcher.) 

My father studied to be a lawyer, but other priorities got in the way; his dream would be achieved by my sister Elaine and my brother Jess. As for me, activism and martial law happened, and in that environment where the law as we knew it suddenly didn’t seem to matter, I lost any urge to enter law school, and chose between English and history instead.

Thankfully, many others saw things differently, and now make up the cream of the profession, appearing on lists such as the Philippines’ Top 100 and Asia’s Top 500 Lawyers. Their skills are formidable—I’ve been told that some senior lawyers are so sharp (or so, shall we say, highly persuasive) that they can get a Supreme Court decision reversed—and their fees will certainly reflect that.

But my utmost admiration is reserved for lawyers who have devoted their careers to that portion of the Lawyer’s Oath that says: “I shall conscientiously and courageously work for justice, as well as safeguard the rights and meaningful freedoms of all persons, identities and communities. I shall ensure greater and equitable access to justice.” 

No better group of lawyers represents that than the Free Legal Assistance Group or FLAG, founded in 1974 by Diokno himself, then newly released from prison, together with Lorenzo M. Tanada, Joker P. Arroyo, Alejandro Lichauco, and Luis Mauricio, all fellow members of the Civil Liberties Union of the Philippines (CLUP), as martial law entrenched itself and civil liberties became increasingly threatened. 

In the half-century since then—documented in FLAG’s anniversary book Frontliners for Human Rights: FLAG of the People @50 (FLAG, 2025)—FLAG has worked to locate and release desaparecidos, or persons abducted by State agents, fight the death penalty, defend victims of extrajudicial killings, and contest the Anti-Terrorism law, among other key initiatives.

“From its birth, FLAG has kept faith in its philosophy of developmental legal advocacy—the adept use of the law and its processes and institutions not only to secure rights and freedoms but also to change the social structures that trigger and perpetuate injustice,” FLAG reports. “Over 50 years, FLAG has handled over 9,052 cases and assisted over 9,591 clients throughout the country. These figures are merely a fraction of the cases FLAG has handled, and the clients FLAG has served nationwide. The number of FLAG clients excludes the communities and barangays who had experienced massacres and hamletting, urban poor communities whose homes had been demolished, and landless farmers and tenant farmer associations, whose numbers are impossible to count. Overall, FLAG’s rate of success ranged from a low of 66.89% (in 1989) to a high of 79.11% in 1990. On average, FLAG has won 7 out of every 10 cases it has handled, or an impressive success rate of 72.92%.

“FLAG has always provided its legal services, free of charge. In line with its core mandate, FLAG renders free legal assistance primarily to those who cannot afford, or cannot find, competent legal services. FLAG counts clients among the urban poor, students, indigenous peoples, farmers, fishers, political prisoners, and non-unionized or non-organized workers.”

These gains have come at a huge personal cost—no less than 14 FLAG lawyers have died in the line of duty, presumably at the hands of State agents. FLAG lawyers have been Red-tagged, harassed, and put under surveillance. 

That hasn’t stopped its lawyers from pursuing their mission under its current Chairman, former Supreme Court spokesman Atty. Theodore Te. The need for their services certainly remains, with the Philippines ranking 38th out of 170 countries in the world in the 2023 Atlas of Impunity released by the Eurasia Group for “impunity,” defined as” the exercise of power without accountability, which becomes, in its starkest form, the commission of crimes without punishment.”

We can only wish Ted Te and his courageous colleagues well, as they operate in an environment more complex in many ways than martial law.

Speaking of law books, I’d like to recommend another book that was launched just recently, Constitutional Law for Filipinos: Mga Konsepto, Doktrina at Kaso (Central Books, 2026) by Atty. Roel Pulido. One of our leading environmental lawyers, Atty. Pulido teaches Constitutional and Environmental Law at Arellano University, where he also serves as Director of the Office of Legal Aid. 

“This is a project designed to be a learning aid,” says Roel. “It has a few unique features. First, It does not explain each and every Article of the Constitution. Instead, it focuses on Constitutional law concepts. Each concept is explained in simple language. Then Supreme Court rulings explaining the concepts are quoted. And in a box, I have placed a short and simple Filipino explanation of the concept. Second, the cases are quoted to explain and elaborate each concept. Instead of including all the convoluted issues in one case, it focuses only on the topic at hand. Third, the doctrine of each case cited is summarized in a sentence in both English and Filipino.”

We need more books like this that make the ideas and the language of the law more accessible to ordinary Filipinos. That’s the first requisite of legal literacy, which is also a form of empowering people. FLAG and Atty. Pulido are the kind of lawyers I would have wanted to become.

Qwertyman No. 182: Artists, Athletes, and Avatars

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Qwertyman for Monday, January 26, 2026

SOCIAL MEDIA was abuzz last week with mainly praises for but also some questions about Hidilyn Diaz’s appointment to teach weightlifting at the University of the Philippines in Diliman. 

I don’t think anyone doubted the Olympic gold medalist’s mastery of her subject. One post that went viral, however, wondered whether the athlete had what it took to teach at UP, considering that all the preparation she would have received was a four-day orientation the university gives all new faculty members. 

To be fair to the questioner, her concern was legitimate, taking Hidilyn the sports celebrity out of the picture for a minute. As I’ll discuss later, proficiency in a talent or profession doesn’t necessarily translate to good teaching. 

To be fair to Hidilyn, unlike many Filipino athletes, she’s no stranger to the classroom, having graduated in 2023 with a bachelor’s degree in business management from St. Benilde, after several interruptions because of her training and the pandemic.

I have no doubt myself that despite her lack of teaching experience, Hidilyn will be a fine, welcome, and indeed a prize addition to the UP faculty roster. Her presence alone will galvanize student interest in her sport, and in UP athletics in general. 

Her teaching, I’m pretty sure, will take care of itself. Having trained with some of the world’s best coaches, she will not lack for topics and techniques. What will probably challenge her the most will be her transition from star to student—as the learner of teaching that she will have to be. Her students will have to get over their awe of her celebrity to imbibe her lessons. 

Her first year will be fraught with both exhilaration and frustration, as the enthusiasm and even the ecstasy of teaching are weighed down by the drudgery of academic bureaucracy—particularly in UP which, despite its leadership in many fields, remains a laggard in the prompt payment of salaries for new hires.

The fact that we’re even talking about this shows how far we’ve come from the past, when a good reputation was enough to get you in front of the blackboard.

The problem here isn’t Hidilyn, and not even just UP itself, but a global academic culture that seems to have been taken over by the accountants and professional managers from the dreamers. 

I have nothing per se against the numbers crunchers, who are central and vital to every modern university’s survival. But the seemingly ceaseless demand for performance metrics to justify budgets, promotions, and bonuses—a mind-numbing exercise for staff already exhausted from their regular chores—can produce a false dazzle that favors consistency of delivery and even of mediocrity over originality, non-conformity, and inspiration.

As a writer and also a professor and former university administrator myself, I can appreciate the peculiar challenges of recruiting and sustaining what we might call non-traditional academics like creatives and athletes in this kind of environment. You need them to identify and develop their successors among their students; conversely, many of them also need the security of a job. 

But teaching is its own art, its own sport, its own discipline—and I know, from sad experience, that not all artists and athletes, no matter how gifted they may be in their fields, can teach. Some lack the people skills and the empathy the classroom requires; the most expressive artists can be woefully inarticulate, the lithest athlete inexplicably clumsy. 

Those who do connect—performers who know their audiences and who value contact and feedback and continuous learning—become the best teachers.

Many of them might not even meet today’s stringent entrance standards. UP’s College of Science, for example and for good reason, now requires a PhD of its teaching applicants. The humanities and athletics obviously can’t enforce that rule, given that there are Literature PhDs who can’t write a decent poem and SportsEd PhDs who can’t swim.

On the other hand, some very fine writers have taught at UP without even a bachelor’s degree because of their extraordinary talent, notably NVM Gonzalez, IP Soliongco, Jose Lacaba, and Ricky Lee. 

This will be self-serving, but no better example of that kind of avatar exists at UP today than my wife June, who has been teaching the very first course in Art Conservation at the College of Fine Arts as a senior lecturer for the past three years.

Now 75, June came into teaching late in life, after a long career in the arts as a graphic designer, watercolorist, and for the past quarter-century as an art restorer and conservator running her own studio. Few people in this country (excuse the proud husband speaking) have her skill and experience, having worked on all the Filipino masters from Luna, Hidalgo, and Amorsolo onward, including the Spoliarium. She had always dreamt of teaching, knowing how few authentic and scientific conservators there are in the Philippines, and the need to train the young.

The only problem was, as a student activist, she had left UP under martial law a few units short of completing her Fine Arts degree. She married me, worked, became a mother, and never went back to school.

But she did train long and hard in conservation and restoration with the Agencia Internacional of the Spanish government, practically every day for a full year, in a program more rigorous than a master’s. On the strength of that training and her experience—she and her team have restored the collections of the Central Bank, the Philippine National Bank, and the GSIS, among others—she was taken in by UP to advise the administration on conserving the university’s vast art collections, leading to her appointment as lecturer (for a subject that, frankly, no one else in UP can teach right now). Aside from her classes, June has been advocating for UP to set up its degree program in conservation and an Arts Conservation Center to serve as both a teaching and service facility. She still runs her own Artemis Art Restoration company for private clients. For a 75-year-old dropout, that can’t be too bad. She complains of fatigue and of being perplexed by the world of AI, and says she wants to stop before dementia sets in, but I know her students love her and wish she would teach forever (because they tell her so).

I myself was a dropout for a decade and had worked as a journalist and screenwriter before returning to UP to finish my degree so I could teach—which I ended up doing for 35 years and still do long after retirement. 

When I think of Hidilyn Diaz coming in to UP amid all the fuss, I want to tell her to just relax, and to enjoy the campus and her students. Teaching in UP will be full of joys and aggravations, but the heaviest lifting will be within her—of doubts, fears, and the catcalls of the rabble in the bleachers. Welcome to the home of Honor, Excellence, and Service—and never mind that it also happens to be a hornets’ nest.

Qwertyman No. 181: Another FQS?

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Qwertyman for Monday, January 19, 2026

I’M WRITING this piece on my 72nd birthday, so I hope you’ll indulge me if I revert to the memory of another January 56 years ago. On the afternoon of January 26, 1970, I milled with thousands of other young students on the campus of the University of Sto. Tomas, the staging ground for a large contingent of demonstrators marching to the Legislative Building near the Luneta (now the National Museum). President Ferdinand Marcos was going to deliver his State of the Nation Address, and a mass action had been called to protest a host of issues, from Marcos’ increasingly authoritarian rule to rising prices, militarization, corruption, and Philippine subservience to American interests.

I had just turned 16, and was a senior and an activist at the Philippine Science High School. But I was no radical—not yet; I stood under the banner of the National Union of Students of the Philippines (NUSP), among so-called “moderates” led by Edgar Jopson, derided by FM as the “grocer’s son” and later to become a revolutionary martyr. Unlike the far-Left Kabataang Makabayan (KM) and the Samahang Demokratiko ng Kabataan (SDK, which I would soon join) who were railing against “imperialism, feudalism, and bureaucrat capitalism,” the NUSP’s cause sounded much more tangible albeit modest: a non-partisan 1971 Constitutional Convention.

What happened next that afternoon, when both groups of protesters converged at the Senate, would change Philippine political history. The moderates had paid for the rental of the protest mikes and loudspeakers, and wanted to pack up early, but the radicals literally seized the paraphernalia—and figuratively seized the day—launching into a verbal offensive that soon turned physical. Then a young journalist covering the event, Jose “Pete” Lacaba provides the reportage:

“Where the demonstration leaders stood, emblems of the enemy were prominently displayed: a cardboard coffin representing the death of democracy at the hands of the goonstabulary in the last elections; a cardboard crocodile, painted green, symbolizing congressmen greedy for allowances; a paper effigy of Ferdinand Marcos. When the President stepped out of Congress, the effigy was set on fire and, according to report, the coffin was pushed toward him, the crocodile hurled at him. From my position down on the street, I saw only the burning of the effigy—a singularly undramatic incident, since it took the effigy so long to catch fire. I could not even see the President and could only deduce the fact of his coming out of Congress from the commotion at the doors, the sudden radiance created by dozens of flashbulbs bursting simultaneously, and the rise in the streets of the cry: “MARcos PUPpet! MARcos PUPpet! MARcos PUPpet!”

“Things got so confused at this point that I cannot honestly say which came first: the pebbles flying or the cops charging. I remember only the cops rushing down the steps of Congress, pushing aside the demonstration leaders, and jumping down to the streets, straight into the mass of demonstrators. The cops flailed away, the demonstrators scattered. The cops gave chase to anything that moved, clubbed anyone who resisted, and hauled off those they caught up with. The demonstrators who got as far as the sidewalk that led to the Muni golf links started to pick up pebbles and rocks with which they pelted the police. Very soon, placards had turned into missiles, and the sound of broken glass punctuated the yelling: soft-drink bottles were flying, too. The effigy was down on the ground, still burning.”

The January 26 rally and the trouble that erupted would lead to the January 30-31 demos that would prove even more violent, and what would become the First Quarter Storm or the FQS was born. “First quarter” would turn out to describe not only the beginning of 1970 but of the decade itself, as the start of 1971 would prove just as incendiary, with the establishment of the Diliman Commune (and of course, now as a UP freshman, I was there). It seemed that the entire country was politically on fire, with protests mounting by the week, and it would all culminate in what everyone predicted: the declaration of martial law in September 1972. 

It took another 14 years and another “first quarter storm”—the tumultuous months of January and February 1986, following the snap election—to depose Marcos. Fifteen years later in 2001, on another January, yet another president, Joseph Estrada, would be hounded out of office over issues of corruption.

What is it about these first quarters that provoke such firestorms? And do we still have it in us to begin the year on a note of political resolve?

I’ve been worried, like many of us, that the Christmas break, the congressional recess, and intervening issues may have sucked the steam out of the public outrage that boiled over the flood-control scam last year, and lulled the government into thinking that the worst was over and that we could all just settle back into the old routine: let the Ombudsman and the courts do their job, etc. 

What’s worse is if we fall into that mindset, too. The budget deliberations, the Cabral death mystery, the Leviste files, the Barzaga antics, and even a traffic violation episode have all seemed to be distractions from our laser-sharp focus on bringing the crooks to justice. But in fact, they’re all of one piece: demanding better and honest government, the overarching issue we need to press.

And just as the radicals seized the initiative from the moderates 56 years ago, FM’s son, PBBM, can still seize the day by going against all expectations, even against his own nature, and finishing what he may have inadvertently begun: weeding out corruption in government. Never mind the motive—reviving his sagging poll numbers, saving his skin, redeeming the Marcos name, or leaving a worthy legacy behind. He has little choice, if he and his family are to survive. 

There are immediate and concrete steps he can take to achieve this:

1. Activate the Independent People’s Commission. The people are waiting for his next move in this respect; get the enabling law passed and the job done.

2. Impeach VP Sara Duterte. The grounds haven’t changed, and the urgency can only increase as 2028 approaches.

3. Revamp the Cabinet, but replace the non-performers. PBBM knows who they are as well as the public—especially the publicity-seekers whose departments haven’t delivered.

4. Find Atong Ang, Zaldy Co, Harry Roque, etc. and jail the big fish—including political allies. It’s hard to believe that with billions in intelligence funds, the administration can’t track and nail these highly visible fugitives down. Justice is perception.

Do these, and maybe we’ll avoid the generational kind of flare-up and meltdown that followed January 26, 1970.

Qwertyman No. 176: Remembering CAB (1929-2025)

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Qwertyman for Monday, December 15, 2025

THE DEATH last week at the age of 95 of Cesar Augusto Buenaventura—known to his friends and associates as CAB—marked the passing of yet another member of that golden generation of Filipinos who lived through the Second World War and almost literally built and shaped Philippine industry and society in its aftermath. An engineer by training, CAB was also a management pioneer, a business leader, a civil libertarian, and a valued adviser to presidents. (As a former member of the UP Board of Regents, CAB would often text me for news about goings-on in Diliman, concerned as ever with the state of Philippine higher education and of UP’s role in it.)

I had the privilege of writing a yet-unpublished biography of the Buenaventura siblings (Cesar was followed by social worker Elisa, lawyer Chito, and banker Paeng). And while Cesar chose to self-publish his own three-volume biography a few years ago (I Have a Story to Tell), the original draft has many interesting anecdotes worth sharing with young Filipinos who barely know their economic history. Let me pull up this except you can keep in mind the next time you gas up at a Shell station, visit the UP Chapel, or see a DMCI building.

As soon as he graduated from UP in 1950, Cesar started looking for a job, and almost immediately found one with a man who would become an important influence in his life and a titan in the Philippine construction industry, David M. Consunji. Right after the war, Consunji began building houses—a skill then in high demand in the war-ravaged city—competing on the principle of “price plus quality.” David also made sure that he got the best people and paid them the best wages. And so a strapping 21-year-old named Cesar Buenaventura, fresh out of college, strode into Consunji’s office and got his first job, as Consunji himself recounts:

“In 1951, I hired my very first engineer, Cesar Buenaventura. He was then a young civil engineering graduate from UP who was waiting for the results of the board exams he had just taken. It was my brother Raul, his classmate in UP, who told him to see me because I was starting my own construction company. I thought he was very capable so I hired Cesar. 

“Soon after, we started doing our own projects, and among Cesar’s first assignments were three houses we were building in Forbes Park. Forbes was not yet a posh village then; land there was selling at just P4.00 to P6.00 per square meter. After that, Cesar and I did some more houses. I made Cesar the cost engineer and field engineer for our various other projects. He also took care of the payroll, which amounted to P15,000 to P20,000 a week.

“It was in the Laguna College project that Cesar took on greater responsibilities. While we were doing the plans, Cesar said, ‘Don’t bother hiring a structural engineer, I’ll do it. I asked him if he was sure he could do it and he said ‘Yes.’ Every time I would see him, long after the building was finished, I would tell him that it was still standing intact, even after several earthquakes, without a single crack on a wall.

“Cesar was my very first assistant, and even then, I could see that he would go far. I wanted him to stay with us, but he decided to go to the United States for graduate studies in 1952.”

(Upon returning from Lehigh University with his MS in Civil Engineering), Cesar rejoined Consunji for some work on the UP Chapel, which had been designed by a young architect named Leandro Locsin. Locsin had impressed Fr. Delaney with a small church he had designed in Victorias, and now he took on what would become one of his signature pieces, the UP Chapel. Fred Juinio served as structural engineer, with Dave Consunji as the builder. 

But armed with his Lehigh degree and eager to make full use of his new learning, Cesar could now consider more options. And the offers came. UP, for one, wanted him to teach, and was willing to pay him P400 a month. But a big petroleum company offered him P300 more, with his salary to be raised upon completing probation as an executive trainee. In 1956, Cesar went with Shell—a decision that would define the rest of his professional life.

In 1975, Cesar Buenaventura achieved what no other Filipino had up to that point by becoming president of Shell Philippines and Chief Executive Officer of the Shell Group of Companies.

Cesar’s rise to the helmsmanship of Shell also got the attention of someone in great need of executive talent: Ferdinand E. Marcos, president of the Philippines and, at that time, the country’s martial-law ruler. With the global oil crisis still hurting the Philippines in the wake of the Arab-Israeli war, Marcos put up the Philippine National Oil Company to explore for oil and develop alternative energy sources, and was scouting for the right man to head it. His eye fell on Cesar, who had just stepped up to the Shell presidency; surely such a man had the skills and the vision to head the new PNOC. Marcos had Buenaventura called to Malacañang. 

While he may have been honored to be offered the position, Cesar remembered his father’s admonition against serving in government. He went to see Marcos in the Palace. Luckily, before Marcos could make his pitch and demand Cesar’s commitment, a phone call from the First Lady, who was in New York, interrupted the conversation. Cesar used that break to gather his wits and to come up with the argument that such a move to government would be premature, coming so soon after his appointment as the first Filipino head of a major multinational company. Cesar suggested that he could serve the country’s interests better if he were able to persuade Shell to search for oil in the Philippines—which they eventually did. Marcos did not press the point, and Cesar was spared.

Yet more of Cesar’s friends would join Marcos’s Cabinet: David Consunji, as Secretary and later Minister of Public Works, Transportation, and Communication, then by Dean Fred Juinio in the same post, followed much later by Totoy Dans, when the Cabinet post was divided into two departments—Public Works, and Transportation and Communications. Consunji labored mightily to fight corruption in that notoriously graft-ridden department, only to find himself unceremoniously removed for refusing to play along. Dans followed the same straight and narrow path when took on the job in 1979, but he would later be, in Cesar’s eyes, unjustly vilified for his association with Marcos, even if he hadn’t enriched himself. 

So instead of taking what could have been a personally and politically costly detour into the Marcos government, Cesar Buenaventura managed to stay on at his beloved Shell, in a position he would hold with distinction for the next 14 years. 

Qwertyman No. 171: “Quezon” as Theater

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Qwertyman for Monday, November 10, 2025

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

(Image from banknoteworld.com)

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

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Penman for Sunday, September 7, 2025

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

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

Butch,

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

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

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

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

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

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

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

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

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

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

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

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

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

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

He responded:

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

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

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

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

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

Pahinga muna ako, I’m always tired. 

A couple of weeks later, he followed through:

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

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

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

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

And then:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Best and thank you very much

Mike