Category Archives: UP

Penman No. 465: Back to the Nineties

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Penman for Sunday, August 11, 2024

AMONG THIS year’s most interesting new books is one that’s neither a novel nor a political exposé, but a musical chronicle of a decade that many Filipinos now look back on with a certain nostalgia, albeit for different reasons—the 1990s.

Say “the Nineties,” and a range of responses will come to mind depending on how old you were then. For today’s seniors, the core of it was likely FVR’s infectious optimism over “Philippines 2000,” the relative stability we had gained after the anti-Cory coups and in anticipation of our centennial in 1998. For those younger but old enough to drink beer, it was the age of the Eraserheads, Clubb Dredd, the ‘70s Bistro, and Mayric’s, an explosion of OPM like we had seen back in the 1970s but with a harder and sharper edge.

It’s that latter scenario—set against the context of our transition from Cory to FVR to Erap—that’s captured in Susan Claire Agbayani’s landmark Tugtugan Pamorningan: The Philippine Music Scene 1990-1999 (University of the Philippines Press, 2024, part of the Philippine Writers Series of the UP Institute of Creative Writing). An indefatigable cultural journalist, publicist, and sometime concert producer (and also, I must proudly admit, my former student), Claire was among the very few writers who could have undertaken this job (Eric Caruncho, Jessica Zafra, and Pocholo Concepcion, all of whom she cites, would have been the others). 

Comprehensively, the book’s chapters cover bars and concerts, the music scene, personality profiles, duos and trios, pop/jazz/R&B/show bands, alternative/rock bands, the Eraserheads (yes, a chapter all to their own), Mr. and Mss. Saigon, and visiting acts, rounded out by a gallery of period pics.

As a compilation of pieces from Claire’s reportage at that time, the book revives not only the music but also the issues besetting the industry then, such as Sen. Tito Sotto’s wanting to ban the Eraserheads song “Alapaap” for supposedly promoting drug abuse. Priceless vignettes abound, such as that of Basil Valdez singing “Ama Namin” to composer George Canseco’s wife over the phone, three days before she died, and of Ely Buendia telling Nonoy Zuñiga that he had won a singing competition in school with the latter’s “Doon Lang.” We learn about Humanities teacher and all-around performer Edru Abraham’s Lebanese ancestry and how it connects him to world music.

The best scenes, I think, are the saddest ones, such as this piece on a jazz diva:

“She goes around greeting the waiters, then the manager. At last, she sits on a stool, and croons ‘Left Alone,’ the song after which the bar was named. She closes her eyes, closed them more tightly as a couple walks out in the middle of her song. The waiters laugh loudly in the background, occupied with their own concerns. Those who remain inside the bar talk not in whispers. No, they don’t know her. They don’t know Annie Brazil.”

But ultimately it’s the music, the sheer variety and vitality of it, that surges through, so innate to the Filipino and so necessary. If there were an Olympics for music, we’d make the podium in all the categories, and Tugtugan Pamorningan reminds us why. As the title implies, it’s a nightlong festival for us when the music starts. But like night itself, even the Nineties came to an end, with the 2000s bringing in MP3, iTunes, and Spotify, and somehow the smoky, small-bar intimacy that the previous decade connoted gave way to Taylor Swift mega-concerts that people actually flew out to instead of taking a taxi.

I contributed an afterword to the book, so here’s a bit more of what I had to say:

I was a bit too old by the time the ‘90s came along to experience it in the way Claire has so capably and faithfully chronicled in this book, but still young enough to imbibe its energy and its excesses. I was 36 in 1990, finishing my PhD in the States, and when I returned to Manila the following year after five years of being away, I found a radically different scene from the one I’d left just after EDSA. I had a lot to adjust to, and somehow San Miguel beer and the city’s new nightlife seemed to ease those pains, at least until the next morning. 

That was how, despite being too old to know the Eraserheads and their music, I managed to stumble once or twice into Club Dredd, Mayrics, the ‘70s Bistro, and a few other meccas mentioned here, but mostly just out of curiosity. I guess I was looking for something else, and found it on Timog Avenue with my partners-in-crime Charlson Ong and Arnold Azurin, finishing up with some coffee or a beer for the road at Sam’s Diner on Quezon Avenue at 3 am. I wasn’t even a Penguin person—I never thought of myself as being hip or cool—and I preferred hanging out with journos after work in that kebab place on Timog.

That was my life as a barfly—which was also how my newspaper column got that title—and its soundtrack consisted of Basia, Bryan Adams, and “Total Eclipse of the Heart.” I wasn’t much into bands—no one could beat the Beatles—and OPM for me meant APO and Louie Ocampo, whose songs were singable and could make me smile, which I needed a lot. It was a wild time, when I was smoking and drinking and messing around town in my white VW, courting disaster, until one day I found my way home and decided to stay there forever.

That makes the ‘90s sound like some kind of inferno, but now that I think about it, it was the last gasp of innocence before the 2000s and everything we associate with it—9/11, GMA and Erap, the Internet, the iPod, social media, K-pop, tokhang, Trump, the pandemic, the Marcos restoration, and AI—came in. There was a simple-mindedness even to our vices then; truth was truth, fake was fake, and it was easy to tell one from the other. It was rough and raw in many ways—even our 14.4K modems screeched like cats in heat when they connected—but we still got wide-eyed about the possibility of extra-terrestial menace in The X-Files, and we may even have believed that FVR’s “Philippines 2000” was going to be a better place even as we got worried sick over what Y2K would bring, so there remained a tender spot of credulity in us.

That’s all gone now, like Jacqui Magno’s voice, replaced by CGIs, deep fakes, and other synthetics produced by FaceMagic and ChatGPT. 

I can’t honestly say that I miss the ‘90s, and I feel much relieved to have survived them, but there’d be a huge hole in my life—and in the nation’s—if they didn’t happen. What’s in that hole is what’s in the music Claire writes about—and the music often gets it better than even we writers can.

Qwertyman No. 104: The Knowing Is in the Living

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Qwertyman for Monday, July 29, 2024

(This is the full text of the shortened version published in my column for today of my commencement address to the graduating class of the University of the Philippines Diliman Extension Program in Olongapo and Pampanga on July 26, 2024.)

A VERY pleasant afternoon, and my warmest congratulations first of all to our graduates and their parents today. Thank you for inviting me to come over today to share some of this old man’s thoughts with you.

I have given commencement speeches at UP graduations before—twice at UP Baguio, once at the UPD College of Science, and then at UPM’s College of Medicine—so you would think that I would take this assignment in stride and just repeat what I told the others, but no. 

This is probably the smallest and most intimate of all UP graduations I have attended, for which reason I thought I would do something different, something special, and write something new, this short talk I’ve titled “The Knowing Is in the Living.”

Now, as nice as our young graduates are, they’re probably thinking, “Oh, no, they invited another of those tiresome old Boomers who’ll be telling us things that we already have coming out of our ears. Things like, how hard and difficult life was for them, walking to school in the sun or taking notes by hand and we have it easy, so we should stop bitching about slow wi-fi and weak aircon and toughen up. 

“He’ll talk about how socially aware and politically committed they were, how they cut classes to march in the streets and fight the dictatorship, going underground, getting caught and tortured in martial-law prison while watching friends die in heroic battles with fascist forces—while we argue about the characters in House of the Dragon over cappuccino at Starbucks. 

“He’ll wax nostalgic about fountain pens and typewriters, index cards and pencil sharpeners, about inhaling the dust in the library stacks and paying fines for overdue books, while we’ve become overly dependent on Google and that new monster, AI, which can do in seconds what took him weeks to produce. He’ll talk about integrity like he invented the word, about refusing to compromise no matter what. 

“He’ll tell us to learn to live in monastic simplicity, in denial of today’s comforts and conveniences and the allure of the coming iPhone 16. In other words, he’ll do his best to make us feel like we were born in the wrong decade, that we missed out on the great defining and character-building struggles of the past—World War II, martial law, EDSA (and no, Covid doesn’t count)—and that we’re lost souls floating in some kind of existential limbo, with little substance and without purpose.”

Well—did I tell you any of that? Do I look like the kind of commencement speaker who would inflict his wisdom—otherwise known as pain and anguish—on his captive audience for the next half-hour, in revenge for all the predictable and long-winded speeches he himself had to listen to all his life?

Before you smile too broadly, let me remind you that I’m still in command of this podium and could do just that, just for the fun of it—but I probably won’t. And I won’t, because the opportunity is just too great and too inviting to be different, to say something you will actually remember and maybe even cherish for the rest of your life.

Ordinarily, on an occasion like this, I would have spoken to you about the topics I usually take up in my columns for the Star—about how important it is to match intelligence with values, about the need to seek out the truth in this age of fake news and AI, about how deftly but resolutely we should navigate the murky political waters ahead of us; in other words, about how we must develop a strong and clear moral core, whatever profession we choose, and live for the good of others.

But again that’s the kind of message that AI itself could have written, fed with the prompt “Write me a graduation speech for the University of the Philippines.”

I will trust that you already know these things. I will not speak about your degrees and what they will mean to the nation, which surely will be substantial. I will not even say how important UP is to the Filipino people; you already knew that when you took the UPCAT, which was why you took the UPCAT.

Instead, today I will talk to you about time—yes, that fourth dimension which, according to science and philosophy, is really a function or a measure of change. Without change, there is no time. 

Why time? Because it’s been on my mind a lot lately. Last January, I celebrated my 70th birthday and my 50thwedding anniversary with my wife June. I was deeply grateful for those milestones, which I honestly never expected to reach, having been a young activist who went to martial-law prison and who saw many of his friends die too soon. So for me, anything beyond 20 was what you would call in music a “grace note,” an unexpected bonus that has just kept on giving and giving. 

To be sure, it hasn’t always been an easy life, and I won’t bother you with the details, but I can tell you what a huge surprise and relief it is to be here, alive and reasonably well, at 70. I am now older than my professors were when I was your age, and the reversal is both fascinating and, for you on the other end of it now, a mystery yet to be written.

For most of us, life has a fairly predictable plot, and it goes this way:

In your twenties you will want to know who you are, what you stand for. You will choose a course and a profession, get a job, dress up like an adult.

In your thirties you will think more seriously about companionship, maybe marriage, maybe children. You will want your heart to make up its dizzy mind, and settle on someone, or get used to being alone.

In your forties you will fret about finances, your position in your company, maybe have an affair, lose your faith, and then again if you’re lucky maybe gain everything back.

In your fifties you will be expert at many things, sit on boards and manage this and that. You will begin to think about words like “stability,” “reputation,” and “legacy.”

In your sixties your steps will become shorter and slower, and you will want comfort most of all—a soft bed, an easy chair, good food and wine—and indulge your bucket list.

In your seventies and eighties, you will just want and fight to be alive.

In your nineties, with most of your friends gone, and with your eyesight and hearing going, you may well just want to be dead.

That’s the basic plot—but like time itself, it’s not a fixed one. Time is strangely flexible.

In my writing classes, I often say that a well-written story, even if it’s twenty pages long, feels like it ended too swiftly, but a badly written one, no matter how short, feels like forever. And we all know but don’t understand why happiness always seems to be fleeting, while grief and pain endure. That’s how time is bent by whatever we fill it up with—how it holds meaning, or loses it.

How will you fill up that space with change, and make your time worthwhile? What kind of story will your life be? 


As one of my book titles go, “The Knowing Is in the Writing.” By this I mean that we writers think that we know our characters from the beginning—but in fact, we only really know them as we write about them, and subject them to the kind of intense pressure that life will bring to bear on each one of you.

Let’s say, for example, that Tony is a young lawyer, smart and idealistic, determined to seek justice and freedom for his people, destined for professional success. He works for an NGO for not much money. He is engaged to Marie, a PGH nurse who’s also supporting her family, and who has been offered a job in the UK. Tony doesn’t want Marie to go, because she will be away for many years and he wants them to marry, but he can’t support them both and their families as well on his salary. Tony is then recruited by a big real estate firm to work in its legal division, where he will help in the removal of squatters from company property and the conversion of farms into subdivisions. What will Tony do?

How well do we know Tony, until he actually makes a moral choice that could possibly run against the character we thought we knew?

In fiction and in playwriting, I often point out to my students that characters become most interesting when they go out of character—not whimsically, but out of dramatic necessity and inevitability, the kind of tortured inner logic that drives us to do things we never thought we could, in our imagination of ourselves as good people: to lie, to cheat, to steal, to support extrajudicial killing, to laugh at rape jokes, and to think that someone who habitually lies and brings out the worst in people can be fit to be president. But conversely, that turn of character can also lead us to perform amazing acts of nobility and charity, of heroism.

In your case, the knowing will be in the living. You think you know yourself today, what you want, where you want to go, and how to get there—and it’s important that even now, you have this game plan and this compass to lead you forward. But you will never know and discover your true self until your most vulnerable moment, at which your soul will be revealed in utter transparency. 

For some of us, the sad truth is that life will be short. But that’s no reason to say it will be worth little, because you can still make it meaningful and memorable. Remember Achilles, who in the Iliad was given a choice of living a short but glorious life, as opposed to a long but boring one; he chose the former, and thereby became a legend. And there was the brilliant modernist writer Djuna Barnes, who lived to be 90. Taking off from that famous quotation from Thomas Hobbes, she said that “For others, life can be nasty, brutish, and short. For me, it has simply been nasty and brutish.”

But again, how your lives turn out will be your story to write, although you will have many co-authors, including the Divine. Some say life is predestined, which would make for bad fiction; I prefer to believe in at least the illusion of free will, of human agency, because then we and our fictional characters have moral responsibility; and in such stories of inner struggle, there will be lessons to be learned, like the Greeks learned from the plays they watched over and over again.

Life will be a challenge, as soon as you step out of this campus into the world at large. But what I can tell you is that, with grit and a little luck, you will survive. To do that, you may have to learn to forgive yourself for your mistakes, to change your mind, and to compromise if you must, because the ideal you will always be a work in progress. Whoever sits in Malacañang or the White House, you can still find ways to serve the people, for which you will and must survive. We survived martial law; you survived the pandemic. Surely we can give purpose to our good fortune. In my case, I have found that purpose in my writing, in my search for truth and beauty, and in my more modest and focused commitments to my family and community. 

So, again, how shall we fill up the time ahead of us? Of course we’re running on different clocks or even calendars. If your life is at brunch, mine has just been called to dinner. I don’t know about you, but I will have that dinner with my wife on the beach, with a glass of wine, imagining what it must be like over the deepening horizon.

That horizon will always be ahead of us. We think we are forging ahead into the future, but in fact, with every breath we take, we are becoming part of the past, of what happened, of what was. When I hold and look at the silly old things I collect—three-hundred year-old books, and old fountain pens and typewriters from when Jose Rizal was still alive—I am comforted by the certainty that the past survives in artifacts and memories, so that it is important that we leave images and signatures that will bring smiles to those who see them.

There is an afterlife. In the very least, it is the life of those we leave behind. You will now be part of my afterlife. Through this speech, through my words, I will live in you.

Let me end with a quote from a favorite source—me—and share something that I have said to every UP graduating class I have been honored to address:

To be a UP student, faculty member, and alumnus is to be burdened but also ennobled by a unique mission—not just the mission of serving the people, which is in itself not unique, and which is also reflected, for example, in the Atenean concept of being a “man for others.” Rather, to my mind, our mission is to lead and to be led by reason—by independent, scientific, and secular reason, rather than by politicians, priests, shamans, bankers, or generals. 

You are UP because you can think and speak for yourselves, by your own wits and on your own two feet, and you can do so no matter what the rest of the people in the room may be thinking. You are UP because no one can tell you to shut up, if you have something sensible and vital to say. You are UP because you dread not the poverty of material comforts but the poverty of the mind. And you are UP because you care about something as abstract and sometimes as treacherous as the idea of “nation”, even if it kills you.

Sometimes, long after UP, we forget these things and become just like everybody else; I certainly have. Even so, I suspect that that forgetfulness is laced with guilt—the guilt of knowing that you were, and could yet become, somebody better. And you cannot even argue that you did not know, because today, I just told you so.

Penman No. 464: A Fantasy Memoir

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Penman for Sunday, July 7, 2024

THE AUTHOR calls his book a “fantasy memoir,” and if it’s a genre you’re not familiar with, you wouldn’t be alone. Or maybe that’s just because you’re a dour and straight septuagenarian like me who doesn’t go out too much, watches true-crime shows to relax, and presses his pants and shines his shoes because, well, that’s the way it should be. I later googled the term, just to see what’s out there, and much to my surprise, it does exist—a genre defined by “imagination, escapism, and dreams,” with the stipulation that these fantasies, or products of the mind, are just as valid as memory in recreating one’s life.

Thankfully, from the cover onward, Michael Gil Magnaye’s La Vie en Pose makes it purpose clear to the most casual and non-literary of readers: to have fun—while raising some very serious questions on the side about who and what we are (or pretend to be), what poses we ourselves assume, consciously or not, in our everyday lives, and how our identities are constructed by something so simple as what we wear.

La Vie en Pose is one of those rare books one can truly call “inspired,” resulting from the kind of half-crazy “What if?” lightbulb moment that strikes you over your tenth bottle of beer at 3 in the morning. Unlike many such flashes, this one stayed with Gil, took firmer shape, and turned into a virtual obsession—a first book to be completed by his 60th birthday, not just any book, not one of dry prose between the covers, but one certain to make a personal statement for the ages.

Magnaye, who works as an advisor to an international NGO, describes the book as “a fantasy memoir told in a hundred photographs of the author in costume, striking a pose around the world. Designed and photographed over a decade, these vignettes depict media celebrities, politicians, literary characters and wholly fictitious figures drawn from Magnaye’s fertile imagination. The collection offers satirical, often hilarious commentary on noteworthy personalities in pop culture, politics and history, from Game of Thrones to Bridgerton, from Jackie Onassis to Ruth Bader Ginsburg.”

Divided into eight chapters and edited by the celebrated Fil-Am writer Marivi Soliven, the book takes Gil around the world (none of this is AI—the photography took many years and plane flights to complete), posing in various locales and contexts, often in costume, to mimic or to pay homage to familiar figures and situations. The pop-culture setups will likely elicit the most laughs and smiles—Tina Turner, Maria von Trapp, and of course Barbie all get their comeuppance—and the UP Oblation poses (thankfully just backsides) show the malayong lupain that our iskolars ng bayan have reached (Gil studied and taught Humanities in UP before going to Stanford for his master’s). The levity aside, he strikes thoughtful, almost architectural, poses against spare backdrops. He draws his husband Roy, a normally reticent software engineer, into take-offs on couples (Ari and Jackie, Ennis and Jack). The effect is both riotous and reflective, a visual essay on how pop and political culture have overwhelmed us, but also how we have appropriated and domesticated them for our own purposes, if only to say, “Hey, I can be as good that!”

The poet and queer theorist J. Neil Garcia explains it better in this note he posted online about the 30thanniversary of the landmark Ladlad anthology he co-edited with Danton Remoto: “Queer creativity is itself an integral component of the equality message, and not simply a means to an end. Since the freedom of the imagination is perhaps where all freedom begins, it is clear that giving the queer artist the power or the ability to create their own texts and art works needs to be seen as a vital objective of the equality movement, one of whose primary interests must be in securing this imaginative and/or cognitive ability above all. Hence, we need to insist on the truth that queer creativity isn’t simply a tool to promote the equality message and other activist agendas; rather, queer creativity itself is part of the agenda—is part of the equality message itself (and so, queer creativity is not just a means to an end; quite crucially, as the best evidence and enactment we have of individual and collective agency, even against the harshest of odds, it is an end, in itself).”

For Gil—whom I was friends with back when he still had a girlfriend and confronting his sexuality—the book is more than a personal celebration (he launched it in UP last June 23 to mark his 60th birthday); it’s also an assertion of his rights as a queer (the preferred term these days to “gay”) person—and by extension, of all other LGBTQ+ people as well—to express themselves creatively. In his introduction, he notes that “This book is born at a fraught moment in gender politics. Some states in the US have passed legislation that attacks transgender youth for their chosen wardrobe or preferred pronouns. A drag artist in the Philippines has been jailed for performing an irreverent dance interpretation of a Catholic hymn. Such adverse events would seem to suggest that cross-dressing is an act of subversion. I would argue that cross-dressing and mimicry are strategies that drag queens, drag kings, non-binary performers, and gender benders employ to resist, challenge, navigate, and extricate themselves from systems imposed by traditional constructs. And it’s a lot of fun.”

La Vie en Pose most surely is. Copies might still be available at the UP Center for Women’s and Gender Studies.

Qwertyman No. 99: A Call to Engage

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Qwertyman for Monday, June 24, 2024

I WASN’T going to start this column on this note since I had another topic in mind, but it occurred to me that these two concerns may after all be related and have a bearing on one another.

You may have missed it since it was just local news, but a few weeks ago, elections were held for the University of the Philippines Student Council (UPSC) in Diliman—historically, the breeding ground of young hopefuls destined for national politics. It’s always been a tight and sometimes even bitter contest of personalities and platforms, strategies and tactics, rhetoric and resources. Given its superior organization, ideological discipline, and progressive platform, the student Left has held an advantage in these elections over the past few decades, but vigorous and sometimes successful challenges have arisen from centrist parties appealing to more student-oriented causes. 

The outcome is often eagerly awaited. But last month, something incredible happened. The “abstain” vote won, leaving the posts of chairperson, vice chairperson, and many councilors unfilled—and they will so remain. 

It would be easy to read this as a sign of apathy, especially given that only 36.7 percent of the student body voted this year, but those “abstain” votes sent a clear and deliberate message: we don’t want any of you, we want something or someone better—could we please have some real change around here?

I could understand that; as a teacher (I still teach optionally, even if I’m retired), I’ve opened the classroom door to scores of student candidates asking for five minutes to make their campaign pitch, and almost invariably, it’s the same familiar litany of complaints over this and that (the same ones we ourselves mouthed half a century ago)—valid complaints, to be sure, but thoroughly tired and uninspiring. And when you ask, even in your mind, “So what are you going to do about it?”, you can hear the answer coming: “Elect us, and we’ll show you!” I let my students raise the difficult questions (that’s what I train them to do) and share their discomfort and embarrassment when they don’t get the specific and well thought-out answers they deserve.

Now, put that scene on “pause,” and let me report on another UP matter (even if you’re not from UP, this likely concerns you because UP accounts for about 20 percent of our national budget for higher education).

Last week, on the occasion of UP’s 116th founding anniversary, President Angelo A. Jimenez formally presented a set of ten “flagship programs” to the media and the public which his relatively new administration will seek to undertake—not necessarily complete, but at least initiate—over the remaining five years of his tenure. These programs were the result of year-long consultations with the university’s academic and administrative leaders. They cover academic excellence; inclusive admissions; research and innovation; Open Distance e-Learning (ODeL); Archipelagic and Oceanic Virtual University (AOVU); active and collaborative partnerships; arts and culture; expansion of public service offices; Quality Management System (QMS) and Quality Assurance (QA); and digital transformation. 

Jimenez (or “PAJ” as the university community calls him) was quick to explain that rather than being new or distinctly separate programs, these are really thematic priorities that pull together many existing threads from UP’s wide range of teaching and research expertise. For example, the AOVU concept whereby UP will undertake a more comprehensive but also more coordinated study of our marine resources—our “blue economy”—draws on UP’s longstanding experience in marine science, fisheries, and maritime law, with the added emphasis on our archipelagic geography as a strength rather than a weakness. This will be supported by such innovations as UP Los Baños’ new PhD offering in Environmental Diplomacy and Negotiations aimed at developing leaders from around Southeast Asia who can bring good science into environmental conflict management and sustainable development.

There are many aspects and details of the ten flagship programs that deserve deeper discussion—and some will certainly be challenging if not controversial—but some key themes resonated with me most strongly as a former administrator, a teacher, and a UP fanatic since my childhood days when my mom (UP Educ. 1956) indoctrinated me by playing a record of “UP Beloved” and “Push On, UP” over and over again on our turntable.

Likely of greatest impact to most Filipinos was PAJ’s pledge to democratize UP even further by adopting policies that will bring in more students from underrepresented and marginalized sectors of the country, to correct the lopsidedness of UP’s student profile now favoring private and largely metropolitan high school graduates without necessarily compromising UP’s high admission standards. One way would be by engaging more UP student and faculty “Pahinungod” volunteers to help in teaching disadvantaged students pre-UPCAT, and also by providing sustained support to such students who pass the UPCAT but decide to stay out because of the high expenses of studying in a UP campus (a budget has been set aside to support 350 of these students under the Lingap Iskolar program).

But the key word of the day was “service,” which has been added by PAJ to UP’s traditional motto of “Honor and Excellence.” (I know there’s been some grumbling, in typical UP fashion, over the process by which that decision was arrived at, leading me to sigh and ask, “Is that even a fight worth picking? Isn’t ‘service’ the one thing we can all implicitly agree on?”) Jimenez wants UP to be more engaged with the people, with communities, with other universities, citing programs such as UP Tacloban’s response to the seasonal red tides that render mussels unsafe to eat but still useful as extracted material for pharmaceuticals and cosmetics.

Above all, service should be a mindset that impels UP students and faculty members to find meaningful roles on their own in their community, whether local, national, or global. It struck me that perhaps this was what our student politicians needed to find and articulate, beyond sloganeering about often abstract issues—how can I serve you and our people, as I am, where I am? What can I do for you?

That “abstain” vote should be minded by the administration as well, and not just in UP. Our youth are seeking to be engaged and inspired—but their cynicism will abate only if they see, in their elders, the exemplars of the integrity and accountability, aside from ability, that any prospective servant of the people should bring to the job.

(Image from upd.edu.ph)

Qwertyman No. 97: The City That Works

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Qwertyman for Monday, June 10, 2024

I WAS back last week in the city of Kaohsiung in Taiwan with a group of writers from the University of the Philippines Institute of Creative Writing, at the invitation of Dr. Eing Ming Wu of the Edu-Connect Southeast Asia Association, an education NGO seeking to establish stronger ties between Taiwanese universities and their counterparts south of Taiwan. We were there to meet with our literary and academic counterparts, but also to acquaint ourselves with contemporary Taiwanese society and culture. What we found along the way was a city and a government that works—a model we have much to learn from.

It was my second time in Kaohsiung and my sixth in Taiwan since my first visit in 2010, but those earlier sorties were either for tourism or for attending meetings and conferences, so we never really got to immerse ourselves in the place and its people. This time, Dr. Wu made sure that we went beyond casual handshakes and pleasantries with city and university officials to engage our hosts in in-depth conversations.

The first thing that usually strikes visitors about Taiwan is how modern it looks, especially when flying in through Taipei—the High Speed Rail (HSR), the wide roads, the skyscrapers (think Taipei 101, once the world’s tallest), the late-model cars. For quick comparisons, consider this: Taiwan’s population, at 24 million, is about a fifth of ours; in terms of land area, we are almost ten times larger; its nominal per capita GDP, however, is almost ten times larger than ours at US$35,000. Not surprisingly, Taiwan now ranks around 20th in the world in terms of its economic power.

That power came out of decades of dramatic transformation from an agricultural to a highly industrialized economy, starting with massive land reform and the adoption of policies that spurred export-driven growth. Industrialization itself went through key phases from the production of small, labor-intensive goods to heavy industry, electronics, software, and now AR/VR and AI tools and applications.

At a briefing at the Linhai Industrial Park by Dr. Paul Chung, a US-trained engineer who was one of the architects of this economic miracle, we learned how Taiwan built up the right environment for economic growth through such strategies as the creation of industrial parks (there are now 67 of them covering more than 32,000 hectares, with 13,000 companies employing 730,000 people and generating annual revenues of more than US$260 billion—almost eight times what all our OFWs contribute to the economy). The Taiwanese government has also implemented a one-stop-shop approach to investments, bringing together the approvals of many ministries and local governments under one roof.

Consistently, in modern times, the private sector has led the way forward, with the government acting as facilitator. This was much in evidence in Kaohsiung, Taiwan’s southern industrial hub that was, until relatively recently, a virtual cesspool, the prime exemplar of industrialization gone amuck. A strategic seaport, Kaohsiung grew out of the need to export Taiwanese sugar during the Japanese occupation (1895-1945); the sugar industry gave rise to railways that went far up north to Keelung and became the backbone of the country’s transport system. After the war, the Kuomintang who displaced the Japanese did little to improve things until a visionary mayor undertook reforms that cleaned up the place. Industry also achieved important synergies by adopting policies toward carbon neutrality and reducing waste—for example, one company’s blast furnace slag is being used to pave roads, and harmful carbon monoxide emissions have been rerouted as inputs to chemical companies.

Kaohsiung today is a city of 2.8 million people, a showcase of how runaway industrialization and urban blight can be reversed through good governance and political will. “People need responsible, responsive, and accountable government,” says Dr. Wu, a public-administration expert who worked for 15 years with five Kaohsiung mayors and who now serves as a visiting professor at UP’s National College of Public Administration and Governance (NCPAG). 

A longtime visitor to the Philippines, Dr. Wu has made it his personal mission to promote Philippine-Taiwanese people-to-people relations—a concept he calls “taiwanihan”—in the conviction that the two countries have much to learn from each other and form a natural geographical, economic, and cultural partnership. “We are each other’s closest neighbor,” Wu says. “Taipei is 96 minutes away by train from Kaohsiung, but Kaohsiung is only 90 minutes away by air from the Philippines.” 

Wu and his colleagues at NCPAG have been exploring the possibilities of developing a corridor of cooperation between Southern Taiwan and Northern Philippines, given their proximity. “We have the technology, you have the resources like biomass,” he adds, pointing out as well that taiwanihan doesn’t just mean a one-way relationship, but that the Philippines can also assist Taiwan with its growing needs, such as engineering talent and manpower. Some 8,000 Filipinos now work in Taiwanese factories, but Taiwan’s demand for highly skilled workers will only get higher as it moves into the next phase of its development, which will be heavily dependent on AI.

Artificial intelligence already takes care of many of Kaohsiung’s more mundane needs such as remote traffic monitoring and even the paid parking of vehicles, which has been outsourced by the government to a private entity. “We buy services, not things,” explains Dr. Wu. “The government provides the land for the parking, the private sector supplies the technology and the hardware. This is our version of public-private partnership: the government listens to the private sector, which can use the city as its lab.” 

E-governance and decentralization led us to an unusual sight: we visited City Hall on a weekday and saw very few people in the lobby, unlike its Philippine counterparts. That doesn’t mean that government is distant from the citizens, as a “1999” complaints center receives and fields calls online or in person, employing the disabled to man its booths. 

And even as AI has taken the forefront, it was abundantly clear that human intelligence and human priorities remained important. Good community governance, for one thing, was key to clean and peaceful neighborhoods (their village officials are appointed rather than elected, eliminating vote-buying). Their libraries alone show how and why the Taiwanese are succeeding: they not only have hundreds of thousands of books available to their citizens, but they have innovations such as the “Adopt-a-Book” program by which you borrow a book just based on a previous reader’s recommendation, and books in both Braille and regular text, so that sighted readers can read along with the blind and enjoy a story together. A city that goes that far to meet its people’s needs can’t fail.

Penman No. 463: Masters of the Old and New

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Penman for Sunday, June 10, 2024

THE WORK of two outstanding Filipino artists drew my attention last month, in events that could be considered retrospectives of remarkable if somewhat divergent careers. 

The first was the exhibition “Looking Back” mounted by Fernando Modesto at the Galerie Hans Brumann in Makati, running until June 30, which gathers some of the painter’s best work over the past five decades, many of them from the private collection of the longtime Manila resident Brumann himself. That Brumann—now 83, and also a renowned artist and jeweler—was letting go of these pieces struck me much less as a disposal of worthy objects than a bequeathal, an opportunity to share the best of Modesto with other collectors. Laid low by a stroke some years ago, “Mode” as his friends know him remains mentally as sprightly and mischievous as ever; and he has striven and managed to produce new work despite his condition, taking off from the Mode we knew.

That Mode was irrepressibly bright, witty, and playful. In contrast to the somber and even dismal realism of many of his contemporaries from the 1970s onwards, Mode made light of things, opening up a world of freedom and delight in an oppressive universe. 

The playfulness, at one point, was literal. In 2018, writing in Frieze magazine, Cristina Sanchez-Kozyreva reported on the Ateneo Art Gallery’s recreation of an early Modesto installation from 1974 titled Dyolens(Marbles) that involved laying out thousands of marbles on the floor for visitors to kick around. That was about the time I first met him during my days as a printmaker in Ermita; Mode had already gained fame—or notoriety if you will—for his depictions of pendant penises, which even then were clearly meant not to offend but to make one smile.

The Brumann exhibit documents Mode’s progression from tongue-in-cheek wit to transcendent wisdom, opening a door into a world we can only hope to inhabit, where angels reach for a shimmering sun (or are they playing volleyball?) in an iridescent haze, or float face-up in a cosmic pool. His most recent work such as King of the Islands II (2021) retains that rare equanimity in the cool blue gaze of its subject.

If Fernando Modesto is a master of the modern, the second painter who caught my eye reminded me of how much richness remains to be discovered in our artistic past. May 24 saw the launching of Matayog na Puno: The Life and Art of Hugo C. Yonzon, Jr. (published by Onyx Owl, 248 pages), on the centennial birthdate of Yonzon. Authored by Hugo’s son Boboy and the late Neal Cruz, the book chronicles the life and work of a man for whom art was both a passion and a living. Hugo’s career harkened back to a time when the line between fine and commercial art was blurry and perhaps not all that important, for as long as the artist gave the work his all. 

Yonzon had to leave school early to take a job—just the first of one or many—and he would go on to become much more of a journeyman, one viscerally engaged in the trade, than an aesthete or academic. “Yonzon was always invited to the various sessions held by the Saturday Group and other weekday groups that tried to establish their name and weight in the art scene,” says the book. “But he never stayed long nor drew enough on-the-spot sketches; although he had an eye for women, nude sketching did not interest him. He would rather banter and drink a cup of coffee, then return promptly to his favorite themes in his perpetually makeshift studio.”

He was friends with some of the best artists and illustrators of his time, including Mauro “Malang” Santos and Larry Alcala. Having worked as an illustrator and as an art director for an advertising agency, Hugo wielded an extremely versatile brush, adjusting his style and treatment to the client’s needs. It got to the point that visitors to his one-man show became confused, seeing so many different styles on display, but that range was a great part of the reason for Hugo’s popularity. 

But he kept returning to his favorite themes—the pastoral, the folk, the heroic, the visual representation of what he imagined Filipinos at their best and most essential to be. This appealed to the sensibilities of patrons such as First Lady Imelda Marcos, who generously supported Yonzon. Hugo was tireless in his painting and gave his friends huge discounts to the point that his wife Betty felt compelled to manage his financial affairs.

His lifestyle was appropriately flamboyant. “Dad was a loud but chic dresser,” recalls his eldest daughter Minnie. “When psychedelic colors and prints were in vogue, his long-sleeved shirts were in paisleys and reds and greens. Why, he even painted the air scoop of our brand-new Beetle in paisley!”

The life depicted in the book is fascinating, full of struggle and drama, but ultimately it is the art that imprints itself in our consciousness—one full of vigor, color, inventiveness, and variety, celebratory in every way of the near-mythic Filipino. The writer and art critic Lisa Nakpil would say that Yonzon, who died in 1994, was the “underrated master of heroic Filipino iconography,” and this book clearly shows us why.

Qwertyman No. 94: Artificial Intelligence

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Qwertyman for Monday, May 20, 2024

DR. CHICHOY Carabuena had a problem. He wanted the school he owned and ran—the Generoso Carabuena Academy of Pedagogy in Santa Vicenta—to place higher in both national and international rankings, partly so he could raise tuition fees, and also so he could claim bragging rights among his university-president friends and drinking buddies. He had inherited the school from his grandfather; Generoso Carabuena was a banker who had collaborated with the Japanese and stolen the money they left behind to open a school for teachers, which was his wife’s dream, becoming a war hero in the process for outsmarting the enemy. 

The school had done well enough to the point that Chichoy’s dad Ramoncito could buy a Mercury Capri that he regularly drove to Manila to carouse in its nightclubs. Chichoy was the product of one of Ramoncito’s dalliances with the agreeable ladies, and it fell on him to rescue both the business and the family name from ruin and disrepute. He had been managing a carinderia for Pinoy workers in Dubai when the call came, and always wanting to become someone of substance, he returned to Sta. Vicenta to turn the daughters and sons of hog butchers and vegetable growers into teachers, like he imagined himself to be. Surely higher education wasn’t all that different from running a restaurant and coming up with the right menu at the right price for your customers. He had secretly dreamed of becoming a mayor, a congressman, or even governor, but first, he had to make a name for himself and make money.

Somewhere along the way he picked up a “Dr.” from a diploma mill and dressed the part, coming to his office even in the warmest of days in coat and tie. “More than anything else,” he would lecture his new recruits, “first impressions count, so before you even become a teacher, you have to look like a teacher, walk like a teacher, and sound like a teacher!” He had a faux marble statue made of his grandfather to greet visitors at the school entrance, and another one of Jose Rizal standing behind Generoso, as if looking on in approval. 

But lest people think he was beholden to the past, Chichoy Carabuena peppered his speeches with 21st-century mantras like “disruption,” “innovation,” “sustainability,” “customer-centric,” and, yes, “21st-century.” “The great challenge to higher education today,” he would often declaim, “is to produce graduates attuned to a global climate of disruption and innovation, mindful of evolving needs and opportunities in the marketplace of ideas while seeking sustainable and synergistic 21st-century solutions to problems rooted in our feudal and neocolonial history.”

Those speeches were written for him by his former executive assistant named Mildred, a UP graduate whom he had to fire when his wife discovered them smooching in his office—an act he vehemently insisted to be no more than a paternal gesture, much like  former President’s public bequeathal of a kiss on a married woman, a defense that gained no ground. His wife personally chose his next EA, a former SAF commando named Dogbert; making the best of the situation, Chichoy paraded Dogbert around as his bodyguard, spreading the rumor that his life was under threat from unspecified enemies determined to keep the quality of Philippine education down. “We can give them no quarter,” he declared at the last CHED event he attended. “We must resist, with all impunity, those who aim to keep our poor people shackled to the twin pillars of ignorance and idiocy!” He missed Mildred in those moments, but he felt quite pleased with his growing self-sufficiency in speechwriting, thanks to his new discovery, ChatGPT. Of course it never quite came up to his standards, so he tweaked the prose here and there, like that reference to Samson that he hoped would bring the house down.

But now, reading the reports of top Philippine universities slipping in their rankings in the usual Times Higher Education and Quacquarelli-Symonds surveys, Dr. Carabuena saw an opportunity for his modest HEI to rise. “As their mystique diminishes, so our aura will grow,” he informed an indifferent Dogbert. “We just need to come up with sustainable innovations that will disrupt the status quo.” Dogbert handed him a slim folder. “Sir, someone wants to see you, to apply for the position of Academic Vice President.” It was a position that Chichoy himself had held concurrently to save on salaries, but now he felt obliged to pass it on to a real expert. He flipped the folder open and saw the picture of a cute Chinese-looking woman going by the name of “Dr. Alice Kuan.” Chichoy was mesmerized. “Send her in—and get out!”

When Dr. Alice Kuan stepped into Chichoy’s office, he felt himself enveloped in a miasma of jasmine, peonies, and five spices—everything good he remembered from his only visit to China many years ago. Her lips were lotus-pink, her skin ivory-white, and here and there dumplings suggested themselves to his imagination. “Good morning, Dr. Kuan! Please, have a seat! You’re here to apply for the AVP job?”

“Yes, Mr. President,” she said with a quarter-moon smile, “and I come with many ideas for both improving your curriculum and raising revenues through academic innovations.”

“Innovations! I like that! Like what?”

“Why artificial intelligence, of course! We could use AI to teach many of our courses, reducing costs. Also, we could bring in more foreign students from—uhm—friendly neighboring countries, while creating part-time employment opportunities for them in—uhm—online entertainment, for which we could even lease out some of your campus property. It would create a huge economic boost for Sta. Vicenta!” 

Temple bells rang in Chichoy’s mind. Not only was she fetching; she was smart! Suddenly he could see his political future brightening. He wanted to know more about this adorable avatar, and only then did he notice how patchy her resume was. 

“Your birth certificate was filed when you were…. 17?”

“Was it? I don’t remember.”

“Which elementary school did you go to?”

“I don’t remember. Maybe homeschooling?” She threw him an exasperated sigh. “Look, Dr. Carabuena, does it matter? I can have AI do a perfect resume if that’s what you want. If not, I can take my ideas to the Fontebello Institute of Technology in San Bonito just an hour away, and maybe they’ll be more receptive to disruptive innovations—”

“No, no, no! Disruptive, I like disruptive! Please, Dr. Kuan, stay in your seat! I’ll have somebody prepare your contract. Dogbert!”

(Image generated by AI.)

Qwertyman No. 91: 1968 Redux

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Qwertyman for Monday, April 29, 2024

A WAVE of pro-Palestinian protests has been sweeping American college campuses, prompting academic administrators and political leaders to push back and invoke their powers—including calling in the police—to curtail the demonstrations. 

House Speaker Mike Johnson—a Trump ally and staunch supporter of Israel—probably spoke for his ilk when he told protesting students at Columbia to “Go back to class! Stop wasting your parents’ money!” He also called on Columbia University president Minouche Shafik—an Oxford Economics PhD and English baroness who also happens to have been born in Alexandria, Egypt to Muslim parents—to resign for not moving strongly enough against antisemitism on the Columbia campus, despite Shafik’s controversial suspension of pro-Palestine student groups earlier and her resort to police action, resulting in mass arrests.

The protests and the violent response to them threw me back to 1968, when the world’s streets from Chicago to Paris shook from the boots of students and workers marching against the Vietnam War, for civil rights, and for women’s liberation. In the Philippines, student organizations such as the SCAUP and the newly formed SDK took up the same causes, on top of a resurgent nationalism. I was too young to have been part of these great movements then, although we marched in high school for “student power,” whatever that meant. I would get deeply involved as the decade turned, infected by the inescapable ferment in the air; in 1973 I would realize that protest had a price when I spent seven months in martial-law prison.

I’ve tried hard to think what it would be like to be 18 and a student today, what cause would drive me to the streets and to pitch a tent on the campus grass. While we Pinoys have our sympathies, Gaza seems too distant for us to mobilize for, and certainly we don’t lack for domestic issues to be bothered by, although our level of tolerance appears to have risen over time. In 1971, a 10-centavo increase in oil prices was enough for us to trigger the Diliman Commune; today we routinely wait for Tuesday’s inevitable announcement of gas price hikes and sigh.

Perhaps time and age do bring about shifts in perspective; some leftist firebrands of my youth have now become darlings of the right, and I myself have moved much closer to the center, ironically morphing from student activist to university official at the time of my retirement.

As that administrator—at a university where protesting is practically part of the curriculum—I can appreciate the bind Dr. Shafik now finds herself in, hemmed in from both left and right, with the complexity of her thinking and the brilliance of her own achievements reduced to a single issue: how to deal with students who won’t “go back to class and stop wasting their parents’ money,” as Speaker Johnson would have it, and will instead insist on their right to self-expression, whatever the cost. Aggressiveness, audacity, and even insolence will come with the territory. Persons in authority become natural targets of one’s rejection of things as they are; the preceding two generations are to be held immediately responsible for things gone wrong. 

I recalled a time when UP students barged into Quezon Hall to interrupt a meeting of the Board of Regents to plead their cause. Some furniture was scuffed, but the president sat down with the students and discussed their demands. No one left happy, of course, but what had to be said on both sides was said. At another meeting later, someone asked if the students involved should have been sanctioned for what they did. I had to butt in to pour cold water on that notion, knowing that any punitive action would just worsen the problem. Open doors, I said, don’t shut them; this is UP—that kind of protest is what makes us UP, and our kind of engaged response is also what makes us UP.

Some will say that these outbursts are but cyclical, and that young people never learn, in repeating what their now-jaded seniors did way back when. But then the State never learns either, by responding to student protests today the way they did back in 1968, with shields and truncheons, effectively affirming everything the young suspect about elderly authority.

The Israel-Hamas war—now magnified, through many lenses, into an Israeli war on Palestinians—is a particularly thorny issue for American academia and for a public habituated to looking at the Jewish people as biblical heroes and historical victims. Gaza has turned that perception around for many, with the aggrieved now seen as the aggressors. In my column two weeks ago, I agreed with that re-evaluation, although I was careful to take the middle road and to condemn the excesses—committed for whatever reason—on both sides. 

Not surprisingly, I quickly got blowback from both my pro-Israel and pro-Palestinian friends. War is always ugly, one said, and Israel has to do what it must to save itself; the Hamas attack on October 7 was overblown by propaganda, said another, and it was something that Israel had coming. 

I still accept neither extreme; call me naïve and even Pollyannish, but I stand not with Israel nor with Palestine, but for peace and justice, which are not exclusive to one side, and can only be achieved by both working and living together. You can argue all the politics and the history you want, but there is absolutely no humane rationalization for the rape of women, the murder of children, and yes, even the killing of innocent men—not even the prospect of potentially saving more lives, the very argument behind the incineration of 200,000 Japanese in Hiroshima and Nagasaki, an act of war we all benefited from, but cannot call guiltless.

In a conflict as brutal and as polarizing as this one, “middle” never quite cuts it, and the excess of one will always be justified by the excess of the other. (To complicate my ambivalence, some issues do seem to have no middle, like Ukraine.) There have been no mass protests or demonstrations to advance my kind of moderation, and I don’t expect students, whether in Columbia or UP, to take to the streets flashing “peace” signs. 

And in mentioning that, I think I’ve put a finger on one difference between 1968 and 2024: “peaceniks” were neither pro-Saigon nor pro-Hanoi, although her critics were quick to paint Jane Fonda red; they just wanted America out of a war that was none of its business. There was an innocence to that that seems to have been lost in our hyper-informed and over-analyzed century. We feel compelled to choose with passion and precision, and are defined by our choices, from politics to sneakers.

Qwertyman No. 87: A French Sojourn

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Qwertyman for Monday, April 1, 2024

MY WIFE Beng and I were in France last week to give a series of lectures at the invitation of the Paris Institute of Political Studies, better known as SciencesPo. They don’t formally observe Holy Week in France (nor, for that matter, do many Filipinos to whom it’s simply come to mean “long weekend”). So we thought that it was the best time to come over and share some of our insights into Philippine literature, art, and politics with young French students as well as our countrymen in Paris, for whom I and fellow writer Cris Yabes, who’s based in France, gave a special reading at the Philippine embassy.

For those who’ve never heard of it—which won’t be too surprising given our Pinoy fixation on top American and British universities—SciencesPo (pronounced SEE-ansPO) is France’s leading university in the social sciences. It now has 14,000 students spread out over seven campuses across the country. Only 4,000 of those students are undergraduates; the rest are graduate students, including 350 taking their PhD. Unlike our universities, SciencesPo’s undergrads can finish in only three years, with their last year spent abroad. I was told that there are about 20 Filipino students currently enrolled at SciencesPo, and about half of its students come from overseas. As a public research university, SciencesPo is supported by the government through a private foundation, an arrangement that gives it a high degree of autonomy.

Founded in 1872, the university has served as the training ground for France’s political elite, producing five out of France’s eight presidents: Pompidou, Mitterand, Chirac, Hollande, and the incumbent Macron. Marcel Proust studied here for a year, and Christian Dior was a graduate.

With that kind of elite status comes criticism and controversy, and SciencesPo has had its share over the years. Nevertheless, it remains high on the list of desirable universities, especially for students with plans of joining the French civil service, after further studies at the Ecole Nationale d’Administration. (At Inalco, another Fremch university, we were surprised to find eight Filipino-French students studying Filipino for their degree under Prof. Elisabeth Luquin, who studied in UP and speaks Filipino like a local.)

Beng and I gave presentations on the Philippines at SciencePo’s main campus in Paris—a sprawling complex comprising ten buildings in some of Paris’ most precious real estate—and I had an additional three sessions in Le Havre, where SciencePo’s campus focuses on Asian studies. Wherever we went, we could see signs of intellectual and political ferment; like their predecessors at the Sorbonne whom we admired for their militancy 60 years ago, SciencesPo students have protested and rallied over many causes from domestic violence to Gaza.

To be fair, these concerns have occupied much of the rest of France as well. In a country where street protests are a time-honored tradition that have a real bearing on political outcomes, differences of opinion can run deep and long, and controversy stalks nearly every issue, from the wearing of religious headgear to the extension of the retirement age. To “liberté, egalité, fraternité,” we must now add “identité,” the subject of identity so central to political discourse in many countries today, especially those with large and strong immigrant populations like America and France.

“Over the last few years, France has been torn by culture wars—a shift that was less the effect of American concepts imported into French universities, as many on France’s right claim, than of the long-term decline, beginning in the early 1980s, of class politics and alternatives to capitalism. In a post-ideological France, class struggle has been displaced onto the terrain of identity,” noted sociologist Daniel Zamora in an article for Catalyst in 2021. “Despite Macron’s professed disdain for identity politics, his alternative can scarcely be construed as anti-identitarian. Building on what we have in common, Macron argued, meant finding an answer to the question, ‘What does it mean to be French?’”

Identity, at least, was not in question when Cris Yabes and I gave our reading at the Philippine embassy, thanks to the invitation of Ambassador Junever “Jones” Mahilum-West, one of the most amiable, gracious, and artistically inclined ambassadors I’ve ever met. (She was very game as well, happy to hoist an IPA beer with my wife Beng after our talks.) To a fairly sizeable group from the Filipino community in Paris, Cris and I read pieces that had to do with our foreign relations, particularly in my case with our diaspora, which my second novel Soledad’s Sister (which has been published in French by Mercure de France) dealt with. 

In the conversations that followed, I learned that there are around 26,000 documented Filipinos in France, with perhaps just as many existing belowground, most of them domestic helpers. One of them, Zita Cabais, was a victim of human trafficking more than two decades ago, having been enticed to come to Europe with the promise of a visa and a good job. Instead she was brought to Hungary, from where she was led on foot through Europe to finally reach France, whereupon her employer confiscated her passport, effectively holding her hostage. But unlike many other DH’s, Zita fought back, sued her employer, and succeeded. Since legalized, she now works for organizations devoted to fighting human trafficking. (The path to legalization is reportedly shorter in France, but knowing the French language is a prerequisite.)

One unexpected highlight of our visit was running into a group of Filipino seamen in our hotel in Le Havre, prior to my lecture. Beng and I had just come down for breakfast when we heard the familiar chatter of Filipinos at a nearby table. We came up to them and introduced ourselves, and we had a lively conversation during which they explained that they were still waiting for their ship to dock because of the bad weather. I’d met and chatted with seamen like them before in Hamburg and in Christchurch, among other places; as a writer and as a Filipino, I take it as a pleasant obligation.

Competition, they said, was driving them to accept shorter four-month stints at sea. “We barely break even, and it’s a tough life at sea, but we have no choice, since our families depend on us.” Part of my lecture that day was going to be about our Filipino notion of the hero as martyr, of Christ-like sacrifice for the common good. I suddenly realized that it was Good Friday. We had our smiling selfies taken, and they seemed proud to stand with UP professors, but it was Beng and I who felt honored to be there with them.

Qwertyman No. 82: How Young Filipinos See Their Future

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Qwertyman for Monday, February 26, 2024

THIS SEMESTER, I’m teaching an undergraduate class in UP called “Professional Writing,” a course I designed more than twenty years ago to help English and Creative Writing majors (and other seniors in search of interesting electives) get a handle on what the “real world” out there expects of them, in the kind of everyday jobs they’re likely to land. Not Shakespeare, not Jose Garcia Villa, not lyric poetry and neither the full-length play, but rather the more mundane assignments you get paid a salary for: business letters, press releases, feature articles, AVP scripts, brochures, and speeches. 

I find myself telling my students that, in a way, what I’ll be teaching them—which is basically how to conform to organizational or institutional standards and norms—is counter-intuitive to what’s been thought of as the UP way of asserting oneself and even questioning authority. This mythified UP “yabang” or “angas” could be one reason why UP graduates don’t rank at the top of employable prospects for corporations. 

So I feel like I have to teach my students the virtues of humility and sufferance, of sticking with a job and doing it well even if it’s not the coziest or smartest thing in the world to do, and of the importance of execution and delivery with no excuses, no (audible) complaints, on time, and against all odds. Before they break the rules, they should know the rules, so they’ll know exactly what they’re breaking and why (I bring up how Picasso was a realist before he turned to Cubism).

Of course, I also tell them that the door swings both ways—they can also walk out of a job they can no longer take (like I’ve done a few times in my own career), but not before thinking through the consequences and figuring out one’s options. Innovation and initiative are great to show on the job—but they can also backfire if not handled well, given people’s (and many managers’) ingrained resistance to change. In other words, prepare for and learn how to deal with adversity, which can be a better teacher than I’ll ever be.

It’s going to be an interesting semester, seeing how the students are responding to my provocations. One of those provocations was our first in-class writing exercise, which was a “visioning” of sorts, where I asked them to look 20 years ahead (preparatory to their next task, which is to write a job application letter). I’m sharing some of their responses below (excerpted here with their authors’ permission) to give readers an idea of how young Filipinos see themselves in their own future. There’s a palpable strain of pessimism in these responses—and that’s understandable, but it worries me. We shouldn’t saddle our successors with the notion that things can only get worse. So I’m making a note to myself: teach reality, teach adversity, but above all, teach hope. Having survived this long, despite everything we had to go through, should yield a useful lesson or two.

Student A: I remember telling myself upon entering college, “If I end up becoming one of those people I despise—a heartless doctor, a vain lawyer, all in the name of shameless success—I’d rather not enter UP.” Twenty years from now, the Philippines—and by extension, me included—will probably still be trying to heal from all the abuse that accumulated through time. In my dejection, I see the country still having a hard time distinguishing the morally right from wrong. Yet I hope that it would be otherwise. My hope sees differently from my rational musings, my hope sees the tide calming, a time I no longer have to convince my father of a reality so transparent it bites us in the face like a serpent.

Student B: I struggle to think of what the future holds for me. Truth be told, I struggle to think of a future with me in it at all. I find that thinking of the future brings with it a wave of dread, because even if the state of the country miraculously improves, there will always be a bigger power that inevitably ruins things for everyone else. However, if I somehow manage to be present still, (through either sheer luck or spite), I will likely be working at an office or a school somewhere. I’ll have a cat or two if the landlord allows it. Who knows if I’ll ever get married. The only thing I’m sure of is that I won’t have children—I can’t, in good conscience, bring someone else into this mess of a world.

This all sounds pessimistic, but in reality, I would actually call myself an optimist in day-to-day life. I want to think the best of people, and I believe that people are inherently kind. There is still a chance for things to improve, for everything to work out, but I can’t ignore the sinking feeling that it’ll only get worse from here. It might seem like we’ve already hit rock bottom, but somewhere, some world leader has brought a shovel and they’re ready to dig.

Student C: In many ways the country is a better place. People are more free to be who they are and love who they love, without fear. We have made leaps and bounds of progress in research and development. Science creates new technology, and we artists learn new ways to create, adapt, and keep toe-to-toe. Because I’ll be damned before I let the machines win. Yes, life is better. For those who can afford it. I want to afford it. But those braver than me fight for a future where everyone need not to. Because that’s the thing about human nature. Fighting is instinctual. Through war, poverty, and inequality, there will always be people fighting for something better. Many because they have no choice but to fight or die—fight to survive. Others because they owe it to someone, maybe themselves, to be the source of hope they want to see or have seen before. 

The country is far from perfect in 2044. Those selfish, like myself, have found a good life amidst a rotten core. We have survived. I have survived. Now it’s time to finally be brave. In 20 years, I know I’ve learned so much. Let me teach what I can.