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Fine Arts Department Faculty Publications

Literary: the contemporary philippine essay - introduction.

Ramon Guillermo , University of the Philippines Diliman Martin V. Villanueva , Ateneo de Manila University Follow

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Literary: The Contemporary Philippine Essay

Recommended Citation

Guillermo, R., & Villanueva, M. V. (2016). Literary: The contemporary Philippine essay - Introduction. Kritika Kultura, 0(26), 618–625. https://ajol.ateneo.edu/kk/articles/77/838

Since March 31, 2022

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10 Contemporary Filipina Authors You Absolutely Should Be Reading

Women have been writing amazing books about Filipino life and culture for as long as we can remember, and it makes no sense that our attention is skewed so heavily in favor of the men’s.

For the sake of those who need a greater push into the spotlight, we are featuring 10 Filipino women writers whose works you definitely have to read.

Also Read:  9 Kickass Women in Philippine History You’ve Never Heard Of

1. Barbara Jane Reyes.

A poet with a BA from the University of California at Berkeley and an MFA from San Francisco State University, Reyes is the author of three poetry collections: Gravities of Center (2003), Diwata (2010), and Poeta en San Francisco (2005) which won the James Laughlin Award from the Academy of American Poets.

The Poetry Foundation says her work “explores a variety of cultural, historical, and geographical perspectives,” and that her winning collection Poeta “employs English, Spanish, and Tagalog to create a devastating portrait of her hometown.”

2. Catherine Ceniza Choy.

Born in 1969, Choy is a professor and chair of the Ethnic Studies Department at the University of California, Berkeley. She has written two books on Filipino diasporic history: Empire of Care: Nursing and Migration in Filipino American History (2003) and Global Families: A History of Asian International Adoption in America (2013). The latter looks at the complex politics and relationships that compel Americans to adopt Asian children from abroad.

She created a stir with her first book, Empire of Care , which won her the American Journal of Nursing Book of the Year Award in 2003; an Honorable Mention from the American Studies Association Lora Romero First Book Publication Prize in 2004; and the History Book Award from the Association for Asian American Studies in 2005.

3. Conchitina Cruz.

Cruz received her MFA in Writing from the University of Pittsburgh and currently teaches creative writing and comparative literature at the University of the Philippines-Diliman.

She was the recipient of both the Fulbright and Rockefeller Foundation grants; Palanca Awards in 1996 and 2001; and a Philippine National Book Award in 2006.

She’s written four books so far, which include  Dark Hours (UP Press, 2005), elsewhere held and lingered (High Chair, 2008), and (together with Adam David and Delilah Aguilar), A Catalogue of Clothes for Sale from the Closet of Christine Abella—perpetual student, ukay fan, and compulsive traveler (The Youth and Beauty Brigade, 2012).

4. Eileen R. Tabios.

Born in 1960, our third poet on the list is also a prolific editor, anthologist, critic, publisher, conceptual/visual artist and fiction writer. With up to 50 titles in her combined bibliography, she has won the PEN Open Book Award, the Potrero Nuevo Fund Prize, and the PEN Oakland-Josephine Miles National Literary Award, among others.

Tabios is a writer who’s not afraid of crossing genres, mixing fiction with non-fiction as well as various artistic practices. The Poetry Foundation further credits Tabios for having invented the hay(na)ku , a poetic form in which “the first line contains one word, the second line contains two words, and the third line contains three words,  for a total of six words.”

5. Felisa Batacan.

Felisa Batacan, also known as F.H. Batacan overseas, is a Filipino journalist and crime fiction writer based in Singapore, whose first novel, Smaller and Smaller Cricles (2002), was considered to be the Philippines’ first crime novel.

Batacan’s novel was published to wide critical acclaim in 2002, even though it had already won the Carlos Palanca Grand Prize for the English Novel in 1999. It then went on to win the 2002 National Book Award and the 2003 Madrigal-Gonzalez Best First Book Award.

Ten years later, the book would be acquired by New York-based publisher Soho Press, and is due to arrive on bookstands this year.

6. Genevive L. Asenjo.

Known for her ability to write and translate between Filipino, Kinaray-a and Hiligaynon, Asenjo’s first novel, Lumbay ng Dila (2010), won the National Book Award in 2011.

In 2009, she spent half of the year in Seoul as an Overseas Writing Fellow, and in 2012, Asenjo attended the University of Iowa’s prestigious International Writing Program as an Honorary Writing Fellow. On top of being Associate Professor at De La Salle University-Manila, she is also the founder-director of Balay Sugidanun.

7. Jessica Zafra.

You probably have known her for her column, Twisted (1994-2004), which appeared in the newspaper Today (now the Manila Standard Today ) before it turned into a book series.

Jessica Zafra is known for her trademark wit and remarkable insight, which she displays in spades across her two collections of short stories, The Stories So Far and Manananggal Terrorizes Manila . She also runs the website, JessicaRulesTheUniverse.com, which you should totally check out.

8. Lakambini Sitoy.

Described as a “brilliant new talent” by the New York Review of Books, Lakambini Sitoy’s first novel, Sweet Haven , had been longlisted for the Man Asian Literary Prize in 2008 and subsequently translated into French in 2011.

Sitoy also had two collections of short stories published: the first, Mens Rea and Other Stories (1999) received the National Book Award in 1999 while her second, Jungle Planet (2006), had been shortlisted. She’s also had the impressive feat of receiving prizes from the Palanca Awards as well as the Philippines Free Press Award.

9. Marjorie Evasco.

Born in 1953, Marjorie Evasco is a poet that prides herself as a true Bol-anon who keeps alive “the memory and spirit of the revolt led by Dagohoy,” committing “her vision through her poetry, believing that the worthy warrior and healer is adept at giving voice to the vision so that others may sing it, too.”

One of the earliest supporters of women’s rights and women writers in the Philippines, she has written a handful of collections and has received in turn a bucket load of awards, including the Palanca and National Book Awards. We recommend starting with Dreamweavers , a collection that details her sense of origin and deals with the intricacies of ancestral heritage.

10. Merlinda Bobis.

 Merlinda Bobis was born in Legaspi City, Albay, and is currently based in Australia where she teaches at Wollongong University.

 Bobis is a legend: she has published novels, short stories, dramas, and poems. Her plays have been produced and performed in more than ten countries around the globe. She went from winning the Most Underrated Book Award from the Small Press Network in Australia in 2013 to snagging the Juan C. Laya Philippine National Book Award for Best Novel in a Foreign Language in 2014.

Selected References

Cordite Poetry Review,. (2012). Three Poems by Conchitina Cruz . Retrieved 2 September 2015, from http://goo.gl/BR5NyG

Poetry Foundation,. Barbara Jane Reyes Biography . Retrieved 2 September 2015, from http://goo.gl/oZwh6O

The University of Iowa – International Writing Program,. Genevieve L. Asenjo . Retrieved 2 September 2015, from http://goo.gl/YRuVUy

University of California, Berkeley Department of Ethnic Studies,. Faculty Profile: Catherine Ceniza Choy, Professor and Department Chair . Retrieved 2 September 2015, from http://goo.gl/Vf2XtE

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Literary Journal of the Philippine South

Category Archives: Katitikan Literary Journal

Check out the latest issues of the Katitikan: Literary Journal of the Philippine South .

This contains the literary works of contemporary Filipino writers in English, Filipino, and Cebuano languages.

Katitikan Issue 5: Writes and Rights

Introduction.

Our Voices, Words of Law Ria Valdez

Ang Batang sa Pangpang Mark Alden Arcenal

Ang Kuwento ni Lola Mina John Carlo S. Gloria

Ang Mga Naulila Mark Anthony Angeles

Baldado Mark Anthony Angeles

Biting Mouths, Bitten Hands Kent Reymark Tocayon

Cybora Malaya

Dark Side of the City Shinnen Cahandig

Executive Order Mark Anthony Angeles

Feli Ariel B. Logroño

Ikalawang Kamatayan Malaya

Makit-an Pa Nako Siyang Galaroy-laroy sa Kilid-kiliran Cyrus Adrian C. Rom

Messenger John Carlo S. Gloria

Nanaghoy ang Dahili sa Ginbiktan Rey B. Araneta

Nataran Ronan R. Lingatong

Pamainit Ronnel Victor Kilat

Pilipinas, 2026 John Carlo S. Gloria

The Call of the Dead Catlyn Rose Laurente

The Slaying of the War Crab Junelie Anthony Velonta

The Symphony of Frogs Ava Arnejo

A friend asks if I’ve been writing Andre Aniñon

Across the Multiverse Hezron Pios

Bato nga Ginoo Gilford Doquila

Dagat-dagatang Putik John Rafael M. Alcantara

Evidence Alyza Taguilaso

For Simon Raphael Salise

From the Top of the Bridge Liane Carlo R. Suelan

Hukayin Natin ang Langit Gerald Castillo Galindez

Karayom Jason Federigan Pozon

Lesson in Immunology Andre Aniñon

Makinang de Pedal Jason Federigan Pozon

Manikin Jason Federigan Pozon

Medida Jason Federigan Pozon

No Loitering Allowed Aki Dueñas

Sa Mga Hantatawo Ivan Ridge Arbizo

The students are overjoyed Andre Aniñon

Tumbang Preso Harvey Castillo

Reclaiming Narratives: EliBarra Fix-it Fanfiction as a Queer Reparative Reading of Noli Me Tangere Sean Marcus Ingalla

Salt and Coffee David Madriaga

Visceral Gershom Mabaquiao

May Sarong Kulibangbang Jobert Grey Landeza

Nauli Man Lagi Ka? Dan Ian Niño B. Jaducana

Pagpangandam Yudi Santillan III

Troll Mark Andy Pedere

Katitikan Issue 4: Queer Writing

Ang Pagwiwika ng Bakla, Ang Pagbabakla ng Wika Abner Dormiendo

A Boy, Inarticulate John Rey Dave Aquino

Ako Gilford Doquila

Ang Libro ni Maria Shinnen Cahandig

Birthday Daniel C. Geraldez

Bukas Ulit ng Gabi John Llyod Sabagala

Kumpisal KC Daniel Inventor

Kung Pwede Lang Eljay Castro Deldoc

Kuya Macoy Liane Carlo R. Suelan

Man-og KC Daniel Inventor

Pag-alala kay Jose Garcia Villa Eric Abalajon

Paruparo Jamil R. Figuracion

Sodom at Gomorrah KC Daniel Inventor

They Don’t End Up Together Sievney Quidet

Thirdy Arnold Matencio Valledor

Aftermath Kristoff Peralta

Akó/Akò Leo Cosmiano Baltar

Alagwa Paul Joshua Morante

Ang mga Soltero sa Bailehan KC Daniel Inventor

Babae Ako! Lenard R. Diaz

Dance Mai Santillan

Dead Chicken Theo Itchon

Doorknobs F. Jordan Carnice

Hanggang sa ang Verbo ay Magkatawang-tao Daryl Pasion

In our Understanding the Self class Vhinz Dacua

Kahel Leo Cosmiano Baltar

Kintsugi Jhio Jan A. Navarro

Kon Wala Imong Letra Sa LGBTQIA Jan Angelique Dalisay

Monsoon Madness Leo Fernandez Almero

Muni-muning Pagyakap sa Pagiging Mapag-isa’t Malaya sa Ilalim ng Buwan at Ibabaw ng Kamatayan John Lloyd Sabagala

Sa Bayo KC Daniel Inventor

Sa Darating Leo Cosmiano Baltar

The Garden of Beings Jan Angelique Dalisay

To Leonard Matlovich Elvis A. Galasinao Jr.

Maupay (At Mga Katagang Waray na Di Ko Malilimutan) Raya Martinez

My Other Name Gilford Doquila

Ganito ang Pinangarap Kong Kasal Eljay Castro Deldoc

Pigil-Gigil Andyleen C. Feje

Katitikan Issue 3: (Re) Imaginations

What Comes Next Sigrid Gayangos

The Ticket Rochelle Ann T. Molina

Walang Susing Musoleyo John Paul Albiola

Taglunod, Tagsunog Erika Carreon

Quaranfic Gabriela Baron

How Sitio San Roque turned into a Garden Reil Benedict Obinque

Lamiraw Cesar Miguel Escaño

Ghosts Erika Carreon

Partes Brixter Tino

Bastardo Mirick Paala

Daan Mirick Paala

Pula Ang Unang Kulay ng Bahaghari Mirick Paala

Calle Burgos R.B. Abiva

Elehiya ng Talisain Jhio Jan Navarro

Panauhin Joshua Mari Lumbera

Mga Bulong ng Isang Bugkot Mula sa Biringan City Mark Bonabon

Mula ng Tuwa Namin Dennis Andrew Aguinaldo

anunugba Jennifer Ebdani

awit sa langgam Jennifer Ebdani

Infinite Backyard Choreography Hezron Pios

Hip-hop in the Time of Appendicitis Hezron Pios

Night Walkers Rochelle Ann Molina

Salaysay ng Hindi Ko Sinali sa Opisyal na Ulat Ben Aguilar

Utang Ben Aguilar

Wika ng Pagdamay Kristoffer Aaron Tiña

Ang mga Hindi Nakarating Kristoffer Aaron Tiña

Tiket Ronel Osias

Stay at Home Ronel Osias

Affected Sectors Ana Margarita Nunez

Santol Jenelyn Garcia

Sa May Divisoria Jules Yuan Roldan

Demolisyon Jules Yuan Roldan

The Social Semiotics of Our Sensibility Lakan Uhay Alegre

Hugas-Kamay Ram Meris

Doktor Wakwak Sharon Almocera

Somora Jayne Arianna Grace Gotera

Katitikan Issue 2: Places and Spaces

Looking at Space and Place: The Navigation of Meaning Making Thomas Leonard Shaw

Ang Huling Sayaw ni Sebyo May Morales Dolis

Rectokado Cesar Miguel Escaño

Echoes of Pasig Matthew Jacob Ramos

Sanayan Lang ang Pagpatay Gabriela Baron

Ulan-init Hannah Lecena

City lines Andrea Lim

It is snowing in your country Christian Baldomero

There is a boy in the island Christian Baldomero

Cleaning the Attic F Jordan Carnice

Sky Over Cairns F Jordan Carnice

A Philosophy of Water Ma. Carmie Flor Ortego

The placenta of evening stars Ian Salva?a

Amihan Ian Salvana

Cartography Jose Kervin Cesar Calabias

Ang Hiniling Ko’y Umulan Andre Gutierrez

Ang Karamdaman ng Dagat Joshua Mari Lumbera

Heometriya ng lungkot Liberty Balanquit

Ka-wala-kan Stud Jader

Lawalawa Arthur David

Pagkatunaw Arthur David

Hasmin Arthur David

Petsay Ma’y Bakwit Din Emman Lacadin

Bakal Dos at Uno R.B. Abiva

Ang Kalsadang Puno ng Pananagimsim Renz Rosario

Lawag Renz Rosario

Creative Nonfiction

Here, There, Everywhere: Catching Up with Criselda Yabes Charles Sanchez

My Trilingual Career Francis C. Macansantos

Baybayin All Over Her Face Kevin Amante

Choosing to Stay Home Astrid Ilano

Labada Andrew Bonifacio Clete

Luyag ‘Da’ra’y Anino  (A Kingdom of Shadows) Christopher Gozum

Katitikan Issue 1: Maiden Issue

(Re)Solving the South(ern) Puzzle: Katitikan as Alternative Discourse Thomas Leonard Shaw

Among the Bissayans of Zvbv Carlos Cortes

Ang Kalibotan Gawas sa Kalibotan Omar Khalid

Ang Kataposang Sugilanon ni Borges Al Osiris Ingking

Ang Panugid Alang sa Buwan Richellet Chan

Badjao Mahika Realismo

Baryo Tae Elizabeth Joy Quijano

Festival of Lights Camille Bagaipo

Galit si Eba Gabriela Baron

Geriatrics Susan Evangelista

HEXOPUS: The Six-Limbed Lad Charles Sanchez

Honasan Cesar Miguel Escano

Katayan sa Palihan Steno Padilla

Manananggal Mahika Realismo

Manananggal ng Sitio Toledo Gabriela Baron

Pulubi Mahika Realismo

Sampaguita Mitch Balladares

Tides of the Sea Alanna Michelle Escudero

Two Women of Bantayan Danton Remoto

A Brief Meeting King Llanza

At Napagod ang Hagdan John Christopher Lubag

Biyaya ng kutob Liberty Notarte Balanquit

Candy Keeps an Island Alive Breia Gore

Ensemble Christine Marie Magpile

Gawat Rene Boy Abiva

(hI)Law-as Elvin Ruiz

kamatis march Stud Neil Jader

kung bakit laging may patugtog sa SM Marlon Lester

Kung Paano ang Maghimay Johann Vladimir Espiritu

Pantalon Arthur David San Juan

Subukan Mong Bumangon, Isang Hatinggabi, At Pagmasdan ang Nahihimbing Mong Magulang Mark Anthony Salvador

The Mermaid Speaks Nico Pablo

The Underside of Healing King Llanza

Tinagutlo nga Pag-aninaw sa Tinuboran Jovanie Garay

To Mother Mai Santillan

Urban Jungle Lakan Uhay Alegre

uwan: siya ug ako Ivanie Michmir

What the Brooke’s Point Farmer Taught Me Nico Pablo

White Bodies Splayed on White Sand Alfonso Manalastas

Critical Essay

Excavating the Trauma: Notes on the Teng Mangansakan’s Forbidden Memory Ivan Emil Labayne

The Settler Settles In: Locating a Space for the Settler in Rogelio Braga’s Colon Ana Margarita Nunez

Entre Medio del Fin (In the Middle of the End) Ryanne Murcia

• CURRENT ISSUE
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The Centre Cannot Hold: 6 Contemporary Filipino Poets

More than 92 million people live in the Philippines, making it the world’s 12th most highly-populated country. Given that many of these millions speak English as a second language, the Philippines is also one of the world’s largest English-speaking nations. Most Filipino writers publish in English, or in English as well as in other languages like Tagalog or Cebuano. This doesn’t take into account the millions of Filipinos who live overseas, particularly in the United States, where there’s a rich tradition of Filipino literature that begins with poets like the magnificent José Garcia Villa (1908-1997). In this light, Filipino literature is one of the world’s major English-language literatures.

Three Poems by Conchitina Cruz Four Poems by Marc Gaba Three Poems by Marjorie Evasco Three Poems by Francisco Guevara Three Poems by Mabi David Two Poems by Ricardo M. de Ungria

If for the fact that there are hundreds of thousands of Filipinos living in Australia wasn’t reason enough to take an interest in Filipino poetry, the fact that Filipino poetry shares a tremendous amount in common with Australian poetry should. Those fissures that have dominated so much of the past half-century of Australian poetry – between ‘the tradition’ and ‘the postmodern’, between an indigenous or nationalist poetry and a poetry that stretches to North America and elsewhere, between poetry that centres on the nation’s landscapes and poetry that sees in its cities and other locations a manifestation of global and/or North American trends – are quite central to poetry in the Philippines, too. As many of the poems in this chapbook demonstrate, what links much of contemporary Australian and Filipino poetry is a shared tendency to confront these issues not as a set of delimiting restrictions, but as entries into investigations that interrogate those most basic assumptions about who is writing, where s/he is writing and why writing in this particular language, in this particular time and place must occur at all.

More than anything else, perhaps, it’s a close but uneasy relationship to the United States of America that produces so much synergy between Filipino and Australian poetries. This involves anything from a wary ambivalence of cultural homogenisation to a fierce enthusiasm for the literature and culture of the world’s largest, wealthiest nation. Many of the poets in this selection have spent – or are spending, as in the case of Conchitina Cruz – long periods in the USA, and maintain close connections to its literary and scholarly currents. Their work shows traces of Steinian repetitions, Olsonian fields and Spicerean grammars. Yet in their willingness to unsettle the object, the speaker, and the situation of the poem, reveals a commitment to experiences of dislocation and homelessness – to a ‘revolution’, as Kokoy Guevara puts it, of people moving ceaselessly away from, towards, across territories.

This shared Filipino-Australian proximity to the USA provokes a much deeper uncertainty about the English language and how appropriate it is for speaking in and/or about Filipino or Australian concerns. It suggests that as we yearn for the cosmopolis, we are also rather appalled by it.

In the case of Filipino poets, this is glaringly obvious. Nationalist organisations like LIRA promote the writing of poetry in native Filipino languages and in forms derived from traditional oral poetries. LIRA has been highly critical of avant-garde groups like High Chair, whose poets would share much in common with many of the contributors to Cordite Poetry Review . In both countries there’s a strong sense that American English is not, and cannot be our English. Nevertheless, as we try to resist the imperialist momentum of the American version, we are only made more aware of the inherently colonialist, uniformalising tendencies of our own state-sanctioned codes. If our home isn’t to be found there, then where is it?

I’m ashamed to say that prior to my Asialink residency I knew next to nothing about the Philippines, let alone Filipino poetry. I had some extraneous ideas floating around to anchor my imagination (as an avid martial artist, I’d done some Eskrima training over the years, and after so much time in Latin America I was aware of the Philippines as a satellite of the old Spanish Empire) but I knew nothing of the ways Filipinos represented themselves, or of the ways they spoke about time, space and their long, turbulent history of successive colonisations. What I learned, the image I flew home with, was nothing short of extraordinary.

Related work:

• Stuart Cooke Reviews Francisco Guevara
• Two Poems by Ricardo M. de Ungria
• Three Poems by Francisco Guevara
• Four Poems by Marc Gaba
• Three Poems by Marjorie Evasco
• Three Poems by Mabi David
• Three Poems by Conchitina Cruz
• Ambot sa Essay Kwoah: From Swardspeak to Hiligaynon, What Queering Language and Forms Means to Me
• 4 Juan Paulo Huirimilla Oyarzo Translations by Stuart Cooke
• Corey Wakeling Reviews Stuart Cooke’s Lyre

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Stanford Humanities Today

Arcade: a digital salon.

Meredith Ramirez Talusan

One of the major difficulties of being a U.S.-based scholar working in Filipino is having access to texts that are only distributed in the Philippines. So it was with enormous joy that I discovered J. Neil Garcia’s Postcolonialism and Filipino Poetics available digitally on Amazon .

Published in 2004, Garcia’s work has important ramifications beyond the boundaries of the Philippines, especially for scholars interested in the use of postcolonial theory from the perspective of a theorist and as applied to texts that are situated outside normative settings of academic circulation.

Ang isang matinding kahirapan ng pagiging skolar sa Amerika na nagsusulat tungkol sa panitikang Filipino ay ang paghahanap ng mga aklat na sa Pilipinas lamang puwedeng makuha. Kaya talagang nasiyahan ako nang nakita ko na ang Postcolonialism and Filipino Poetics ay puwedeng bilihin sa Amazon . Nilathala noong 2004, ang gawa ni Garica ay merong mahalagang maibibigay din sa labas ng Pilipinas, lalo na para sa mga skolar na gustong tignan ang paggagamit ng teoryang postkolonyal galing sa paningin ng isang teorista at tungkol sa mga gawang nasa labas ng karaniwang sirkulasyon ng gawang akademik.

Garcia’s most vital deployment of theory is his aggressive critique of an essentialist poetics of nationalism that pervades the critical work of Virgilio Almario in Tagalog and Gemino Abad in English, two of the most revered figures in Philippine literature, both as poets and as critics. Garcia is particularly critical of Almario and his Balagtisismo Versus Modernismo , a literary history of Tagalog poetry in the 20th century that espouses what Garcia describes as a “nativist” poetics, one that unquestioningly affirms the myth of the nation at the exclusion of other orientations. Garcia writes: “The official Filipino nationalism Almario ritually invokes — precisely because it is the dominant form of Filipino nationalism — is responsible for the marginalization of so many Tagalog cultures, languages, and communities in the Philippines.”

Ang pinakamahalagang paggamit ni Garcia ng teorya ay ang kanyang agresibong paglaban sa esensyalistang katulaan ng nasyonalismo na kaugnay sa gawang kritikal nina Virgilio Almario sa Tagalog at Gemino Abad sa Ingles, dalawa sa pinakakilala sa panitikang Filipino, makata man o kritiko. Pinakakritikal si Garcia kay Almario at ang kanyang Balagtisismo Versus Modernismo, isang kasaysayang pampanitikan ng panulaang Tagalog sa ika-20 siglo na nagpapairal ng tawag ni Garcia na katulaang “natibista,” isang katulaan na walang malay na tinataguyod ang mitolohiya ng bansa at hindi isinasama ang ibang mga posisyon. Sulat ni Garcia: “Ang opisyal na nasyonalismong Filipino na tinataguyod ni Almario — dahil nga ito ang dominanteng uri ng nasyonalismong Filipino — ay responsable para sa pagsasagilid ng napakaraming kulturang Tagalog, wika, at komunidad sa Pilipinas.”

This critique of nationalism, and its accompanying affirmation of hybridity according to Homi Bhabha’s model, is an important one for questioning both a unitary national identity in a nation whose territorial integrity was itself defined by colonial forces, as well as the nation as the obligatory site of loyalty and identification. Garcia’s own identification as a gay writer and poet situates and informs this perspective, as he finds his own production marginalized in the context of a dominant Philippine poetics deeply entwined with nationalism.

Ang kritisismo ng nasyonalismo, at ang kasama niyang paninindigan para sa kahaluan sang- ayon sa modelo ni Homi Bhabha, ay mahalaga para sa pangunusisa tungkol sa katangi-tanging pambansang pagkakalinlanan kung ang kabuuan ng teritoryo ay ginawa ng puwersang kolonyal, at tsaka ang bansa bilang sapilitang ubligadong lugar ng katapatan at pagkakakilanlan. Ang pagkakakilanlan naman ni Garcia bilang “gay” na manunulat at makata ay nagpoposisyon at nagbibigay-halaga sa kanyang pananaw, dahil nakikita niya na ang kanyang mga gawa ay isinasagilid sa konteksto ng isang nanginigbabaw na Filipinong katulaang matalik na kaugnay ang nasyonalismo.

However, it is equally vital to note that Garcia’s depiction of Almario’s critical production as failure risks the same binary and oppositional logic that he himself identifies as Almario’s key critical fault. A form of this is his devaluation of Almario’s particular contributions to the hybridity that Almario may not espouse in the terms that Garcia wishes, but is certainly apparent both in his critical and poetic production. If Almario is antipathetic to “corrupted” forms of language such as Taglish or swardspeak (a form of Tagalog spoken by gays in the Philippines), he was also a primary proponent for the use of creolized and amalgamated words in Tagalog poetry. If he espouses an unquestioned nationalism, it is also clear that many of his poems speak to concerns that go beyond the nation, most notably to class and forced migration. If it’s important to note certain of Almario’s critical positions promotes a unitary nativism, then it seems to me equally important to acknowledge contributions that do not conform to this singular depiction.

Subalit mahalaga ring sabihin na ang paningin ni Garcia tungkol sa kritisismo ni Almario bilang kabiguan ay nanganganib ding gumawa ng lohikang binaryo at oposisyonal na sinasabi niya na mismong pinakamatinding kakulangan ni Almario. Isang uri nito ay ang kanyang hindi pagpuna sa mga kontribusyon ni Almario sa kahaluan na kahit hindi man nito binabanggit sang ayon sa kagustuhan ni Garcia, ay kitang-kita naman sa tula at kritisismo nito. Kung hindi gusto ni Almario ang mga “halo-halong” uri ng wika kagaya ng Taglish at swardspeak, siya rin ang pangunahing tagasulong para sa paggamit ng kinreole at pinaghalo-halong salita sa panulaang Tagalog. Kung ipinahahayag niya ang nasyonalismong walang pag-aalinlangan, malinaw din na marami siyang tulang tumatalakay sa bagay na mas malaki kaysa sa bansa lamang, kagaya ng kahirapan at pangdarayuhan. Kung mahalagang sabihin na meron si Almariong posisyong kritikal na nagtataguyod ng kaisa-isang natibismo, mahalaga rin na punahin ang mga kontribusyon na hindi kumukumporma sa tanging panglalarawang ito.

Such an acknowledgment is all the more important given Garcia’s anti-binarism, because what ends up accompanying the breakdown of the native/foreign dichotomy in Postcolonialism and Filipino Poetics is the construction of the pure/hybrid dichotomy, with Almario and Abad occupying one side and Garcia the other. Garcia’s own dualism shows up not only in rhetoric that consistently borders on insult, but also in his own complication of the essential/constructed dichotomy in relation to his own poetic position with regards to gay identification. Garcia invokes Gayatri Spivak’s “strategic essentialism” as a way of explaining how he can simultaneously believe that being gay is not a choice as a matter of maintaining a personal sense of self and also that homosexuality as a historical phenomenon is socially constructed.

Ang pagpunang ito ay napakahalaga kung tutuusin na ayaw ni Garcia ang binarismo, sapagkat ang sa huling sumasama sa pagsisira ng dikotomiyang natibo/dayuhan sa Postcolonialism and Filipino Poetics ay ang pagtatayo ng dikotomiyang puro/halo, kung saan si Almario at Abad ay nasa isang panig at si Garcia ang nasa kabila. Makikita ang dualismo ni Garcia hindi lamang sa retorikang laging namimintas, pero din sa kanya mismong komplikasyon ng dikotomiyang esensiyal/gawa kaugnay sa kanyang posisyon bilang gay na makata. Ginagamit ni Garcia ang “strategic essentialism” [estratehikong esensyalismo] ni Gayatri Spivak bilang paraan sa pagpapaliwanag ng kanyang magkasabay na paniniwala na ang kanyang pagiging gay ay hindi niya pinili dahil kailangan niya ito para sa paningin ng kanyang sarili, at saka ang paniniwala na ang homoseksualidad bilang penomenohiya ng kasaysayan ay gawa ng lipunan.

Garcia seems unable to allow Almario the same latitude, despite undoubtedly being aware that Almario’s own formation as a poet and critic has been highly informed by the legacy of American colonialism, and that the myth of a unified Filipino nation must be juxtaposed with that history. A method for addressing Almario’s reliance on the trope of nationalism without constructing new dualities has to take contingencies like these into account.

Mukhang hindi kayang bigyan ni Garcia si Almario ng kaparehong kalayaan, kahit na siguradong alam niya na ang pormasyon ni Almario bilang kritiko at makata ay naging malaking gawa ng alaala ng kolonyalismong Amerikano, at ang katha ng kaisa-isang bansang Filipino ay dapat itapat sa kasaysayang iyan. Isang paraan sa pagtugon sa pagtitiwala ni Almario sa tropo ng nasyonalismo habang hindi gumagawa ng ibang dualismo ay kailangang punahin ang mga pangyayaring kagaya nito.

Thinking about what a non-oppositional critique of nativist poetics would look like, I come to a number of provisional strategies. The first is to fully acknowledge the importance of national integrity as an anti-colonial, nation-building project in a Philippine context, one that is highly implicated in attempts to construct the kind of unified poetics that Almario has historically espoused. The second is to admit that nationalism still operates at present due to various factors, not all of them having to do with the internal acquisition of power, such as the continued operation of a national system both economically and politically in a transnational context, and the continued disadvantaging of certain territories because of that system.

Kung pag-iispan ko kung ano ang itsura ng isang kritisismo ng katulaang natibista na hindi oposisyonal, puwede akong magbigay ng ilang probisyonal na paraan. Una ay ang hustong pagpuna sa kahalagahan ng kabuuan ng bansa para sa proyektong antikolonyal at pagagawa ng bansa sa Pilipinas, isang ideolohiya na kasama sa paggawa ng nag-iisang katulaan na matagal nang ipinapahayag ni Almario. Ang pangalawa ay ang pag-aamin na ang nasyonalismo ay mahalaga pa rin ngayon dahil sa iba’t ibang nangyayari, at hindi lahat ay kasama ang pagsakop ng kapangyarihan sa loob ng bansa, kagaya ng patuloy na pagpapatakbo ng sistemang nasyonal sa larangan ng ekonomiya at politika sa kontekstong transnasyonal, at na ang piling teritoryo ay patuloy na nadadaya dahil sa sistemang ito.

It may be that once these realities are acknowledged that a critic can expand upon the exclusions brought about by a purely nativist ideology, and arenas in which attention can be devoted to concerns that fall outside the framework of the nation. These acknowledgments allow for a critic attentive to these exclusions to justifiably argue that a strictly national model of poetics is not as relevant as it used to be, and runs the risk of effacing poetics that do not rely on the centrality of a national identity. Such a strategy thus allows for the inclusion that Garcia calls for without necessitating opposition.

Posible na pagkatapos aminin ang mga katotohanang ito, ang kritik ay puwede nang ipahayag ang iba’t ibang pagsasagilid na nangyayari dahil sa ideolohiyang natibista, at mga paksa na dapat nating bigyang pansin kahit na nasa labas ito ng pag-iisip tungkol sa bansa. Ang mga pag-aaming ito ang magbibigay sa kritik na gustong ipahayag ang ibang paksa ng kapangyarihan para ipagtanggol na ang modelong striktong nasyonalista ng katulaan ay hindi na kasing mahalaga ngayon kaysa sa nakalipas na panahon, at baka takpan ang mga katulaang hindi umaasa sa kahalagahan ng pambansang pagkakakilanlan. Gamit ang paraang ito, puwedeng ipagtanggol ni Garcia ang pagsasama-sama habang hindi naman gumagawa ng oposisyon.

Postcolonialism in Filipino Poetics demonstrates that if the breakdown of binaries continues to hold sway as a critical method, it is partly due to the difficulty in avoiding their creation, including for critics like Garcia who are averse to them. He claims in his introduction that he does not relish the task of critique because the literary scene in the Philippines isn’t “big-hearted” enough “to accommodate sustained, earnest, and ‘serious’ critical engagements.” He goes on to write: “[I]t is the paucity of such engagements that provides incontrovertible proof... of the helplessly ‘insular’ and ‘prelimenary’ character of our literature and culture, as a whole. It goes without saying that in the absence of a critical tradition, any claims of a national literary tradition can only be mystical-sounding, delusional, and, as demonstrated in the perorations of certain polemically inclined critics, shamelessly self-congratulatory.”

Ipinapakita ng Postcolonialism in Filipino Poetics na kung ang pagsisira ng mga binaryo ay patuloy na nagiging mahalagang paraang kritikal, bahagi nito ay dahil sa kahirapan ng pag-iiwas sa kanyang pag-gagawa, kasama na ang mga kritik kagaya ni Garcia na hindi ito gusto. Sabi ni Garcia sa kanyang panimula na ang situwasyong pampanitikan sa Pilipinas ay hindi hustong “mapagbigay... para matanggap ang kritisismong nananatili, masigasig, at ‘seryoso’.” Sabi rin niya: “Ang kakulangan ng kritisismong kagaya nito ang nagbibigay ng hindi malalabanang patunay... ng kahinahinang ‘pagkahiwalay’ at ‘preliminaryong’ kalidad ng ating panitikan at buong kultura. Hindi na natin kailangang sabihin na sa kawalan ng tradisyong kritikal, anumang pahayag ng pambansang tradisyong pampanitikan ay maaari lamang maging misteryong pakinggan, baliw, at, sa pagsisiwalat ng mga konklusyon ng ilang kritik na mahilig sa polemika, walanghiyang nagmamalaki lamang sa sarili.”

It’s important to note that a Philippine critical tradition undoubtedly exists, and it seems disingenuous to claim its absence on the basis of a critic’s own judgment. Moreover, Garcia’s rhetoric seems not only to engage in but also invite opposition. It’s also notable that the literary establishment Garcia critiques continues to support him. Hs book was published by the University of the Philippines and he continues to hold a professorship at that institution where Abad and Almario also teach, indicating that this establishment has been able to accommodate Garcia’s critical stance despite his suspicions.

Kailangang punahin na walang dudang mayroong tradisyong kritikal sa Pilipinas, at medyo alanganin kung sasabihin ni Garcia na wala nito dahil lamang sa kanyang sariling paghusga. At saka ang retorika ni Garcia ay hindi lamang gumagawa pero parang nang-iimbita pa ng oposisyon. Dapat ding punahin na ang establisamentong pampanitikang pinipintasan ni Garcia ay tumutuloy na sumusuporta sa kanya. Ang libro niya ay inilathala ng Unibersidad ng Pilipinas at patuloy pa rin siyang propesor sa institusyong iyon kung saan din nagtuturo si Almario at Abad, isang hiwatig na natatanggap naman ng establisamento ang kanyang posisyon kahit na siya ay may duda.

Nevertheless, I believe that serious criticism does not necessarily entail the oppositional logic that Garcia engages in even as he objects to its use by others. I hope in this short review to have laid out possible strategies for such a criticism, and to engage in this form myself in my assessment of Garcia’s work. Postcolonialism and Filipino Poetics is undoubtedly an important book not just in allowing the Philippine academy to contend with postcolonial theory on its own terms, but from a broader perspective, as a demonstration of how that theory can powerfully influence the literature and criticism of a former colony. But I believe that breaking down oppositional thinking also entails acknowledging one’s own critical debts, and being generous towards the contributions of others despite disagreement.

Gayunman, palagay ko na ang seryosong kritisismo ay hindi kailangang kasama ang lohikang oposisyonal na gamit ni Garcia kahit na hindi niya ito gusto sa iba. Inaasahan ko na naibibigay ng maikling artikulong ito ang ilang posibleng paraan para sa ganitong uri ng kritisismo, at na ginagamit ko rin ito sa aking pagsusuri ng aklat ni Garcia. Walang duda na ang Postcolonialism and Filipino Poetics ay isang napakahalagang libro hindi lamang para sa pagpapaisip sa akademyang Filipino ng teoryang postkolonyal gamit ang kanyang sariling halimbawa, pero sa mas malawak na tingin, para sa pagpapakita kung paano puwedeng impluensiyahin ng teoryang iyan ang kritisismo at panitikan ng isang dating kolonya. Ngunit palagay ko na ang pagtutol sa pag-iisip na oposisyonal ay dapat kasama ang pag-aamin sa mga utang na kritikal, at ang pagiging mapagbigay tungkol sa mga kontribusyon ng iba kahit man mayroong pinagaawayan.

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Essay on Philippine Literature

Students are often asked to write an essay on Philippine Literature in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on Philippine Literature

Introduction to philippine literature.

Philippine Literature is a treasure of written or spoken works from the Philippines. It includes stories, poems, songs, and other creative pieces. This literature is a reflection of the country’s history, culture, and experiences of its people.

Pre-Colonial Period

Before the Spanish came to the Philippines, Filipinos already had their literature. They told stories, sang songs, and recited poems. These were passed down from one generation to the next by word of mouth. This period was rich in legends, folk tales, and epics.

Spanish Colonial Period

During Spanish rule, Philippine literature was heavily influenced by the Spanish. Many Filipinos learned to write in Spanish. They created religious and secular works, like poems, plays, and novels. This period also saw the rise of the “Awit” and “Corrido”, popular verse forms.

American Colonial Period

The American period brought English to the Philippines. English became a medium for Filipino writers. They wrote in different genres such as short stories, novels, and essays. This period also saw the birth of Philippine newspapers in English.

Modern Philippine Literature

Today, Philippine literature is a mix of many influences. It includes works in Filipino, English, Spanish, and other local languages. Modern writers explore themes like identity, history, and social issues. They continue to enrich Philippine literature with their creative works.

250 Words Essay on Philippine Literature

What is philippine literature.

Philippine Literature is a treasure of stories, poems, and plays written by Filipinos. These works are written in different Filipino languages, English, and Spanish. They show the rich culture and history of the Philippines.

Before the Spanish came to the Philippines, Filipinos already had a rich tradition of literature. They told stories, sang songs, and recited poems. These were passed down from generation to generation. They were not written, but they were remembered and shared.

When the Spanish came, they introduced new forms of literature. They brought religious books, which had a big effect on the literature of the Philippines. Many Filipinos began writing in Spanish. They wrote about their lives, their beliefs, and their struggles.

American Period

When the Americans took over, English became the main language for writing. Filipinos started writing novels, short stories, and poems in English. They also wrote about their experiences during the American period.

Today, Philippine literature is a mix of different languages and styles. Some writers continue to write in English and Spanish. Others write in Filipino and other local languages. They write about many things, like love, war, and social issues.

In conclusion, Philippine Literature is a rich and diverse field. It shows the Filipino spirit through its stories, poems, and plays. It is a mirror of the Filipino soul, reflecting its joys, sorrows, hopes, and dreams.

500 Words Essay on Philippine Literature

Philippine literature is a rich tapestry of written and spoken works from the Philippines. It includes stories, poems, plays, and essays that reflect the country’s history, culture, and people. The language used in these works can be English, Spanish, or any of the local dialects.

Historical Background

The history of Philippine literature can be traced back to the pre-colonial era. Before the Spanish arrived in the 16th century, Filipinos already had their own system of writing known as “Baybayin.” They shared tales and poems through oral tradition. These early works often focused on myths, legends, and folktales.

The Spanish colonial period introduced new forms of literature. Filipinos began writing in Spanish and used literature to express their thoughts and feelings about the colonial rule. The most famous work from this period is “Noli Me Tangere” by Jose Rizal, a novel that criticizes Spanish friars.

The American period saw the use of English in Philippine literature. This era produced many talented writers who used English to write about the Filipino experience.

Types of Philippine Literature

Philippine literature comes in many forms. The most common are short stories, novels, poems, and plays. Short stories and novels often tell about everyday life in the Philippines or historical events. Poems can be about love, nature, or social issues. Plays often deal with social and political issues.

Themes in Philippine Literature

The themes in Philippine literature are diverse. Many works deal with social and political issues, such as poverty, corruption, and the struggle for freedom. Others explore themes of love, family, and friendship. There are also works that focus on the beauty of the Philippine landscape and the richness of its culture.

Significance of Philippine Literature

Philippine literature is important because it reflects the Filipino experience. It shows how Filipinos think, feel, and live. It also helps preserve the country’s culture and history. By reading Philippine literature, we can better understand the Philippines and its people.

In conclusion, Philippine literature is a treasure trove of stories, ideas, and emotions. It tells us about the past, present, and potential future of the Philippines. It allows us to see the world through the eyes of Filipinos. Despite the changes in society and technology, Philippine literature continues to thrive and inspire. It remains a vital part of the country’s cultural heritage.

This brief overview of Philippine literature gives you a glimpse into the rich literary tradition of the Philippines. There’s a lot more to discover, so don’t stop here. Keep reading, and let the words of Filipino writers touch your heart and mind.

That’s it! I hope the essay helped you.

If you’re looking for more, here are essays on other interesting topics:

• Essay on Philippine Independence
• Essay on Philippine Festivals
• Essay on Philippine Economy

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The Best Books in Philippine Literature

Contemporary Philippine literature reflects a diverse group of works which are mostly grounded on traditional folktales, socio-political histories, and real-life experiences. Such books have since promoted Filipino cultural values, told daily struggles of locals, and have instilled a remarkable lesson or two. Here are the best Filipino books worth your time.

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Noli Me Tángere by Dr. José Rizal

Among the great novels in Philippine literature , Noli Me Tángere ( Touch Me Not ) is the most controversial and widely-known – it’s included in the current education curriculum of Filipino high school students. Written by the country’s national hero, Dr. José Rizal, this novel sparked the social awakening of authors from Filipino culture during the Spanish colonial era. As Rizal cannot fathom the unfairness of the Spanish priests and the ruling government at the time, his purpose of writing the book was to expose the ills of Philippine society at the time. In this revolutionary book, you’ll learn about the story of Crisostomo Ibarra, how he dealt with Spanish authorities, and how he prepared for his revenge, as told in Rizal’s 2nd book, El Filibusterismo.

Another famous masterpiece in Philippine literature, Francisco Balagtas’ Florante at Laura is written in the form of ‘awit’ where there are four lines per stanza and 12 syllables per line. Set in the fictional kingdom of Albania, it tackles the story between Duke Florante and Princess Laura, who’s also being pursued by Florante’s enemy Count Adolfo. As a literary classic, this book has become a favorite play not only among Filipino high school students, but has been showcased in grand theaters such as Gantimpala Theater and the Cultural Center of the Philippines.

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Mga Ibong Mandaragit by Amado V. Hernandez

Mga Ibong Mandaragit (Birds of Prey) was written by Filipino authors and social activist, Amado V. Hernandez. Being a novel that tackles social-political issues, particularly Philippine revolution and neocolonialism, it has a connection to Rizal’s earlier novels – Noli Me Tángere and El Filibusterismo. There was a passage in the novel where protagonist Mando Plaridel was tested by Tata Matyas on what he knows about Rizal’s controversial books about the revolution. As he narrated the living conditions of Filipinos then, readers will note how Hernandez had high hopes for significant changes that would uplift the Philippine society.

The Woman Who Had Two Navels by Nick Joaquin

Being one of the most admired writers in Philippine literature, Nick Joaquin was recognized as National Artist of the Philippines for Literature in 1976. In his historical novel entitled The Woman Who Had Two Navels, Joaquin examines the effects and influence of the past towards the post-war events in the Philippines. Lead female character Connie Escobar thinks she has two navels, and thus requests her doctor to remove one – which symbolically means that she wants to shun away from a traumatic past. She later finds out that her husband, Macho Escobar, was the lover of her mother. Hoping to escape after being betrayed, she flees, only to discover more truths.

Po-on A Novel by F. Sionil Jose

Like Hernandez and Joaquin, F. Sionil Jose’s works have been deeply influenced by Rizal. This was reflected in his books and short stories, particularly the five-part novel series Rosales Saga , which narrated class struggles and colonialism experienced by Filipinos. Po-on A Novel is the first book in the Rosales Saga , which tells stories about Rosales, Pangasinan in the Philippines. While this book is the last written and published in the series, it’s actually the book that sets the five-part story. Discover the story of Eustaqio “Istak” Samson who abandoned his family to join the rebel forces and escape the cruelty of Spanish authorities. The other four books in the saga are: Tree, My Brother, My Executioner, The Pretenders, and Mass.

Banaag at Sikat by Lope K. Santos

Banaag at Sikat (From Early Dawn to Full Light) has been dubbed the ‘ bible of the Filipino working class.’ Being among the earliest novels written by Lope K. Santos, it’s considered by Filipino critic Teodoro Agoncillo as one of the most important books in Philippine literature in 1949. That’s because according to Agoncillo, it paved the way for the development of a system on how Tagalog novels were written. The novel narrates the story between Delfin and Felipe who have contrasting views. Delfin is a socialist whereas Felipe, despite being the son of a rich landowner, leans towards anarchism. Throughout the narrative, themes of love, livelihood, and societal status are embedded.

Ilustrado by Miguel Syjuco

This novel written by Miguel Syjuco landed him a spot on the 2008 Man Asian Literary Prize, being awarded the Grand Prize. Layered with fiction and non-fiction themes, the story begins with main character Crispin Salvador, a noted writer whose lifeless body was discovered by authorities floating off the Hudson River in New York. Since there was no evidence of foul play, it led them to think that the author must have taken his own life. His student and friend, who has the same name as the book’s author Miguel Syjuco, hopes to unravel the story behind this mystery.

Dekada ’70 by Lualhati Bautista

The Marcos era in the ’70s is a dark chapter in Philippine history. No one dares to speak against the government for fear of execution – in some cases, bodies are not even retrieved. Hence, it has been a tumultuous period, especially for the Filipino parents to protect their kids from the oppressive regime and at the same time, stand together as one family. Lualhati Bautista has captured true-to-life scenarios in the ’70s, mentioning changes that arose after the Plaza Miranda bombing and the suspension of the Writ of Habeas Corpus in the Philippines. The novels tells the story of lead protagonist Amanda Bartolome and her family, where she had to deal with facing the law and her responsibilities towards her five sons.

Smaller and Smaller Circles by F.H. Batacan

F.H. Batacan’s Smaller and Smaller Circles is the first Filipino contemporary crime detective literature set in the Philippines. The mystery novel revolves around two Jesuit priests named Gus Saenz and Jerome Lucero who happen to perform forensic work. There have been murders of young boys in the slum area of Payatas. As the novel explores themes that deal with the corruption and inefficiency in the government, they hope to uncover the mysterious murderer behind the serial killings in Manila ‘s slum area. In 1999, Batacan’s mystery novel won the Carlos Palanca Grand Prize for English Novel.

ABNKKBSNPLAko?! by Bob Ong

Spelt in the texting language, the title of this book phonetically reads “ Aba nakakabasa na pala ako?!” which can be translated as “ Wow I can read now ?!” Written by an anonymous Filipino contemporary author whose pen name is Bob Ong, the book rose to fame for depicting the supposed unforgettable moments of his life as a student, starting from the first time of entering school up to his college days.

Unlike classic traditional novels, Bob Ong’s books make use of conversational Filipino language as he narrates stories in a humorous way while depicting the real-life situations in Philippine context.

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6 pieces of Filipino literature that deserve your undivided attention

I don’t know about you, but a good read always seems to make things better. For some of us, there’s nothing more satisfying than the solace of stumbling across pieces that makes us think and feel things indescribable. Either we’ve grown numb to these feelings or have never felt them at all. While everyone seems to be caught up with cheesy Y.A. novels and Lang Leav poems, there are actually tons of literary gems made by Filipino authors that are much, much more worth your time. We’ve compiled a short but exemplary list of Filipino literature to get you started on your binge-reading:

1. Ang Pagitan by Carlos M. Piocos III

“Kung lalayo ka pa ng ilang kilometro, isang milya, Tutunog ang katabi mong telepono sa loob ng opisina, at sa ganito kalayong distansiya, ibubulong ko kung natatandaan mo pa ba ang pangalan ko?”

We open this list with a short poem that can initially be interpreted to be as simple as moving on from someone you love or have loved. But the more you reread it, the more you interpret it differently. Can we ever measure somethings as abstract as love and longing through distance and numbers? This piece of literature attempts on our behalf. You may purchase it via National Bookstore and Powerbooks.

2. Geyluv by Honorio Bartolome de Dios

“Okey, okey, aaminin ko. Sa kanya ko unang naranasang magkaroon ng lakas ng loob na ihinga ang lahat ng nararamdaman ko. ‘Yun bang pouring out of emotions na walang kakaba-kabang sabihan kang bakla o mahina. At pagkaraan ay ang gaan-gaan ng pakiramdam mo. “

Geyluv  from Sa Labas ng Parlor  remains to be a favorite. While the title itself already gives you an obvious idea of what the story is about, there’s a lot more to this story that can only be explored once you actually read it. More than just a story of a “gay love,” it’s a story of two people meeting halfway and possibly arriving at their own conclusions by the end.

Best part? The ending. So. Many. Questions.

3. We Filipinos are Mild Drinkers by Alejandro Roces

“We Filipinos are mild drinkers. We drink for only three good reasons: We drink when we are very happy; We drink when we are very sad; And we drink for any other reason.”

Contains lambanog . That’s it, that’s the highlight. Kidding aside, the setting of this story takes place during the Japanese-Filipino war wayback 1945. The title serves to be an irony–we know that Filipinos are, in fact, not mild drinkers. But at the face of a proud American soldier basking about how he has drank every kind of liquor, a Filipino farmer humbles himself and says, “No, thank you Joe. We Filipinos are not mild drinkers.” Of course, he did this so the soldier is dead-drunk by the end of their drinking session. Too real? Yeah it is.

4. Boys Who Like Boys by Vicente Groyon III

“Your pretty girlfriend flickers for a moment in your mind. But she is whisked helplessly away as you think how much you like being with him and as, unwilled, your eyes begin to sparkle for real.”

Similar to Geyluv , this short story is about a boy who’s having troubles exploring and expressing his sexuality because of a homophobic society. Boys Who Like Boys is a fun and casual read, all without compromising the message the author wants to give out. It’s divided into eight chapters, namely: The French-Fries Man & the Moviegoer, The Narcissist, The Virgin Chapter, The Home Theater, The Professor and his boyfriend, The Retreat, The sleepover, and The Reunion . If those titles don’t intrigue you, I don’t know what will.

5. I Never Sang For My Father by Resil Mojares

Ah, yes. Calling all those with daddy issues, this piece of literature is for you. Mojares’ personal essay hits home too hard for some of us.A seemingly apathetic father and an equally apathetic son always make up for a good story doesn’t it? But this one isn’t as shallow as that. I Never Sang For my Father is about a son’s epiphany after the death of his father and his realization of how words can never really amount to what the heart feels.

If you do no not appreciate emotions from your subconscious being dug up, then do not read this. Otherwise, read up and try not to cry.

6. Utos Ng Hari by Jun Cruz Reyes

“Ay buhay estudyante, maka-uno lang, kahit lulunin ang sariling dila. Kumontra ka sa kanila, singkong maliwanag. Tumangu-tango ka naman para maka-uno, ibig sabihin noon sarili mo na ang kailangang lokohin. Pakisama lang talaga. Konting kompromiso, konting tango at “Yes Ma’am” lang. Dos na ‘yon o tres.”

Closing this list is another favorite classic by Jun Cruz Reyes. You may have come across this at least once during your high school or college life. If you’re nodding your head, then you would know just how much we sympathized with Jojo. Jun Cruz Reyes’ literature basically summarized all the things we hated about school in this short story–from repressive policies, teachers sent from hell, to gossips and “darted” grades–it has it all.

Featured image from  Sa Labas ng Parlor by Honorio Bartolome de Dios You know what’s cool? Newsletters. Get exclusive updates on everything SCOUT through our newsletter. Sign up here .

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FROM PAGE TO STAGE: 4 EXAMPLES OF FILIPINO LITERATURE THAT MADE ITS WAY TO THEATER

As the Samsung Performing Arts Theater concludes Buwan ng Wika, we pay tribute to the compelling narratives of Filipino literature and how theater brought its magic to a wider audience.

Stage adaptations of beloved literary masterpieces have graced many theater houses as far as we can remember. From the rise of Shakespeare's fame to the birth of age-old classics such as Victor Hugo's Les Misérables to Roald Dahl's Matilda. To contemporary bestsellers such as Paula Hawkins' The Girl on the Train and Mark Haddon's The Curious Incident of the Dog in the Night-time.

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The theater, through its rich artistic roots, has hosted thousands of well-written tales.

Like its foreign counterparts, Filipino literature, too, has found its way in local and international theater stagings. Our oldest known epic,  Biag ni Lam-Ang  has been made into a musical, most recently performed by Tanghalang Pilipino. And even modern Filipino fiction, such as Bob Ong’s  Ang Paboritong Libro ni Hudas , has been adapted to a stage play by Teatro Tomasino. Filipino authors and playwrights, after all, are exceptional artists possessing world-class talent worthy of global praise. Here are four other works worth revisiting:

Tatarin (or The Summer Solstice) by Nick Joaquin

Tatarin  is a short story known to be a personal favorite of its author, National Artist for Literature Nick Joaquin. He eventually adapted it into a play,  Tatarin: A Witches’ Sabbath in Three Acts.  And in 2001, it made its way to film under the direction of Tikoy Aguiluz. Joaquin’s controversial tale has polarized critics for its depiction of feminism at the turn of the century. The story acknowledges pre-colonial Filipino traditions in the middle of a transitory period from Spanish to American regimes. And in this periodical setting, hosts a cast of characters whose conflicting beliefs offer unique perspectives of the zeitgeist.  Amada , based on the rituals of Tatarin , was translated through dance by no less than National Artis for dance Alice Reyes with Ballet Philippines. On its premiere in 1970, the music was composed by National Artist for music Lucrecia Kasilag.

Mga Kwento ni Lola Basyang by Severino Reyes

One of the most popular figures in Filipino literature is Lola Basyang, an elderly woman who fondly tells imaginative stories to her grandchildren akin to Mother Goose, in a series of short stories entitled  Mga Kwento ni Lola Basyang . Lola Basyang is, in fact, a nom de plume of Severino Reyes, founder and editor of Liwayway magazine, from which it was published. Ballet Manila produced  Tatlong Kuwento ni Lola Basyang  in 2009, with Osias Barroso, Lisa Macuja-Elizalde, and the late Tony Fabella choreographing, partnered with musical composers Mon Faustino, Joey Ayala, and Ryan Cayabyab respectively. Its critical success would soon be followed a few years after by  Tatlo Pang Kuwento ni Lola Basyang,  with a new set of stories.

Ang Kagilagilalas na Pakikipagsapalaran ni Zsazsa Zaturnnah (or The Amazing Adventures of Zsazsa Zaturnnah) by Carlo Vergara

Merging the worlds of comic books and theater is Zsa Zsa Zaturnnah, Carlo Vergara’s homage to Mars Ravelos’ Filipina superheroine, Darna. Unlike Darna, Zsa Zsa Zaturnnah’s alter ego is an effeminate homosexual male named Ada who longs for love and acceptance. Its theater adaptation by Tanghalang Pilipino gained a massive cult following thanks to a combination of fans of the comic book (which garnered awards locally) and the exceptional cast led by Eula Valdez, who played the titular heroine. By the end of its run in 2011, Tanghalang Pilipino clocked in a total of 95 shows, making it the longest-running musical of the theater company.

Noli Me Tangere (Touch Me Not) by Jose Rizal

Of course, nobody will ever forget our national hero’s magnum opus, Noli Me Tangere . Not only does it deserve its mention because of its author, but also because it holds the honor of becoming the first full-length Filipino opera. It is a riveting saga that follows the rise and fall of  Crisostomo Ibarra and several minor characters under the oppression of Spanish friars. This opera of three acts sung entirely in our local language was developed by two National Artists, Felipe Padilla de León (composer) and Guillermo Tolentino (librettist). Then famous soprano coloratura Fides Cuyugan-Asensio played Sisa in its debut in 1957. Since its first staging, it has been revived several times locally and has seen audiences in the US as well. Among many illustrious names who have been in its theater adaptation, is Asia’s songbird, Regine Velasquez, who played female lead Maria Clara.

As we reach the final days of this month, which commemorates the beauty and magic of the Filipino language, may we be reminded of how words empower the beautiful narratives of theater. And how Philippine culture, with its picturesque vistas of iconic garbs, distinct music, and unique dances, is further glorified through words and its many meanings. We joyfully encourage and celebrate the use of our magnificent language and its transcendence to the theater arts.  Mabuhay ang Teatrong Pilipino  at  Maligayang Buwan ng Wika  from Samsung Performing Arts Theater!

For more information, contact [email protected] or call via (+63917) 804.9336.

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Kathang Pinoy

Filipino in thoughts and words.

Famous Essays and Speeches by Filipinos

• My Husband's Roommate
• Where is the Patis?
• I Am A Filipino
• This I Believe
• The Philippines A Century Hence by José Rizal  (Translated by Charles E. Derbyshire) Part I
• The Philippines A Century Hence by José Rizal  (Translated by Charles E. Derbyshire) Part II
• The Philippines A Century Hence by José Rizal  (Translated by Charles E. Derbyshire) Part III
• The Philippines A Century Hence by José Rizal  (Translated by Charles E. Derbyshire) Part IV
• The Indolence of the Filipinos by José Rizal  (Translated by Charles E. Derbyshire)
• The Filipino Is Worth Dying For
• 1983 Arrival Speech of Ninoy Aquino