message from the chair
This
issue’s
editor
About the
National Book
Development Board
I
n all corners of the world, the Filipino has become ubiquitous through cuisine, social
media, film, and fashion. Our omnipresence, however, does not seem to extend into
the domain of world literature, where but a handful of Filipino writers are known to
the global reading audience despite our abundance of publications. This invisibility is,
perhaps, a transience owed to determinant forces that make our literature unassailable
to the traditional labels of the book publishing industry. All at once, Philippine literature
seems to occupy and escape the recognizable genres of Latin American, East Asian, or
even “tropical” literature. We are difficult to read because readers cannot seem to pin
down what really makes up Philippine literature.
Li bay Li nsangan Cant o r is a p ub lis hed
Vi s ion
The National Book Development Board is the
leading catalyst for building a culture of reading
and authorship as well as an environment for the
growth of the book publishing industry towards
making it globally competitive.
f ictio n/no nf ictio n
auth o r
an d
cultural
j o urnalist, m edia literacy lecturer, ad vocacy
f ilm m aker, and gender righ ts t rainer. A BA
Film and M A C reative Writing grad uate from
th e U niversity o f th e P h ilippines Diliman, s he
Mi s s ion
• Promote investments in the book industry
• Develop an environment conducive for the
growth of the book publishing industry
• Enhance market growth of the book industry by
promoting lifelong learning through reading
is a two - tim e Palanca awardee and a former
directo r- scriptwriter o f ch ildren’s ed ucational
T V pro gram s. Yo u can e- m ail h er at
The je ne sais quoi of Philippine literature, that thing that makes it so difficult to market
to an international audience, is also its greatest strength. We are always seeking to be
defined by global standards, but maybe, that is the trait of our literature and Filipino
writers in general: to always resist, and to be in constant motion. For Philippine literature
is not indigenous to Philippine soil – it is a plurality of experiences that cannot be
contained to one geographic location. The Filipino writer is a global citizen; s/he is a
literary interloper, a viajero of established tropes.
libay. canto r@ gm ail. co m .
NBDB Governing Board
This
issue’s
contributors
Flor M ar i e Sta . R o mana - C r uz
Chair
Atty. Nepomuceno A. Malaluan
Ass i s t a n t Sec reta r y a nd Chie f of Staff
Department of Education
Pearlsha Abubakar has a degree in Journalism
Ceferino S. Rodolfo
College of Mass Communication and is also a
Undersecretary for Industry Development Group
D epartm en t o f Trade a nd Industry
musical scorer for TV and film. She performs
Felipe M. De Leon, Jr.
is married to filmmaker Robert Quebral, with
Chairman
National Commission for Culture and the Arts
whom she has two children. You can e-mail her at
For the past few years, the National Book Development Board has invested time and effort
in introducing Filipino titles to audiences abroad. We traveled Asia and Europe to scope
out the trade opportunities for our publishers. The good news is that markets in the ASEAN
and much farther out are interested in doing business with Filipino publishers. The recent
success of F.H. Batacan, Sophia Lee, Catherine Torres, Candy Gourlay, and Kerby Rosanes
should put your doubts to rest. The West is no longer the stronghold of book publishing;
Asia is taking the book market by storm, and the Philippines is right at the center.
from the University of the Philippines Diliman’s
now and then under her stage name Isha. She
This volume of Bookwatch deftly gives us an idea of the burgeoning prospects of the
Philippine publishing industry: “Outside America: Overseas Filipino Writers Mark New
Territory” by writer Pearlsha Abubakar; “The Pinoy Abroad” featuring writer, literary agent
and former NBDB Executive Director Andrea Pasion-Flores; and “Going Global” a survey of
writings by Filipino authors being published internationally. These pieces illustrate just
how far-reaching Filipino writers and Philippine book titles have become in recent years.
[email protected].
Rowena Cristina L. Guevara
OIC, Office of the Undersecretary for
Research and Development
Department of Science and Technology
Richard Ramos is a veteran content manager
and
creator
with
online
and
traditional
publication experience. He is, by turns, a
Ruperto S. Sangalang
Commissioner
Commission on Higher Education
social media observer, amateur musician, and
For the uninitiated, foreign readers of Bookwatch: Mabuhay and welcome to the world
of Philippine literature. Please take this as an invitation to discover the curiosity that
is Philippine literature. For our loyal followers: thank you for your support of NBDB’s
initiatives. We hope you continue to support all Philippine-produced book titles.
toy enthusiast. He is also a big fan of science
fiction stories and comic books. You can e-mail
Ani Rosa S. Almario
him at [email protected].
Vice President
Adarna House, Inc.
Maria Karina A. Bolasco
Director
Ateneo de manila university press
Dr. Isagani R. Cruz
Founder
Manila Critics Circle
Ruel S. De Vera
F lo r M ar i e S t a . R o mana - C r u z
Chair
This
issue’s
l ay o u t a r t i s t
Mariel Sandico is a multimedia arts practitioner
Bookwatch is the official publication of the National Book Development Board. It is not for
and associate lecturer from Mapua Institute of
sale. All rights reserved. No article or visual material may be reproduced or altered without
Journalist
Philippine Daily Inquirer
Technology. She manages Layag Pilipinas, a
Alfredo C. Ramos
through arts education. You can e-mail her at
Chairman and President
National Book Store, Inc.
nomadic artist collective for youth empowerment
[email protected].
permission from the authors and artists. NBDB retains the sole printing rights of the journal.
However, the journal may be freely copied digitally and shared. Copyright of the commissioned
and solicited articles and visuals are owned by the NBDB until publication, whereupon copyright
reverts back to the authors and artists.
For inquiries please call (63) (02) 570-6198 or (63) (02) 697-1804
Unit 2401
Prestige Tower
F. Ortigas Jr. Road
(formerly
Emerald Ave.),
Ortigas Center,
Pasig City 1605,
Philippines
http://www.booksphilippines.gov.ph
Vol. 20 No.3 2016
Outside America,
Overseas Filipino Writers
Mark New Territory
notes from the editor
6
22
contents
features
Anthologizing the Filipino
experience in America
Alvin Juban:
Insights about the
Online Publishing World
Global Visitor:
Martin Vopĕnka The Storyteller &
His Mountains
Carrying the theme “The Global Filipino as a Writer and a
Reader,” we conversed with various Filipino writers and writers
with Filipino heritage who have been published outside of the
Philippines. Regardless if they are based in the country or if
they now call another country as their home, their Filipino heart
and their diasporic musings are still very much reflected in the
literature they produce. They write for many audiences, and they
address cross-cultural issues. Hear their thoughts as they ponder
on their realities.
13
Pinoy Abroad:
Perseverance and
Publication
T
his issue of Bookwatch is published as a platform for
international audiences to take a peek at the world of Filipino
writings and publications coming out of the country and out of
other countries as well.
Going Global: Local Writers,
International Publications,
World Audiences
The Philippines is also not new to being recognized internationally.
Filipino writers have been awarded in international competitions
and festivals. We also conversed with writers who have garnered
such honors for their work.
29
We hope that this issue, as it reaches the shores of the Frankfurt
Book Fair in Germany this year, would help global audiences get
to know Filipino writers who are — or who have been — paving the
way for Filipino content and Filipino literature to be read around
the world. Read about their publication journeys, what they think
of literary agents, how they deal with publishing houses, and how
they evaluate markets of readership. Do these issues inform their
creative process? Find out from their stories.
34
Turn the page, and learn about what we have been writing, and
what we will come up with next.
38
Happy reading!
12
Frankfurt Book Fair
16
NBDB and MCC announce
National Book Awards Finalists
20
NBDB Translation Subsidy
Program
28
NBDB and BDAP launch
Publishing Course Series
37
NBDB and BDAP hosts
Rights Exchange Forum
40
Recently Released and
Upcoming Titles
P.S. The editor welcomes comments, suggestions and
queries. Please e-mail her at [email protected].
Bookwatch Vol. 20 No. 3
Bookwatch Vol. 20 No. 3
Outside America
Overseas Filipino Writers
Mark New Territory
Filipino writers currently based in the Middle East, Europe, and even Africa still find
time to write about the homeland and their experiences in the land they now inhabit.
Meet some of these highly creative breed of OFWs — overseas Filipino writers.
Poet Jim Pascual Agustin and his two
previously published collections by the
University of Santo Tomas Publishing House
entitled A Thousand Eyes and Sound Before
Water.
by Pearlsha Abubakar
M
ost Filipino writers who write in English have
a deep affinity with American culture and the
English language; more than 50 years of American
occupation by education has made it so. But there are at
least a handful of writers currently working outside this
comfort zone – in this case, the non-American, nonEnglish-speaking world – by force of circumstance, design,
or both.
The Middle East with its mysterious, expansive landscapes
and guttural languages is currently home to at least two
of our writers. The poet Neal Imperial, who published
a book in 2012, happens to be our new ambassador to
Israel. Meanwhile in Riyadh, 16-year old Nigel Willem
Canlapan has three books to his name, all published by
his father Gerico, who also runs a successful photography
business. Migrant worker Yuri Cipriano has published
a book of poems about the plight of fellow expats in his
adopted home Dubai. Imperial and Cipriano write with
a pronounced activist strain, while Canlapan enlists his
knowledge of today’s new media and graphic art in his
books.
In Scandinavia, fictionist Lakambini Sitoy teaches highlevel English to Danish students. Elsewhere in Europe,
diplomat and Scholastic Asian Book Award winner
Catherine Torres lives in Berlin, among art and music she
admires. And in Africa, Jim Pascual Agustin enjoys the
singular distinction of being the only Filipino poet writing
and publishing literary works in the continent today.
Bookwatch chatted with some of these amazing writers via
e-mail. Here are their thoughts.
06
JIM PASCUAL AGUSTIN, poet based in Cape Town, South Africa
BW: You have mentioned in your blog that words to you are
your atmosphere, the very air you breathe. Can you recall a
time in your life when you have not been able to write?
Writing saved me from a lonely life. Youth, that time when chemicals
and ideas course through your body and mind like beasts seemingly
intent on both creation and self-destruction, was not easy for me,
although I did a good job on the surface by trying to look invisible. The
late Fr. James O’Brien, SJ, aside from aiding me to enter an exclusive
school through his Tulong-Dunong Program, helped me enjoy
literature. But I never thought I’d consider writing until my senior
high school teacher, Mike Gomez, encouraged me to read a “poem” in
front of the class – a piece I’m glad to have lost and forgotten.
When I got to university I just started writing like I’d die if I didn’t.
Most of it was rubbish until Danton Remoto took over our English class
mid-freshman year and became my first real mentor. He was patient
and friendly while being brutally honest at the same time. I’d write and
submit poems to each and every local newspaper, magazine, journal
– and the first ones to publish and pay me for my writing outside of
the campus were Jingle Magazine and Ani. My studies came secondary
to my writing, which isn’t good if you’re a financial scholar. I also
nearly failed to graduate (you can read about that story in my notes
to Sanga sa Basang Lupa). March 31, 1990 was graduation day, also my
birthday. I was glad no one knew or remembered since I didn’t want
any attention. I was looking forward to the next day when I would
join the University of the Philippines Creative Writing Workshop in
Diliman. I met so many kind and challenging people there, including
Bienvenido Lumbera whose guidance and generosity I shall treasure to
the day I die.
When I started working, it became
trickier finding time to write. I found
myself writing more while stuck in
bumper-to-bumper traffic in sweaty
jeepneys, during lunch breaks, in
between teaching classes, or just before
I fall asleep. Tired or cramped, it didn’t
matter. I wrote something each day, or
tried to.
In all my writing life, I can however
say that I find it most difficult to force
myself to write whenever I’m too sad
or too happy. I write furiously when
I’m agitated – and need to tell myself
not to let anyone else read that output
until I’ve calmed down and I, myself,
had a cold-blooded look at it later.
Much later though, having twins nearly
wiped out all my energy to write.
BW: From the Philippines to
South Africa – how did it happen?
Please walk us through this great
adventure.
The quick answer would be because
of a girl I met on holiday in the
mountainous regions [north of the]
Philippines. When I flew to South
Africa on October 22, 1994 (my first
time out of the country), I only meant
to visit, to see her again. I always feel
like a time traveler each time I try to
explain how I ended up practically
halfway around the planet from where
my feet first touched ground. I go
backwards and forwards, sometimes
I get a clearer view, while at other
times the weight of regret muddles the
present, darkens the future. I knew
close to nothing about the country
before arriving, just Hollywoodmanufactured images and whatever
I gathered from books by JM Coetzee,
Nadine Gordimer, Christopher Hope,
and Dennis Brutus. The heart has its
own logic, its own manner of making
you do unexpected things.
BW: You moved to South Africa
in 1994. Do you speak Afrikaans
now?
Have
you
considered
publishing your poetry (or having
it translated) in Afrikaans? Why or
why not?
Afrikaans and English are only two
of the 11 official languages in South
Africa; the others are Ndebele,
Northern Sotho, Sotho, Swazi,
Tsonga, Tswana, Venda, Xhosa and
Zulu. Along with the idea that my skin
color would help me to easily fit in,
I was made to think that I didn’t need
to learn Afrikaans because Capetonians
largely used English. I should have.
I’m hoping to one day connect with
authors and translators who could
help me bridge Philippine and South
African literature – exchanging
myths and legends as well as more
contemporary works.
BW: Do you know of any other
Filipino writers who have lived and
published there in the past?
No. I think I’m the first. There were,
however, legendary Filipino fishermen
who settled in Kalk Bay and St. James
at the turn of the 20th century and
established the first fishing village here
in Cape Town. I’d like to research and
write about them one day, among so
many other projects that are circling
my mind.
BW: Have you had the opportunity
to meet members of the South
African literary community? What
are their curiosities about the
Filipino writer, and yours about
the South African writer?
Winning third prize at the Sol Plaatje
European Union Poetry Award
twice in a row allowed me to travel
to Johannesburg and Durban these
past two years where I met quite a
few writers. In my first 10 years here,
although we lived in the vicinity of the
University of Cape Town and other
institutions that hosted literary events,
07
Bookwatch Vol. 20 No. 3
“
BookwatcH Vol. 20 No. 3
I’m hoping to one day connect with authors and
translators who could help me bridge Philippine and
South African literature – exchanging myths and legends
as well as more contemporary works.
“
- Jim Pascual Agustin
I struggled to find the time or energy
to look for literary connections, or to
even write. It took me a long time to
find my feet, although I seem to have
managed well on the surface. Where
we now live is a good long drive (35+
kilometers away), but, having finally
gotten published in local journals and
anthologies, recently I’ve been invited
to read at events a number of times.
The writers I’ve met here had little idea
of Philippine literature. I do know that
years ago, there were literary ties made
when South African writer Peter Horn
came to Manila. I’ve felt nothing but
a genuine openness—they take me as
a person and not as a curiosity. In my
last two readings, though, there was
considerable interest in the Philippines
because of the notorious acts and
utterances from President Duterte.
The audience expressed horror and
sympathy after I read my work. I wish
it wasn’t so. But as it is, I’ll use every
opportunity to express what I think
and feel about the situation in the
country.
BW: Do you remember the very
first poem you ever published in
South Africa? What was it about
and how was it received?
It’s an odd story. The editor of New
Coin (published by Rhodes University)
failed to inform me that they had
received and were in fact publishing
my poetry in 2012. I only found out
the following year when someone
phoned me on my cell. I was then busy
doing some shopping and thought it
The judge, Modjaji Books publisher
Colleen Higgs, had this to say about
my winning poem: “‘Village Potter’s
Wife’ is a short, striking poem, full of
painful contrasts. At the heart of the
poem is the joyful creation of pots,
measured against death, destruction,
grinding poverty. The poet manages
to say a great deal about the life of this
woman in three quick brush strokes,
and to evoke deep sorrow and loss in
this reader.”
A sample of Jim Pascual Agustin’s latest poetry work.
It was Never a Landslide,
but People are Now Dead and Dying
The crescent moon will not be blamed
for the insanity of some. The seas
cannot be held back by measured borders
for its nature is to surge against itself
and whatever it encounters. Men
will choose, and some women, too,
the path closest to what they believe
will slay their fears, even as history
has shown they are nothing but their own
shadows. It is easy to forget that stepping back
allows a better view where one is headed.
Now it is too late to recount. A landslide
victory is claimed by less than most. The dead
and dying are now sprouting like poison
mushrooms where children may find them.
08
Fictionist
Catherine
Torres,
currently Berlin-based, and her
young adult novel entitled Sula’s
Voyage published by Scholastic
Asia. Her latest collection of short
stories entitled Mariposa Gang and
Other Stories was published by
the University of Santo Tomas
Publishing House. (Torres’ photo
courtesy of the author, portrait
shot by Adam Nankervis. Sula’s
Voyage book cover is by Kathrin
Honesta while the Mariposa Gang
cover is by Jhozelle Crooc.)
was a prank call. The woman said I had
won a prize, but I couldn’t remember
joining a competition. She said it was
for my poem “Village Potter’s Wife.”
At that time, I was in the early stages
of being friends with Robert Berold,
a leading South African poet and also
former editor of New Coin, so I asked
him if this was true, and he laughed
as he congratulated me. So my first
publication happened in 2012 without
my knowing it, and one of the poems
I had submitted won second prize at
the DALRO (Dramatic, Artistic and
Literary Rights Organisation).
Walang Landslide,
ngunit May mga Bangkay at Nangangamatay
salin ni Emmanuel Q. Velasco
Hindi maisisisi sa kawing na buwan
ang kabaliwan ng ilan. Ang dagat,
hindi papipigil sa mga hangganang sukat
dahil kalikasan nitong daluyungin ang sarili
at ang anumang makaulayaw. Mga lalaki
at maging ilang babae, ang pipili
ng landas na kaylapit sa iniisip nilang
kikitil sa kanilang takot, gayong kasaysayan
ang nagsaad na wala ito kundi sarili nilang
mga anino. Madaling kalimutan na pag-atras
ang magdudulot ng mas maayos na pagtanaw sa tinutungo.
Ngayon, huli na para muling magbilangan. Landslide
victory ang inaangkin ng kaunti sa karamihan. Ang bangkay
at nangangamatay, ngayo’y nag-uusbungang tila lason
na kabute kung saan sila masusumpungan ng walang malay.
Catherine Torres, fictionist
currently based in Berlin, Germany
into a book-exchange
Prenzlauerberg.
BW: How has life been after the
publication of Sula’s Voyage (winner
of the Scholastic Asian Book
Award)?
BW: You entered your manuscript
for Sula’s Voyage twice at the SABA
(Scholastic Asian Book Award).
Did you make any revisions or
updates to the manuscript when
you entered it again?
Immediately after the book’s release,
things were a bit busier than usual as
we worked on promoting the book.
I flew to Singapore for the launch,
opened a Goodreads page, and became
intimately
acquainted
with
my
neighborhood post office. Because the
book is mainly available in Asia and
I wanted to reach a wider readership,
I licked a lot of stamps and mailed out
copies of the books to friends and book
bloggers elsewhere, from Calgary to
Nairobi, Tel Aviv to California. Now,
more than three months on, things are
more or less back to normal, except
for an additional line about the book’s
publication in my “About the Author”
sketch.
BW: Is it available in brick-andmortar bookstores in Singapore?
How about Berlin?
Yes, the book is available in Kinokuniya,
Books Actually, and Littered With
Books in Singapore. They also have it
in Kinokuniya in Malaysia, and a friend
recently spotted it in Kelly & Walsh
in Hong Kong. As for Berlin, it’s not
yet available here, although there is at
least one copy floating around—I left
one at the Bucherwald (“book forest”),
some fallen tree trunks repurposed
corner
in
My first entry to SABA was a different
manuscript. It was called The Banyan
and the Birdcage and was a patchwork of
story ideas that didn’t quite really come
together. I’ve since developed some
of those story ideas into full-fledged
stories, such as “The Banyan,” which
appeared in Kuwento: Lost Things,
An Anthology of Contemporary Filipino
Myths published in the United States,
“
books to read and a looong bucket list
of places to visit. As a diplomat and
a mom to an eight-year-old, my six
o’ clock in the morning to seven or
eight o’clock at night on Mondays to
Fridays are basically committed, and it
takes superhuman effort to spend the
couple of hours I have free after that
sitting before a blank page to write
instead of just lolling in bed with a
good book. What compels me to try,
nonetheless? An impulse to create and
a need to make sense of certain things.
On the page, at least, the writer can be
omniscient and banish disorder.
As I’ve mentioned elsewhere, it helps
keep me sane.
It’s amazing that Scholastic published two Pinoys this
year. I think it shows that Filipino writers are readier
than ever to take on a bigger audience if they are
given the opportunity.
“
- Catherine Torres
and “The Ragpicker’s Son,” a short
story for children, which placed in the
Palancas in 2014.
BW: You say you have no time
to write. But what was it that
compelled or compels you to write
anyway?
It’s not so much having no time to
write, but rather, having to give up
other things to be able to write. For
instance, I have a looong backlist of
BW: How is your creative process
like? Do you do research first before
sitting down to write, or do you do
your research as you are writing?
It depends on what I’m writing. For
the short stories in Mariposa Gang, most
of them were inspired either by reallife encounters with other people or by
images or stories seen in newspapers
and magazines. From there, the focus
was on fleshing out the narrative using
the best possible language, so little
09
Bookwatch Vol. 20 No. 3
research was needed. But with Sula’s
Voyage, I had to do significantly more
research, about the sea and about the
Sama Laut, both of which play a central
role in the story. Yet even then, the
research only served to advance the
story that was taking shape in my head.
BW: Not one, but TWO Filipino
authors made it to SABA this year
– you and Sophia Lee. What do you
think does this indicate?
Yes, it’s amazing that Scholastic
published two Pinoys this year (though
Sophia’s manuscript won, and mine
was a finalist, in SABA 2014–it took
two years to turn the manuscripts into
books). I think it shows that Filipino
writers are readier than ever to take on
a bigger audience if they are given the
opportunity.
BW: Is it your first time to live in
Berlin? How is life over there?
Yes, it’s my first time to live in Berlin.
In fact, it’s my first time to set foot in
Europe. It’s been fascinating because,
growing up, a lot of the things I learned
in school and even at home had roots
in Europe. Some of the things I love
about Berlin are its creative energy,
the greenness of it, the convenient
transportation system... At the same
time, because of Germany’s checkered
history, it had certain uncomfortable
associations for me, and living here
gives me the opportunity to work
through these.
BookwatcH Vol. 20 No. 3
BW: Let us know how we readers
can support your work (how to
subscribe to a blog, or purchase
your books).
Thanks for this opportunity to talk
about my books. You can find out
more about them at voyagewithsula.
com and mariposagang.com. How
could readers help? By reading the
books and sharing their thoughts about
them on Goodreads. By asking their
favorite bookstores to stock the titles if
they don’t yet. And since we’re already
in the “-ber” months and Christmas
is fast approaching, by considering
Sula’s Voyage and Mariposa Gang as
stocking-fillers for their family and
friends.
Lakambing Sitoy, or “Bing” to
the Filipino literary community,
is now based in Denmark. Her
latest work is her novel entitled
Sweet Haven published in 2014 by
the New York Review of Books. It
was translated in French by Albin
Michel as Les Filles de Sweethaven.
BW: Who are your major writing
influences? And who are you
reading now?
I’m a voracious reader, and no doubt,
many of the books I’ve read over more
than three decades have influenced my
writing. But if I have to name my major
influences, I would say Alice Munro,
in terms of her writing style; Pico
Iyer, in terms of how sense of place
looms large in my stories (many people
who’ve read Sula’s Voyage and Mariposa
Gang have commented that they are
like travelogues); and F. Sionil Jose in
terms of how my stories are moored in
Philippine soil and the Filipino soul.
10
Lakambini Sitoy, fictionist
and teacher based in Copenhagen,
Denmark
BW: From the Philippines to
Denmark – how did it happen?
In 2003, I left for England, to live
for a year, having received a generous
fellowship at the University of East
Anglia. The first three weeks of the
journey I spent in Denmark, speaking
to Danish audiences about my books,
my work as a writer, and about
Philippine literature. Then, I met my
now-husband. He is Vagn Plenge,
a publisher of literature from Asia,
Africa, and Latin America, published
in Danish. We got married in 2008 and
I have lived in Denmark since then.
BW: Have there been any Filipino
writers in Denmark in the past?
I have heard of one other Filipina living
in Denmark who has published at least
one book in English. She is retired
now so she is probably at least 20 years
my senior. But I don’t recall her name
and I’ve never met her.
What I find more significant, however,
is that I am most
likely the only
Filipino who is
teaching English
at a high level in
Denmark. I work
at Studieskolen,
a private school
in the center of
Copenhagen
where Danes and
foreigners (mostly
other Europeans
but there are
many
Asians
too,
especially
Chinese) come to brush up on their
language skills. I have been teaching
Academic Writing at an advanced
level since the summer of 2015,
and have taught preparatory classes
for the Cambridge Proficiency and
Cambridge Advanced examinations,
the latter a tutorial. I’ve taught
Conversation and Writing classes
as well. To be a teacher/tutor is
more lucrative, to be honest, than
writing. The personalized, one-to-one
encounter cannot be scanned, shared
online and devalued, unlike poems,
stories, entire novels.
Yet it was my background as a writer
and journalist that helps me do this
job, and the pressure to keep up the
good work is very strong. My boss
gets scores of job applications each
semester, from all over the world.
At the moment, it is through teaching,
rather than writing, that I serve as an
ambassador of Filipino intellectual life
and ability.
thought half as good. Yes, that saying
applies. So earning a living takes up
most of my time, leaving me with very
little opportunity to write.
BW: What are the challenges of
living in Denmark as a writer?
It’s pretty much like the Philippines,
where most writers are too busy earning
a living to really work on long projects
(like novels) and complete something
of a quality satisfactory to them.
When I tell people that I live in
Denmark, they are generally impressed.
They talk about the free education and
the notion that Denmark is a welfare
state. They probably have the idea that
writers in Denmark can afford to lean
back and subsist on state subsidies in
order to focus on their writing. That is
completely untrue.
The primary challenge for me as
a writer has been what Denmark
requires of foreigners who want to live
here permanently and ultimately gain
citizenship. In my case, they have been:
first, learn the Danish language (study
it for two years) and pass a qualifying
exam. Second, work full-time (at least
30 hours a week) for three years to
prove that one is capable of supporting
oneself and will not be a liability to
the state in the future. Incidentally,
creative writing cannot fall as work by
this definition because it is impossible
to prove the amount of hours spent on
a project, and the low financial returns
would make it appear as though I
had worked only a handful of hours a
month. Third: pass an examination in
Danish on the country’s history and
culture.
This is why I have not published much,
nor been writing much, since 2008
when I moved here. Sweet Haven, the
novel, was largely drafted between
2006 and 2008.
Furthermore, in order to find a good
job, one also has to equip oneself with
the right education. To be honest, very
little of the credentials I had with me
from the Philippines mattered much in
this country. It’s not that their standards
are much higher than, say, in Britain–
it’s more that they have a narrow and
very dim view of the Philippines and the
capabilities of its citizens. I have been
fortunate enough to get jobs where I
put at least some of my qualifications
from back home to good use. But here,
we have to work 10 times as hard to be
BW: What advantages has living
in Denmark provided for your
writing career?
The same advantages that many people
– refugees – risk life and limb to avail
of, I suppose. In the community where
I live, the air is clean, the streets are
disease-free, there is very little crime
(except for the burglaries around
Christmas), medical care is free, the
trains run on time, and people mind
“
The Denmark I know is a
country without drama.
And I hope that stability
will do good things for my
writing, once I have the
time for it anew.
“
- Lakambini Sitoy
their own business, while taking care
of each other. I can go for a walk in the
morning without fear that someone
will grab my purse (as in Manila), or
without risking my reputation as a
woman who likes to walk in solitary
spaces alone (as in the provinces).
This is what I can say of Denmark
so far, based on my experience and
discussions with my husband, who
is Danish: people say what they
think. There is no traffic, and there
is a good (albeit very expensive)
public transportation system and an
excellent public health system. I was
under treatment for an eye infection
and its consequences for many years,
with much of that subsidized by
the government, and in 2014, I had
surgery which was absolutely free; the
laparoscopic technology used meant
that I was on my feet and commuting
to my teaching job within two weeks.
The public libraries are well-stocked,
and the internet is lightning-fast. So
these benefits justify the high taxes we
pay (appallingly high to an American,
for example).
As for the culture, there are many
things I like. When Danes cannot do
something for you, they give you an
honest “no” instead of leaving you
hanging with an open-ended “yes.”
They view sex as natural, rather than
a prize to be taken, taken away, or
stolen, from another human being.
I probably sound like I am criticizing
life in the Philippines by implication
– which is a bit unfair, because as
individuals, we in the Philippines
didn’t choose our unhappy situation: it
seems to have been the sum total of bad
political decisions, history, and a few
other things. And it is possible that,
had I chosen to stay, way back in 2008,
I would have less of a quarrel with
life over there, as a result of maturity,
perhaps, and coming to terms with
reality.
These are the good things about
Denmark, of course. I don’t see any
reason to dwell on the bad in this
interview. And all of these good
things provide a climate that fosters
one’s hobbies – of which my writing
is officially one (very few people can
actually live off their writing alone,
so most writers have full-time jobs, in
which case the writing is classified as
a hobby, non-income generating, for
taxation purposes).
In short, the Denmark I know is a
country without drama. And I hope
that stability will do good things for
my writing, once I have the time for
it anew.
BW: Do you speak Danish now? Are
you going to write your stories and
books in Danish someday? Why or
why not?
Yes, I speak some Danish. My husband
tells me my pronunciation is very
good, but my vocabulary is sparse. My
Danish could be better if I didn’t use
English for work.
I don’t intend to write my stories and
books in Danish. I cannot compete
with the native speakers, and there are
so many English-to-Danish translation
11
Bookwatch Vol. 20 No. 3
opportunities. This will never be my
language either, in the way that English
can never be a Dane’s language.
BookwatcH Vol. 20 No. 3
grope for some other way to stand out.
Until I decided it was much better not
to stand out – to be proper, to work
hard, to be the best teacher I could
be, to choose my battles (and that also
means choose my writing projects)
and not to put anything out (publish in
print or the internet) unless I was able
to do a follow-through, i.e., keep it
up on a regular basis or defend myself
from attackers. There will always be
attackers once you decide to put your
work out into the public sphere.
do not encounter the sort of lechery
commonly found in the Philippine work
environment (I’m thinking of the media
industry, as well as the actual content of
our general-audience TV programs).
BW: How is it like living in one of the
freest countries in the world in terms
of sexual expression – especially after
having come from a country like
ours where women still eat double
standards for breakfast? Do you like
your writing better when society has
no such constraints, or do you like it
when it has to scale some height or
challenge?
There are some things Filipinos need to
know about Denmark though – decades
of sexual freedom mean that people no
longer need to let it all hang out as an
act of defiance or self-expression. You
don’t see people in super-styled hair, lots
of makeup, revealing clothing and highheels. (You do see a few drunk teenage
girls on the train on a Saturday night).
And nobody sunbathes naked anymore,
although body-shaming has something
to do with that. I think our images of
Scandinavian sexual openness stem from
the 1960s-1970s.
In a nutshell, my “cute sexual rebel”
persona doesn’t work here (I’ve grown
too old for that, anyway), so I had to
Furthermore, there is a very, very
strong sense of what is proper in the
workplace and in the public sphere. You
Last word: Danes are very, very
diligent parents. In the Philippines, my
generation grew up as “wild children”
– we had our hierarchies, we held back
our tears, we viewed strength as the
ability to solve problems (i.e., deal with
bullying) without having to rat on the
perpetrator to teachers/parents. Today,
I’m seeing very close-knit, almost
insular nuclear families in Denmark,
as opposed to the free-moving
extended families we have over there.
Interestingly enough, the “wild child,”
with a secret life unknown to her
parents, is alive and well in Denmark.
She has simply moved residence – to
the internet.
The interesting thing about living here,
though, is that I am beginning to care
deeply about the things that Danes
care about, such as the refugee crisis in
Europe. Not to say that the Philippine
situation does not affect me deeply –
my husband has caught me weeping in
front of the computer, having read the
latest reactions to the Chief Executive’s
policy on certain extra-judicial killings,
but I prefer to read the summaries
rather than the tedious blow-by-blow
accounts.
The Philippines named
one of Seven Markets
in the
Frankfurt Book Fair
The Philippines will be participating
in the Frankfurt Book Fair (FBF) to be
held on October 19 to 23, 2016 at
Messegelände, Frankfurt, Germany.
The FBF is the biggest book fair in
the world and is the best place to
showcase Philippine books to the
international market. The Philippine
stand is located at Hall 4.0, Stand C93.
The Philippines has been named one
of the featured markets during The
Markets Forum on October 18, 2016
at the FBF. The country is featured
alongside six other countries: Poland,
12
Finally, instead of our weary, tolerant
and often indulgent attitude toward
sexual affairs during marriage, Danish
society opts for “serial monogamy.” An
affair often leads almost immediately
to divorce, and perhaps a new partner
eventually.
Netherlands/Flanders, United Arab
Emirates, United Kingdom, Spain, and
Brazil.
Game Developers Association of the
Philippines (GDAP) are chosen as the
country’s Visionaries.
The Markets Forum will feature
“Analysts” who will present their
country’s current situation. They are
followed by “Visionaries” who will
talk about the future of the industry.
The forum also features one-on-one
sessions with the “Market Players” or
book publishing industry experts.
Ms. Almario will present the
upcoming developments
and new trends in the
book publishing
industry while
Mr. Juban will
tackle how book
publishing is
crossing over from
print to apps and
games.
Ateneo University Press Director
Karina Bolasco is the Philippine
Analyst and will be presenting the
current state of and perceived trends
in story writing, book production,
and reading in general during this
exclusive forum for publishers all over
the world.
Ani Rosa Almario, President of the
Book Development Association of
the Philippines (BDAP) and Alvin
Juban, President and Chairman of the
The Pinoy Abroad:
Andrea Pasion-Flores,
Gwenn Galvez, Ani Rosa
Almario, and
Segundo “Jun”
Matias Jr. are
the Market
Players, who
have 30-minute
time slots each
to entertain
meetings.
Perseverance and Publication
Did you ever wonder how international publications work with authors? Get a handful of
publication insights from a Filipino literary agent and a recognized Filipino-American author.
by richard ramos
M
any aspiring writers think of international recognition
as integral to their success. After all, success beyond
one’s own culture and country is not only about being
financially viable for other markets. It also means that one
has connected with others across the world.
Filipinos who live and work abroad have unique viewpoints
on how Filipinos can thrive and meet the challenges of being
global citizens and writers. To share insights about these
topics, we communicated with literary agent Andrea PasionFlores and Filipino-American author R. Zamora Linmark.
the agent
Andrea Pasion-Flores is the
former Executive Director of
the National Book Development
Board of
the Philippines
(NBDB), and is currently one of
the literary agents of Jacaranda
Literary Agency. She wears many
hats; aside from being a literary
agent, she is also a copyright
lawyer and a writer herself. She
wrote the bestselling novel Have
Baby Will Date published by
Summit Books in 2004 and in 2014, she released a collection
of stories entitled For Love and Kisses published by the
University of Santo Tomas Publishing House.
The Writer
R. Zamora Linmark is a true cosmopolitan soul, having lived
in Manila, London, Madrid, and San Francisco. He has two
novels, Rolling the R’s and Leche, and two poetry collections,
Prime Time Apparitions and The Evolution of a Sigh. Rolling
the R’s spotlights a group of genderqueer youths of Filipino
descent, living in Hawaii; Leche is about the homecoming
that one of the characters from Rolling the R’s receives when
he goes home to the Philippines. All his works have been
published abroad, to critical acclaim.
BW: How is the publishing
process when it comes to the
international market? What
should writers consider?
R. Zamora Linmark: Really
get to know the kind of writer you
are and why you are even writing
in the first place. Are you writing
to gain a wider readership, to
earn money, become famous? Is
it out of an urgent need to tell
stories? What about your subject
matter? Is it confined to Filipino
or Philippine-related topics?
Do you lean more towards the
experimental or traditional modes of storytelling? Are you
more of a sci-fi, speculative, noir, fantasy, or literary writer?
All these labels, by the way, are detachable/interchangeable/
arbitrary, but it will be an issue for the marketing department
of the house that’s considering your manuscript. It will also
be asked after it is purchased.
As for the international market—I really don’t know. My
two novels were published by a small and a mid-size house.
Neither was sold to foreign markets, i.e., translated. My
poetry collections were all published by a small press out of
Brooklyn. That said, I am happy and fortunate with all the
editors I worked with and the attention these publishers had
given to my books. I don’t think I could’ve asked for better
homes for these books. These houses are still around and all
my books are still in print. My forthcoming novel, a young
adult novel, is coming out of Delacorte Press/Random
House.
Has my attitude towards the industry changed? Not one bit
as my main concern is finding an editor who will help me
polish and do wonders with my manuscripts.
13
Bookwatch Vol. 20 No. 3
“
BookwatcH Vol. 20 No. 3
At the moment, I am quite happy that publishers are
beginning to realize the importance of selling rights abroad.
I look forward to seeing more local titles join international
titles with Filipinos and other Asians joining in a much wider
conversation that happens between the books of the world.
“
- Andrea Pasion-Flores
BW: How is the publishing process
from the literary agent’s point of
view?
Andrea Pasion-Flores: What I’ve
learned as an agent is that competition
is very tough – in any genre. There is
no room for the “okay” work. What
I send out must be excellent and that,
after having read it, an editor or a
publisher would be compelled to put
money behind it and a ton of energy
that emanates from every single
publishing professional that is needed
to get the work into the public’s
attention.
This brings me to the realization
that perhaps most writers don’t quite
know just yet: Art (in this case, a
book) is collaborative work. There
are many, many people behind a
particular work even if there might be
one byline that appears on the cover.
It takes the humble writer to realize
that and see that a book is the product
of a creative process participated in by
many people.
BW: Is there a preference for
literary agents who also have a
history of being writers?
APF: I hope so. I feel a fellow writer is
able to give concrete, practical advice
on how to improve a manuscript. I
hope that’s appreciated. I’m also a
copyright lawyer, which is not true of
all agents. So I am quite comfortable
with the language of publishing
contracts as well.
RZL: [I like] a literary agent who
also has a history of being an editor,
OR possesses the meticulous eye of an
editor. My agent, for example, wants
my manuscript to be as polished as
possible, which means that many,
if not all, the red flags he’d spotted
have been resolved. Because once
your manuscript goes out to editors
of publishing houses – that’s pretty
much it. Unless you find an editor
who’s fallen in love with your
14
manuscript and asked you to revise it.
This is the case with my second novel.
A junior editor who, at the time, was
working for a major publisher, loved
the possibilities that Leche had and so
she sent me a four-page letter, basically
asking me if I were open to revising it
for another consideration. I did. She
liked the revision.
BW: What, in your experience, are
the usual concerns that can delay
publication?
RZL: If the author and the editor do
not see eye-to-eye with the revision/
editing. Once your manuscript is picked
up by a publisher, then the only thing
that the writer should be concerned
with is the editing.
APF: The failure to meet deadlines
in the submission of revisions. But
generally, people try to accommodate
people as much as they can.
BW: (For Ms. Pasion-Flores) How
did you start working as a literary
agent? What got you into it?
APF: After working in the NBDB
for almost seven years, I realized my
frustrations about not seeing Filipino
and Asian works abroad had a lot to do
with the fact that no one was selling
us to international publishers. At that
time, I had invited Jayapriya Vasudevan
to the Philippines for one of the literary
festivals. She’s an agent who works
out of India and Singapore, someone I
knew who understood the struggles of
someone from Asia. After a visit here,
she came back at me and just asked
me to send her two titles I personally
loved and she would see if that would
fly. One of the works I picked to send
to her was Smaller and Smaller Circles [by
F.H. Batacan] – and what a ride that has
been then, and still is now. So, when I
was ready to leave the NBDB and she
was wrapping up business ties with
her previous partner, I asked her if she
would take me in as a partner. She was
also talking to Helen Mangham, our
British colleague based in Singapore,
and it worked out.
US-based author R. Zamora Linmark, or Zach
to his friends and contemporaries, is the author
of novels that intersect the Filipino American
experience, identities, and queerness, among other
subthemes. His novel Rolling The R’s was published
in 1997 while his latest one, Leche, was published
in 2011. He is currently busy writing a new novel.
At the moment, I am quite happy that
publishers are beginning to realize the
importance of selling rights abroad.
I look forward to seeing more local
titles join international titles with
Filipinos and other Asians joining in a
much wider conversation that happens
between the books of the world.
BW: How can a writer protect himself or
herself in terms of contracts, especially if
they are new to the industry?
BW: At what point in a writer’s
career should they consider having
a literary agent?
RZL: No specific point. Once a
manuscript is completed, polished,
and the writer has done all that he or
she can possibly do, then the writer
can start shopping for an agent.
APF: It would be best to have an agent
at the get-go. An agent might help the
writer put some perspective on the
writer’s career and navigate contracts
to protect the interests of the author.
If you’ve worked with a committed
agent, the writer will know how much
work is put into selling a manuscript,
and the amount of time spent with the
author to get things going.
BW: What advice would you give
for people who are looking for the
services of a literary agent?
RZL: Find an agent who believes
in, and will protect, your work; who
knows the industry/market very well;
who is either a writer or editor; who
understands your process, and who
you can discuss candidly with about
your work.
BW: Are there differences or
difficulties as a writer with
Filipino roots, when it comes to
publishing in the international
scene?
RZL: This is a difficult question to
answer. Filipinos have been writing
in English for about a century now,
but only a few of them have been,
and are being, published in the
United States and elsewhere, usually
in university presses and small-tomid-size publishers. Isn’t it odd
that the country produces writers
who, unlike the Japanese, Chinese,
Europeans, Spanish et al, do not need
to be translated into English. Yet, you
can more or less count the number
editor is looking for in a manuscript, is the writer bringing
something new or refreshing to the subject matter. In the
end, it really is all about the writer. Is the writer going
to set aside the new project by anticipating the critical,
commercial, and global reception of his or her book? Or
is the writer more interested in exerting all his or her
time and energy on the next project? I, personally, opt for
the latter. That’s where the challenge lies. That’s
where the writing matters.
“
Really get to know the kind of writer you are and
why you are even writing in the first place. Are
you writing to gain a wider readership, to earn
money, become famous? Is it out of an urgent
need to tell stories? What about your subject
matter? Is it confined to Filipino or Philippinerelated topics? All these labels are detachable/
interchangeable/arbitrary, but it will be an issue
for the marketing department of the house
that’s considering your manuscript.
“
- R. Zamora Linmark
of Filipino writers whose books are published outside of the
Philippines. Why is this so? Do Filipino readers support their
writers, particularly the less commercial or literary ones? I don’t
think it’s got anything to do with the quality of writing, for we
can spend an entire day coming up with a list of Filipino writers
and their books who deserve a global readership. Is it the subject
matter? Is anyone even interested in what we have to say about
our past and current situations? Or is the world more interested
in our stories being recycled by non-Filipinos?
Can it be said that there is a particularly “Filipino” slant? It
depends on how you define Filipino. Are we talking “The
Tong-Eight Club” or “Like Water for Choc-Nut?” or “One
Hundred Years of Co-Dependency?” Or “Balut Eaters.”
BW: Do you think there is an international market for
Filipino works that extends beyond Filipinos abroad, or
those who have Filipino roots or connections?
RZL: I’m not sure if having connections is enough. I can
introduce a Filipino writer to an agent or to an editor but it
doesn’t mean that the writer’s manuscript will be published. It
really depends on numerous factors: the manuscript, what the
APF: There are many things to consider when
you decide you’re ready to publish and you find
someone who wants to publish you. The best
contract between author and publisher is one
that might have been arrived at by both parties
after some consideration of both the goals of the
publisher and author, with both parties recognizing
the other’s contributions to the project with a
deep knowledge of their own capacities.
The beginning author will learn soon enough that he (or
she) has to let go of some of his rights to be able to help the
publisher maximize the potential of the book. However,
having been granted certain rights, the publisher also has
a corresponding responsibility to do its best to reach the
book’s audience – again with the help of the author.
So, in terms of protection of the author’s rights, the author
needs to map out his goals and see which rights he might
negotiate with the publisher to best bring the book to as
many of his intended readers. Copyright is a slew of rights
that the beginning author might want to be more familiar
with, even in a general manner before signing on the
dotted line. Perhaps the author might also be encouraged
to ask the publisher questions about particular provisions,
to explain further the provisions the author might not be
so familiar with.
BW: What would your most important tips be for
writers who are still starting out, when it comes to
publishing rights and other kinds of rights attached
to the work?
APF: Study the contract. Get advice from someone
who knows how to read a publishing contract. Authors
should know that, as with most things, it’s a give and take.
Though there is one byline on the cover, there are many
people who have collaborated to try to make it the best
book it can be.
BW: What advice would you give for people who are
looking for the services of a literary agent?
APF: Always send your very best work. The very best
work only comes from committed authors, those ready to
do much for their craft.
15
Bookwatch Vol. 20 No. 3
BookwatcH Vol. 20 No. 3
BEST NOVEL IN ENGLISH
1
2
NBDB & MCC
A N N O U N C E
t h e
35
NATIONAL
BOOK
AWARDS
FINALISTS
th
Sweet Haven
by Lakambini Sitoy
Anvil Publishing, Inc.
BEST BOOK OF SHORT FICTION
IN FILIPINO
1
2
3
Lila ang Kulay ng Pamamaalam
ni RM Topacio-Aplaon
The University of the
Philippines Press
Sa Amin, Sa Dagat-Dagatang Apoy
ni Mayette M. Bayuga
The University of the
Philippines Press
Si Janus Silang at ang Labanáng
Manananggal-Mambabarang
ni Edgar Calabia Samar
Adarna House, Inc.
BEST ESSAYS IN ENGLISH
1
Planet Panic: Notes from
the Queen of Procrastination
by Pam Pastor
Anvil Publishing Inc.
Re: Recollections, Reviews,
Reflections
by Luis H. Francia
The University of the
Philippines Press
Ang Nag-Iisa at Natatanging si Onyok
ni Eugene Y. Evasco
Lampara Publishing House, Inc.
1
Ang Autobiografia ng Ibang Lady Gaga
ni Jack Alvarez
Visprint, Inc.
2
Babae, Sa Balumbalonan ni
Hakob At Iba Pang Kuwento
ni Mayette M. Bayuga
University of Santo Tomas
Publishing House
2
He’s Dating the Transgender
ni Arthur Sta. Ana
Anvil Publishing, Inc.
3
Kumpisal: Mga Kuwento
ni Chuckberry J. Pascual
University of Santo Tomas
Publishing House
4
Philippine Folktales
ni Joanne Marie Igoy-Escalona
Anvil Publishing, Inc.
5
Sa Mil Flores, May Isang Hostes at
iba pang Kuwento
ni Rosario de Guzman-Lingat
Ateneo de Manila University Press
BEST BOOK OF NONFICTION PROSE
IN ENGLISH
1
Arsenio H. Lacson of Manila
by Amador F. Brioso, Jr.
Anvil Publishing, Inc.
2
Endless Journey: A Memoir
by Jose T. Almonte and
Marites Dañguilan Vitug
Cleverheads Publishing
3
BEST ESSAYS IN FILIPINO
1
Titser Pangkalawakan at iba pang
angas sa social network underworld
ni Joselito D. Delos Reyes
Visprint, Inc.
4
BEST BOOK OF SHORT FICTION
IN ENGLISH
1
2
16
Our Darkest Hours: A Collection
of Short Fiction
by Jose Miguel Arguelles
Visprint Inc.
Recuerdos de Patay and
Other Stories
by Caroline S. Hau
The University of the
Philippines Press
BEST BOOK OF NONFICTION PROSE
IN FILIPINO
1
BEST NOVEL IN FILIPINO
2
The National Book Development
Board (NBDB) and the Manila Critics Circle (MCC) are pleased to announce the finalists for this year’s
National Book Awards (NBA).
Locust Girl: A Lovesong
by Merlinda Bobis
Anvil Publishing, Inc.
5
The Writer, the Lover and the
Diplomat: Life with Carlos P. Romulo
by Beth Day Romulo and
David F. Hyatt
Anvil Publishing, Inc.
To Remember to Remember:
Reflections on the Literary
Memoirs of Filipino Women
by Cristina Pantoja Hidalgo
University of Santo Tomas
Publishing House
Virgilio “Baby” Dalupan:
The Maestro of Philippine Basketball
by Tessa M. Jazminez (lead editor)
Media Wise Communications, Inc./
Muse Books
BEST BOOK OF POETRY IN FILIPINO
1
Agua
ni Enrique S. Villasis
LIRA, Inc. (Linangan sa Imahen,
Retorika, at Anyo)
2
Lilok ng Lilo: Mga Tula
ni Lamberto E. Antonio
Ateneo de Manila University Press
3
Mula Tarima Hanggang at iba
pang mga Tula at Awit
ni Ericson Acosta
The University of the Philippines Press
4
Sa Ilalim ng Pilik
ni Charles Bonoan Tuvilla
LIRA, Inc. (Linangan sa Imahen,
Retorika, at Anyo)
BEST BOOK OF POETRY IN ENGLISH
1
Imago: Poems
by Joseph O. Legaspi
University of Santo Tomas
Publishing House
2
Lyrical Objects
by Marne Kilates
University of Santo Tomas
Publishing House
3
Maybe Something
by Isabela Banzon
The University of the Philippines Press
4
The Reddest Herring
by Francisco Guevarra
University of Santo Tomas
Publishing House
17
Bookwatch Vol. 20 No. 3
BEST BOOK OF GRAPHIC LITERATURE
IN ENGLISH
1
Halina Filipina: A Graphic Novel
by Arnold Arre
Chambershell Publishing Inc.
2
Kare-Kare Komiks: Short Comics
by Andrew Drilon
Anino Comics, an imprint of
Adarna House, Inc.
BEST BOOK OF GRAPHIC LITERATURE
IN FILIPINO
1
2
3
4
BEST ANTHOLOGY IN ENGLISH
News Hardcore! Hukbong Sandatahan
ng Kahaggardan!
ni Manix Abrera
Visprint, Inc.
Si Janus Silang at Ang Tiyanak
Ng Tabon (ni Edgar Calabia Samar)
hango ni Carljoe Javier at
guhit ni Natasha Ringor
Anino Comics, an imprint of
Adarna House, Inc.
Sixty Six
ni Russell Molina at Ian Sta. Maria
Anino Comics, an imprint of
Adarna House, Inc.
Light
by Rob Cham
Anino Comics, an imprint of
Adarna House, Inc.
Fast Food Fiction Delivery:
Short Short Stories to Go
edited by Noelle Q. de Jesus and
Mookie Katigbak-Lacuesta
Anvil Publishing Inc.
1
Antiquity, Archaeological Processes,
and Highland Adaptation:
The Ifugao Rice Terraces
by Stephen B. Acabado
Ateneo de Manila University Press
2
Habagatanon: Conversations with
Six Davao Writers
edited by Ricardo M. de Ungria
The University of the Philippines Press
2
3
Histories in Memories: Remembering
the July 16, 1990 Earthquake,
An Anthology
edited by Anna Christie V. Torres
Cordillera Studies Center
Building Inclusive Democracies
in ASEAN
by Ronald U. Mendoza,
Edsel L. Beja Jr., Julio C. Teehankee,
Antonio G.M. La Viña, Marie Fe
Villamejor-Mendoza (Editors)
Anvil Publishing, Inc.
4
5
2
3
18
Ambagan 2013: mga salita mula sa
iba’t ibang wika sa Filipinas
ni Michael M. Coroza (editor)
The University of the Philippines Press
Ang Aking Unang Diksiyonaryo
Katon: Sinugbuanong Binisaya
Filipino-Ingles
by Rosalina J. Villaneza, PhD (editor)
Vibal Foundation, Inc.
Filipino Children’s Treasury:
Sinugbuanong Binisaya
Filipino-Ingles
by Rosalina J. Villaneza, PhD (editor)
Vibal Foundation, Inc.
To Remember to Remember:
Reflections on the Literary Memoirs of
Filipino Women
by Cristina Pantoja Hidalgo
University of Santo Tomas
Publishing House
Many Journeys, Many Voices:
A Tribute to Filipina Overseas Workers
by Edna Zapanta Manlapaz,
Czarina Saloma and Yael A. Buencamino
Anvil Publishing Inc.
3
4
5
BEST ANTHOLOGY IN FILIPINO
1
35 Kuwentong Klasiko
Adarna House, Inc.
Poverty and Ecology at the
Crossroads: Towards an Ecological
Theology of Liberation in the
Philippine Context
by Reynaldo D. Raluto
Ateneo de Manila University Press
Recognition: Examining
Identity Struggles
by Renante D. Pilapil
Ateneo de Manila University Press
Tradition and Transformation:
Studies on Indigenous Culture
by June Prill-Brett and edited by
Delfin Tolentino Jr.
Cordillera Studies Center
1
Dean Worcester’s Fantasy Islands:
Photography, Film, And The
Colonial Philippines
by Mark Rice
Ateneo de Manila University Press
Canuplin at Iba Pang Mga Akda ng
Isang Manggagawang Pangkultura
ni Manny Pambid
The University of the Philippines Press
3
Kritikal na Espasyo ng Kulturang Popular
ni Rolando B. Tolentino at
Gary C. Devilles (mga editor)
Ateneo de Manila University Press
2
Luzon at War: Contradictions in
Philippine Society 1898-1902
by Milagros Camayon Guerrero
Anvil Publishing, Inc.
4
Lupang Hinirang Lupang Tinubuan:
Mga Sanaysay Sa Kritika, Kasaysayan, at
Politikang Pangkultura
ni E. San Juan, Jr.
De La Salle University Publishing House
3
State and Finance in the Philippines,
1898-1941: The Mismanagement of an
American Colony
by Yoshiko Nagano
Ateneo de Manila University Press
Gualberto Cea Manlagñit:
Mga Piling Obra
ni Maria Celestina Manlagñit-Tam,
Kristian Cordero, Tito Genova Valiente
(mga editor)
Ateneo de Naga University Press
4
5
BEST BOOK ON ART
1
Contra Mundum: On the Film
Restoration of Nick Joaquin’s
A Portrait of the Artist As Filipino
by Angelo R. Lacuesta
Miguel P. De Leon Publishing
2
Diksyonaryong Biswal ng
Arkitekturang Filipino: A Visual
Dictionary on Filipino Architecture
by Rino D.A. Fernandez
University of Santo Tomas
Publishing House
3
4
5
Fashionable Filipinas: An Evolution
of The Philippine National Dress In
Photographs (1860-1960)
by Gino Gonzales and
Mark Lewis Higgins
Suyen Corporation
Inabel: Philippine Textile from
the Ilocos Region
by Al M. Valenciano, Regalado Trota
Jose, Dr. Norma A. Respicio,
Michael F. Manalo, Hannah P. Cunanan,
Rene E. Guatlo (contributing writers)
ArtPostAsia
Roberto Chabet
by Ringo Bunoan (editor)
Kingkong Art Projects Unlimited
BEST BOOK ON PROFESSIONS
1
And Then She Laughed:
Counseling Women
by Sylvia Estrada Claudio
Anvil Publishing, Inc.
2
Cyberpreneur Philippines:
Online Business Start-Up Guide
by Ray Calbay, Marv de Leon,
Paolo Lising (editors)
Page Jump Editorial
3
Education Paradigms for the
21st Century (by Victor M. Ordoñez)
by Regina Ordoñez (editor)
De La Salle University Publishing House
4
Laws for Life
by Gianna Reyes Montinola and
Ma. Victoria Rotor-Hilado
Anvil Publishing, Inc.
5
1
5
The Lost Vision: The Philippine Left
1986-2010
by Ken Fuller
The University of the Philippines Press
The War in Cebu
by Resil B. Mojares, David W. Taylor,
Valeriano S. Avila, David Colamaria,
J. Eleazar R. Bersales (authors)
J. Eleazar R. Bersales (editor)
University of San Carlos Press
BEST TRANSLATED BOOK
1
Ang Rebolusyong Filipino ni
Apolinario Mabini
salin ni Michael M. Coroza
Komisyon sa Wikang Filipino
2
Derikaryong Pada: Sugidanon
(Epics) of Panay Book 3
by Federico “Tuohan” Caballero,
Romulo “AmangBaoy” Caballero
(chanters), and Alicia P. Magos (chief
researcher and senior translator)
The University of the Philippines Press
3
Heartland
translated by Marne L. Kilates
Ateneo de Naga University Press
4
Pitong Gulod pa ang Layo at
iba pang Kuwento
salin ni Edgardo B. Maranan
Komisyon sa Wikang Filipino
5
Sa Atong Dila: Introduction To
Visayan Literature
by Merlie M. Alunan
The University of the Philippines Press
Neither A Pedestal nor a Cage:
In Pursuit of Genuine Gender Equality in
the Philippine Workplace
by Emily Sanchez Salcedo
De La Salle University Publishing House
BEST LITERARY CRITICISM IN ENGLISH
1
Deconstruction After All:
Reflections and Conversations
by Christopher Norris
edited by David Jonathan Y. Bayot
De La Salle University Publishing House
2
Past Mountain Dreaming: New Essays
by Gémino H. Abad
The University of the Philippines Press
3
Poetry is: José Garcia Villa’s
Philosophy of Poetry
by Robert L. King (editor)
Ateneo de Manila University Press
4
The Collected Stories of Jose Garcia Villa
by Jonathan Chua (editor)
Ateneo de Manila University Press
5
The Resil Mojares Reader
by Hope Sabanpan-Yu (editor)
University of San Carlos Press
BEST DESIGN
1
Recognition: Examining
Identity Struggles
by Renante D. Pilapil
book design by Paolo Tiausas and
cover design by Faith Aldaba
Ateneo de Manila University Press
2
Dean Worcester’s Fantasy Islands:
Photography, Film, And The
Colonial Philippines
by Mark Rice
book design by Karl Fredrick M. Castro
Ateneo de Manila University Press
3
Roberto Chabet
by Ringo Bunoan (editor)
book design by B+C Design
Kingkong Art Projects Unlimited
4
The Cosmic Wild: Biology of
Science Fiction
by Ronald Cruz, book design by Karl
Fredrick M. Castro and cover
illustration by Mark Lawrence Andres
Ateneo de Manila University Press
5
More Hispanic than We Admit 2:
Insights into Philippine Cultural History
by Glòria Cano (editor), book design
by Jacqueline Mae C. Obaldo,
Ryan T. Dela Cruz
Vibal Foundation, Inc.
BEST BOOK IN JOURNALISM
BEST BOOK IN HISTORY
2
BEST BOOK IN LANGUAGE STUDIES
(Komisyon sa Wikang Filipino Prize)
1
BEST BOOK IN THE SOCIAL SCIENCES
1
Kikomachine Komix Blg. 11:
Mga Kirot ng Kapalaran
ni Manix Abrera
Visprint, Inc.
BEST BOOK OF GRAPHIC LITERATURE
(WORDLESS)
1
BookwatcH Vol. 20 No. 3
Macli-ing Dulag: Kalinga chief,
Defender of the Cordillera
by Ma. Ceres P. Doyo
The University of the Philippines Press
BEST BOOK ON FOOD
1
Discovering Tuba
by Arturo G. Pacho
The University of the Philippines Press
2
Panaderia: Philippine Bread, Biscuit
and Bakery Traditions
by Amy A. Uy and Jenny B. Orillos
with recipes by Jill F. Sandique
Anvil Publishing, Inc.
BEST BOOK ON SCIENCE
1
The Cosmic Wild: Biology of
Science Fiction
by Ronald Cruz
Ateneo de Manila University Press
19
Bookwatch Vol. 20 No. 3
BookwatcH Vol. 20 No. 3
NBDB TRANSLATION SUBSIDY PROGRAM
NBDB
TRANSLATION SUBSIDY PROGRAM
The National Book Development Board of the Philippines (NBDB) offers translation grants to Philippine
Application Form
publishers who sold translation rights of a published Filipino work to a foreign publisher.
PURPOSE
who may apply?
evaluation
The grants aim to introduce Philippine
culture, art, and literature to the world
and allow foreign readers to read
Philippine literature in their native
languages. Grants will cover translation
costs to a maximum of US$1,500 per
title.
Philippine
publishers
who
sold
translation rights of a published Filipino
work to a foreign publisher (license and
translation contracts must have been
executed) may apply.
eligibility
Applications are due on December 29,
2016 (Thursday).
The entries will be screened
by the NBDB. Applications
will be judged according to the
chosen book’s artistic merit,
the publisher’s and translator’s
reputations, and the quality of
the marketing and promotional
plans.
• A publisher must have an active
backlist of at least 20 titles.
• Book publishing must be the
company’s primary trade.
• A publisher must have an effective
distribution network, as well as
marketing and promotional plans for
the chosen work.
• License agreements and translation
contracts must already be signed at
the time of application.
• The chosen work must be published
in the Philippines and written in any
of the country’s languages (Filipino,
English, and other Philippine
languages).
• The book must have at least 48
printed pages, except if it’s children’s
fiction.
• Eligible genres include:
o fiction (novels, novellas, or short
story collections)
o poetry
fiction
(excluding
o children’s
picture books)
o biography and autobiography
o graphic novel
o creative non-fiction
o essays
o literary criticism
o scientific works
• Application for translation grants
must be done prior to the printing
stage.
20
application process
Interested publishers should e-mail
their applications to [email protected]
with the subject: NBDB Translation
Subsidy Program Application (Name of
publishing house).
The following documents should be
attached in PDF format:
• completed application form
• a publisher profile of the Philippine
publisher
• a publisher profile of the foreign
publisher
• a signed license agreement
• a signed translator’s contract
• a copy of the translator’s Curriculum
Vitae (CV)
• an 8-10 page translation sample of
the chosen book
• a one-page evaluation of the
translator’s work
• an outline of marketing and publicity
plan of the foreign publisher. Plan
must include the following details:
o date of publication
o area of distribution
o print run (minimum of
2,000 copies)
o price of book
o estimated readers
o promotional plans
results
Grant results will be announced
one month after the application
deadline. Grant winners will be
notified by e-mail.
For successful applicants, the
NBDB will give a Letter of
Offer with the Terms and
Conditions and performance
measures of the grant. Notified
applicants have two weeks to
accept the offer by signing a
Letter of Offer Reply Slip.
Failure to send the reply slip
within two weeks will forfeit
the grant.
The translated book must be
published one year after the
grant is awarded.
grant payments
The translation grant will be
paid in two installments. Fifty
percent will be awarded after
the translation is completed.
The remaining fifty percent
will be given after the publisher
submits three print copies of
the book, with the NBDB logo
placed on the copyright page of
the book.
Please fill out this application
form and e-mail to oed@nbdb.
gov.ph with the subject: NBDB
Translation
Subsidy
Program
Application (Name of publishing
house)
All application fields should be
filled out.
All required documents should also
be attached in the same e-mail. See
the attachment checklist below for
a list of required documents. All
required documents should be in
PDF format.
Please note that incomplete
applications will not be considered.
Applications are due on December
29, 2016 (Thursday).
The Translation Subsidy Program
is given by the National Book
Development
Board
of
the
Philippines (NBDB). Decisions
by the NBDB are final and are not
open to appeals.
PUBLISHER DETAILS
Company Name:
Address:
Number of active titles:
Contact Person:
Position of contact person in the company:
Contact number:
E-mail address:
Company website:
translator DETAILS
Translator’s Name:
Address:
Contact number:
E-mail address:
Qualifications/Professional history:
Previously published translations:
attachment checklist
Publisher Profile
Signed License Agreement
Signed Translator Contract
Translator’s CV
Translation Sample (8-10 pages) Marketing and publicity plan
outline
contact information
For inquiries, please contact:
National Book Development Board
Unit 2401 Prestige Tower
F. Ortigas Jr. Road, Ortigas Center,
Pasig City 1605, Philippines
Telefax: +63-2-570-6198
or +63-2-687-1804
E-mail: [email protected]
Website: booksphilippines.gov.ph
book details
Book title:
Author:
Original publisher:
Original language:
Language of translation:
Target date of publication (mm/dd/yy):
Type of literature (state if prose/poetry):
Number of pages:
Number or lines (for poetry) or
Number of words (for prose):
Estimated translation cost (in USD):
21
Bookwatch Vol. 20 No. 3
BookwatcH Vol. 20 No. 3
Local Writers,
Global
going
P
eople who bemoan the lack
of Filipino presence in the
international literary scene are perhaps
looking in the wrong places. We’ve had
many authors in the past whose works
have been published by international
publishing houses, though these may
have been few and far between. The
latest big news to come out of this
vein is no less than our National Artist
for Literature Nick Joaquin’s works
being published by Penguin Books by
April 2017, according to the Penguin
Random House web site. Now that’s an
event worth watching out for. Joaquin
now joins our National Hero Dr. Jose
Rizal’s famed novels Noli Me Tangere
and El Filibusterismo under the Penguin
Classics line.
Filipino authors who get international
publication deals may be based abroad
(or at least shuttle to and from the
Philippines and whichever country
they’re working in), but some of these
published writers are still based here
in the Philippines while winning
international acclaim or getting
published abroad. Samantha Sotto is
one of them. She describes herself as
a professional daydreamer who also
happens to write excellent novels. One
such story is Love and Gravity, a tale of
22
International Publications,
World Audiences
If you think contemporary Filipino writers are
not getting published internationally, think
again. Armed with sheer determination and of
course literary talent, local writers are slowly
making their marks abroad even without leaving
the country. Get to know a few of these authors
and who’s publishing them out there.
by richard ramos
love, time, and somehow, Isaac Newton.
Kate Evangelista is another one. She
would have been a doctor, but that was
before she wandered into the literature
department and things took a different
turn. Her latest work is No Holding Back,
the story of a gay couple taking the first
steps into a real relationship. Sophia
N. Lee is a young adult fiction writer,
and her work, What Things Mean, is a
coming-of-age story, with dictionarystyle chapters that talk about the meaning
of things. This book won the grand prize
at the Scholastic Asian Book Award in
2014, which led to its publication by the
renowned Scholastic brand. There, too,
is Rin Chupeco, another young adult
writer influenced by Neil Gaiman. Her
latest work The Bone Witch, soon to be
published by US-based Sourcebooks
Fire, combines magic and growing up
into a unique story. Last, but not the
least, we have F.H. Batacan, who has
captivated many readers abroad with
Smaller and Smaller Circles, an excellent
contemporary crime novel. The novel is
about two Jesuit priests who are tracking
down a serial killer – something that flies
in the face of Philippine culture. We
reached out to Samantha Sotto, Kate
Evangelista, Sophia N. Lee, and F.H.
Batacan to share with us some thoughts
on being published internationally.
For introductions, Kate Evangelista, as
she writes it, went into medical school
when she was told she had a knack for
writing stories. She realized, though,
that she wasn’t exactly cut out to be
in the medical field (“After realizing
she wasn’t going to be the next
Doogie Howser, M.D.,” as her web
site states), and she graduated with a
Bachelor of Arts in Literature from
De La Salle University. She has been
a teacher and an essay consultant, and
is now a full-time writer.
Meanwhile, Samantha Sotto, while
born in Manila, moved to the
Netherlands in her teenage years.
She returned to the Philippines,
eventually, and graduated with a
Communications degree from the
Ateneo de Manila University. She
plunged into a lengthy career in brand
management, but that hasn’t stopped
her from coming out with her books.
Her first one was Before Ever After,
published initially by Crown in 2011,
now published by Penguin Random
House.
On another front, Sophia N. Lee is
a person – as described in her online
home page – who, as a child, wanted
to be many things: doctor, teacher,
ballerina, and ninja, among other
things. Her realization that she could
be all that she wanted to be through
writing, and a love for etymology, has
given birth to her aptly-titled novel,
What Things Mean. It was the Grand
Prize Winner for the Scholastic Asian
Book Awards in 2014, and was later
published by Scholastic Press in 2016.
Filipino novelist Kate Evangelista currently
feels the pulse of her international readers
based on the popularity of her works. Her
latest book is entitled No Holding Back
published by Swoon Reads, which, according
to their website, publishes under an imprint
of Macmillan called Feiwel and Friends. Her
works are widely available on Amazon.Com
and on the publisher’s site.
Finally, F.H. Batacan is a veteran
of
the
Philippine
intelligence
community, and has worked abroad
in Singapore for more than a decade.
There, she was a reporter and editor
for the state newspaper, and she also
did work for the state broadcaster.
This did not stop her from writing
Smaller and Smaller Circles, which
was first published in 2002 by the
University of the Philippines Press,
and is now published by Soho Press.
Her Palanca Award-winning crime
fiction novel will soon have a movie
adaptation,
with
internationally
acclaimed independent film director
Raya Martin helming it, to be
produced by Tuko Film Productions
and Buchi Boy Entertainment. It’s set
to come out later this year.
How does your Filipino heritage
inform your writing? Does it also
shape who your reading audience
is?
Kate Evangelista: It’s odd, but
I’m not sure if my Filipino heritage
informs my writing in any way. So
far, the characters in my head are
predominantly western in influence
only because I grew up watching
Western TV, read western books,
lining up for western movies. I have
yet to explore a character who is
Filipino. Although, she is already in
my head, I just haven’t had time to
write her story yet.
As for the second part of the question,
I am my audience. First and foremost,
I write for myself. I write what I would
enjoy reading. Then when the work is
published, I relinquish all control over
it because the book belongs to the
readers at that point.
“
At the end of the day, don’t
write thinking your novel will
“
be for the international market.
Think about making your story
as good as it can be. Finish
writing it. Edit it until it shines.
Then, once it’s published, it will
find its own market.
- Kate Evangelista
Samantha Sotto: Being a Filipino
influences how I view and experience
the world. Our culture is a unique
blend of East and West and this seeps
into my writing voice. My readers in
the Philippines have been extremely
supportive and I have no doubt that
this warm reception is because I am a
‘kababayan.’ (fellow countryman)
Sophia N. Lee: Being Filipino
influences my writing in every sense –
it’s important to me to write Filipino
stories from a Filipino point of view.
I grew up on The Berenstain Bears, on
fairytales, on Nancy Drew and Sweet
Valley High. I was a huge reader,
even when I was much
younger, but I always
wondered
why
children
like
me were never
r e p r e s ent e d
in
the
storybooks
that I read,
and in the
stories
that
I came to
love as a young
reader. As a little
girl, I had mistakenly
believed that it was because
we weren’t allowed to write these
stories, that books were just stories
that came from elsewhere for us to
consume. It wasn’t until I was much
older that I would realize why; it was
because there weren’t a lot of people
writing them. This is partly what
drew me towards writing in the first
place. I want to help build something
that I didn’t really have as a child,
to give young Filipinos stories they
can identify with. I want to create
characters that Filipino readers can
recognize and empathize with,
because it’s so important to have that,
especially when you’re young.
It’s important for me to write about
Filipinos, because I care about how
we are represented to the world as
well. Books don’t just tell stories;
they convey values and ideas about
things and people. If we aren’t going
to help shape how we’re depicted to
the world, we run the risk of giving
someone else that power. There’s so
much about the Filipino spirit, about
Filipino culture that I’m proud of,
and I want the world to see that in the
things that I write.
F.H. Batacan: I’ve lived overseas for
a long time but cliché as it sounds,
you can take the Filipino out of the
23
Bookwatch Vol. 20 No. 3
BookwatcH Vol. 20 No. 3
from Asia or Africa or South America
that become massive hits, we
must understand that the
market leans toward
western
books.
The
largest
market is the US
at the moment.
But, at the end
of the day, don’t
write thinking
your novel will be
for the international
market. Think about
making your story as
good as it can be. Finish writing it.
Edit it until it shines. Then, once it’s
published, it will find
its own market.
Speaking at a previous international literary
festival in Makati, Samantha Sotto shared
that she wrote her first internationally
published novel, Before Ever After, inside cafes
in Quezon City, in between her mommy
duties while waiting for her kid’s school day
to be over. Her latest novel, Love and Gravity,
is published by Penguin Random House.
Philippines but you can’t take the
Philippines out of the Filipino. The
country of my birth is the country of
my greatest joys and deepest wounds.
It is the source of my hope and
frustration, the bottomless well of my
anger. To love your country is to be
angry with it, to be angry with all the
things that keep it from being what it
could be, and I think that is especially
true for writers – or at least, it should
be.
When it comes to the international
scene, what do you think made
your work stand out? What would
you advise new writers to think
about, when writing for the
international market?
Evangelista: They have to be
aware that the international scene is
dominated by books from the US or
the UK. Of course, we want it to be
more diverse, but right now, that is the
reality. Unless writers produce novels
24
Sotto: I don’t know if
my work ‘stands out,’
but I will say that I’ve
been lucky enough to
connect with readers
from
around
the
world. When I write,
I do not think that I
am writing for any
particular market. I
focus my efforts on
expressing myself in
an authentic voice,
executing an original
concept, and developing compelling
characters. I believe that if you do these
three things well, your work will travel
across borders.
Lee: I don’t think it’s possible for
me to tell you how my writing has
been distinguished from that of other
authors; that’s a question better suited
for readers of my work, I think.
Reading is such a personal thing; every
reader will have a different take on
the story and on its characters, every
reader will interpret the things I write
in so many different ways. The most I
can hope for with what I write is that
those who read it will come away with
a better understanding of who they are
and of their place in the world, because
of how they relate to the characters in
the story.
“
As writers, we should write
what we want to write
“
“
regardless of what is currently
It’s important for me to write about Filipinos, because I care
about how we are represented to the world. Books don’t just tell
stories; they convey values and ideas about things and people.
popular. Your goal shouldn’t
If we aren’t going to help shape how we’re depicted to the world,
be to write the next wizard,
we run the risk of giving someone else that power.
vampire, angel or mermaid
- Sophia N. Lee
“
hit. Your focus should be on
bringing your own voice and
or Facebook about how much you hate a
particular issue. Once you are published,
you become a public figure because
people will associate your books with
yourself.
thoughts to life. Finishing a
manuscript is hard enough
as it is. If you’re not enjoying
the process, then why even
continue?
If you destroy your public image,
it will affect your brand, and once
that happens, people might stay away
from your future release. Remember,
you’re writing not to publish only one
book. You’re writing to make a career of
publishing more than one book. Stick to your
brand. Maintain your image.
- Samantha Sotto
Sophia N. Lee’s unique use of
dictionary entries as part of her
novel What Things Mean won for
her the 2014 Scholastic Asian
Book Awards Grand Prize. She
still calls Manila her home, and
is working on her second novel.
I think the important thing to focus
on when writing anything is the story
itself. Don’t burden yourself with
the pressure of creating something
because you think that’s what the
international market wants. That may
work in some cases, but what I’m sure
of is that a good story will always find
a home. So work hard at making your
story the best possible one you can tell.
I have benefited from so many writing
teachers, and this is what nearly all of
them have told me: write the story
that only you can write. Ask yourself
what stories you are truly passionate
about, what kind of narrative it is that
you want to share, and work at it,
every single day.
about making certain terms or local traditions clearer for the
foreign reader and expanding the book in terms of length and
complexity, I didn’t really think much about “writing for the
international market.” I just thought about writing as well as
I could, to try to convey a story, to create a world that was as
faithful in spirit to things that are happening in the country. In
some ways I think it’s a slippery slope when you become overly
conscious of that “international market.” Write the best way
you know how, listen to good advice, and stop worrying about
the “market.”
Batacan: Aside from some sound
advice from my editors at Soho
Evangelista: Social media image and maintaining their brand.
You can’t write sweet romances then go on a rant on Twitter
Aside from the writing itself, what else do you think
that new writers should think about when it comes to
publishing internationally?
Sotto: Until you have finished your manuscript, I
honestly think that the only thing that should be
on your mind is your writing. You can turn your
focus outwards when your book is in the best shape
possible. Having a robust online and social media
presence allows you to interact with your readers.
This is still something I am working as I was born
in the Paleolithic age.
Lee: New writers wanting to publish have so many
options available to them. They can decide how
they want to share their work with the world. They
can decide to self-publish, they can publish with a
smaller press first and see how it fares, or they can try
to get their work picked up by a big publishing house.
The great thing about having the internet is that so much
information is available there; you just have to know
what questions to ask.
You can look for your favorite authors and see who represents
them, see who has published their work. Many of them
will have online platforms, and you’ll find that a lot of them
are so generous with information about searching for and
querying agents and preparing manuscripts for publication.
There’s a lot that new writers can learn (as I have been
learning) about how established writers continue to build
their platform and engage their readers. Another important
thing that new writers should be thinking about is finding
new ways to reach readers and make them experience their
work. I’m a huge fan of John Green’s work, but I’m an even
25
Bookwatch Vol. 20 No. 3
bigger fan of how he engages with his
fans through social media. He gives so
much access to his life and his process,
and I can understand why his fans love
him so much.
BookwatcH Vol. 20 No. 3
know her agent’s methods and the
agent must understand how her writer
ticks. We live in a publishing climate
where there are tons of opportunities
for writers without agents.
You don’t necessarily need an agent to
But you don’t have to look very far to
be published nowadays. But having one
find stellar models to follow. I’m a huge
gives you an extra edge because agents
fan of what our local romance authors
open doors that don’t necessarily open
are doing, and I keep mentioning them
for an “unagented” writer.
(Mina V. Esguerra and the rest of the
#romanceclass authors, hello!) because
Sotto: If you wish to pursue the traditional
I think it’s so great how they’re always
publishing route, having a literary agent
finding new ways to reach out to
is a must. Traditional publishers do not
more readers – from podcasts to live
accept unrepresented work. Stephanie
readings by local actors, and #feelsdays
Rostan has been my agent since 2009 and
New writers are lucky because so
that I think are so cool, honestly.
has
been
an
integral
part
of
my
writing
many agents are open to queries. And
They make it easy and fun to be a
journey.
She
has
helped
me
navigate
the
now, you only need to do a cursory
romance reader, and I think that new
industry
and
her
inputs
have
helped
me
search online to find them. You can
writers of every genre should take a
grow
as
a
writer.
She
tirelessly
champions
get a sense of the books they represent
cue from them. They need to think
there, and even
of ways to grow
find really useful
their community
guides regarding
The
country
of
my
birth
is
the
country
of
my
greatest
joys
and
of readers and
how to query
make them excited
deepest wounds. It is the source of my hope and frustration, the
them. You just
to take part in the
bottomless well of my anger. To love your country is to be angry
need to make sure
stories they create.
with it, to be angry with all the things that keep it from being
your work is a
what it could be, and I think that is especially true for writers —
good fit with that
Batacan: I have
or
at
least,
it
should
be.
agent’s body of
had largely positive
work. All of that
F.H.
Batacan
experiences with
is secondary to
editors when I’ve
my
books
to
make
sure
that
they
find
the
making
sure
your
manuscript
is ready
had my work published overseas, and
best
homes
and
meticulously
negotiates
for
publication,
of
course.
A
good
my work has benefited much from
my
contracts
so
that
they
are
fair
and
agent
will
be
able
to
tell
you
if
your
their guidance. I’ve heard stories about
in
my
best
interest.
Finding
an
agent
draft
needs
work,
before
they
even
Filipino writers feeling lukewarm
who will be the best fit for you and your
send them out to a editor who can
or unhappy about being edited,
book
is
the
most
important
decision
you
really give it serious consideration.
which I find puzzling. Is it ego? Is it
will
make
in
your
traditional
publishing
inconvenience? I don’t know. But if
career.
Batacan: Having an agent can
someone is willing and qualified to
open doors for a writer, because a
edit your work, be grateful, and try to
Lee:
If
you
want
to
publish
your
good agent usually has strong, longlearn as much from the process as you
work
internationally,
then
you
will
standing relationships with publishers
can. A good editor is a great teacher.
most likely need a literary agent.
and editors. The agent is the writer’s
Most
publishing
houses
do
not
accept
advocate, not just in terms of landing
What are your thoughts about
unsolicited
manuscripts
especially
if
a book deal but also in helping to
having literary agents, or the
these
are
“unagented
work.”
I
think
manage the writer’s relationships with
equivalent legal representatives?
this is because many publishing houses
publishers, media, event organizers,
and
their
editors
consider
agents
as
the
and so on. I’ve been extremely
Evangelista: Literary agents work
first
filters
of
talent,
and
look
to
agents
fortunate with my agents at Jacaranda
hard. The best of them look out for
to
sift
through
the
many
authors
and
— the best agents, I feel, understand
your career’s best interest. In fact, the
stories
that
are
out
there.
where you are in your life and help
relationship between an agent and
to ease some of the pressures that
writer is key. Sometimes it eventually
My
experience
is
unique
because
I
got
sometimes come with having your
moves beyond professional into deep
offered
the
opportunity
to
publish
as
a
work published.
friendship because the writer must
“
26
along the way. Of course, you can take
the self-publishing route, but you also
have to ask yourself: Is your book ready
for publication? Because if you come up
with a product that falls short, then it
will be even more difficult to find your
audience once you are ready to publish
your next book.
result of winning the Scholastic Asian
Book Award, and that happened
before I even got an agent. I do work
with an agent now (I’m with Andrea
Pasion-Flores
under
Jacaranda
Literary Agency), and I feel that
having her has made it easier for me to
navigate the publishing process of my
first book. She helped me negotiate
better terms for my contract, and
helped me secure rights that I was
not even thinking about when I was
offered my first contract; that’s part of
what you’ll get when you work with
an agent, too.
“
Creative writer and journalist F.H.
Batacan’s publication journey started
locally, but it paved the way for her
international exposure right now. Her
crime novel Smaller and Smaller Circles is
an engaging read to Filipinos and now, the
world.
What do you think are the
emerging trends in your particular
fields of writing? In addition, what
do you think Filipinos or those
who have Filipino roots should
explore in terms of themes or
genres?
Evangelista: As I write this, historical
fiction and sci-fi are selling well. Of
course, romance is a billion dollar
industry and never fails. Mystery also
constantly tops the bestseller lists.
But writers should never chase trends
because they will not be able to keep
up. It takes one to two years for a
traditionally published book to come
out. That is from writing to editing to
submission to publication. Sometimes
it takes even longer.
So, if you’re chasing a trend, the trend
would be over once your book comes
out. And that is with the assumption
that all the stars align and your
manuscript isn’t rejected at any point
I am never one to dictate what a writer
should or should not do. I just state
what I know to be fact at the time I
am asked the question. As writers, we
should write what we want to write
regardless of what is currently popular.
Finishing a manuscript is
hard enough as it is. If
you’re not enjoying
the
process,
then why even
continue? Have
fun with it. If
you write it,
someone will
read it. Believe
in that.
Sotto: The first thing I
learned in this industry was not to look
at trends because by the time you try to
jump on whatever the “it” concept or
genre of the moment is, it will be over.
The traditional publication process is
extremely long. If you sold your book
to a publisher today, it will take at least
a year before you will find it in stores.
My advice to any writer is to write the
story they want to tell regardless of what
seems to be popular at the moment.
Your goal shouldn’t be to write the next
wizard, vampire, angel or mermaid hit.
Your focus should be on bringing your
own voice and thoughts to life.
Lee: As a writer, I tend not to look at
trends because I feel those are so fickle.
If you do that, you always run the risk
of making your work perceived as less
relevant, just because the market has
been saturated with so many others
like it. Besides, good books take time;
what’s trendy now may not be so hot
once you finish your manuscript.
Instead, I think writers should be
guided by what they’re passionate
about, because then, they’ll give their
manuscript the time and attention it
needs to be extraordinary.
I’m all for more Filipinos writing
about the Philippines, though. I
think new writers should explore
whatever it is in their roots, or in
their active engagement with culture
that captures their attention – be
it food, art, music, even their daily
source of hugot (emotional outburst).
Each person experiences culture in
a unique way, so don’t be afraid to
examine your life, to see what you can
mine from there.
Batacan: I don’t really look at trends.
Crime fiction encompasses such a
wide spectrum – the procedural, the
domestic noir, the technological or
the historical mystery. As a reader, I
buy books in my genre if the premise
and the writing appeal to me, if
there is more to the story than just
cleverness. I want to read – and write
– books that are truthful, that engage
and interrogate society while at the
same time they entertain.
27
Bookwatch Vol. 20 No. 3
BookwatcH Vol. 20 No. 3
NBDB AND BDAP LAUNCH
PUBLISHING COURSE SERIES
The National Book Development Board (NBDB) and
the Book Development Association of the Philippines
(BDAP) launched yet another new program: the first
of a series of publishing courses.
This pilot course consisted of three (3) subjects
focusing on the fundamental aspects of publishing:
History of Publishing and the Book, Introduction to
Publishing, and Copyright.
The course schedule was as follows:
Introduction to Publishing by the NBDB
June 28, 6:00PM - 9:00PM
June 30, 6:00PM - 9:00PM
July 5, 6:00PM - 9:00PM
History of Publishing and the Book
by Mr. Ramon Sunico
June 15, 6:00PM - 9:00PM
June 18, 9:00AM - 12:00PM
June 21, 6:00PM - 9:00PM
Copyright by Atty. F.D. Nicholas B. Pichay
July 8, 6:00PM - 9:00PM
July 15, 6:00PM - 9:00PM
July 22, 6:00PM - 9:00PM
Each class was held at the University of the Philippines’
School of Economics at the Diliman, Quezon City
campus.
Each subject in the pilot course costs PhP1,500. A
discount of 30% was offered to those registered with
the NBDB or BDAP.
28
Anthologizing the Filipino
experience in America
By Libay Linsangan Cantor
For decades, Filipinos in America have been writing prose or poetry and collecting
them in anthologies. But who is their audience, and what do they write about?
A quick survey of what’s out there will reveal varied answers to these queries,
as a Filipino-American anthology editor also shares with us her musings about
putting up such a collection.
A
n anthology is a collection of
works addressing specific issues
and concerns. It may be about shared
experiences, lived animosities, and
gathered victories. An anthology could
focus on certain formats, such as essays
or poetry or short stories, or it could
be a combination of these formats.
Americans – our big white brother –
and we have embraced their pop culture
with gusto. Some of us bought the
“American dream” being sold to us, and
some of us flew out there to transform
this dream into a reality. This has been
happening for decades already, and it is
still happening right now.
In the Philippines, there are many
anthologies of works to choose from,
ranging from different literary genres
to formats to specific themes. Outside
of the Philippines, though, there are
also many anthologies that exist which
contain Filipino experiences from
varied points of view. Many notable
examples of such collections, however,
come from the USA, where many
active Filipino-American writers
thrive. This comes as no surprise to
us, of course, for the Philippines has
had a longstanding relationship with
America. As a former colony right
after the Spanish period, we Filipinos
– the so-called little brown brother –
have been taught the language of the
It is not surprising, then, to find a
rich heritage of Filipino experiences
scattered all over the Asian-American
literary scene. Turn a page in an
anthology produced by specific subpopulations and you will find themes
that will resonate with readers sharing
a parallel immigrant experience or a
multicultural generational vibe. Some
of these experiences are locationspecific while others are collected under
a specific umbrella concept.
In 2002, for example, Filipinos based
in the San Francisco Bay Area came up
with Seven Card Stud with Seven Manangs:
An Anthology of Filipino American Writers.
Edited by Helen Toribio, this essay
Babaylan: An Anthology of Filipina and
Filipina-American Writers, was edited by
Nick Carbo and Eileen R. Tabios. It is
available as a paperback at the Californiabased distributor Small Press Distribution’s
website at spdbooks.org.
collection contains the experiences of
Filipinos from the East Bay chapter
of the Filipino American National
Historical Society (FANHS). It is not
rare for fellow Filipinos to bond and
form organizations and associations
like this one, and collected writings
of their lives are usually produced as
projects for such formations. In 2014,
the FANHS once again came out with
a new anthology called Beyond Lumpia,
Pansit, and Seven Manangs Wild: Stories
from the Heart of Filipino Americans.
Edited by Evangeline Canonizado
Buell, Edwin Lozada, Eleanor
Hipol Luis, Evelyn Luluquisen,
Tony Robles and Myrna Zialcita,
the collection narrates multicultural
stories written by second, third, and
even fourth generation of Filipinos
living in America today. It is indeed
an expansion and an update of the
previous volume the organization
published.
29
Bookwatch Vol. 20 No. 3
BookwatcH Vol. 20 No. 3
“
It’s not easy to become a writer no matter where you are.
Having said that, I have to add that there are specific challenges
that so-called ‘minority writers’ deal with in America. There are
creative questions to consider: Which language to use, what topics
to write about, what characters to populate your stories with?
These questions relate to what market the writers hope to reach,
and what publishers they hope to get.
“
second is entitled Charlie Chan is Dead
2: At Home in the World, still published
by Penguin Books in 2004.
- Cecilia Manguerra Brainard
Some of the authors included in Kuwento:
Lost Things, An Anthology of New Philippine
Myths co-edited by Rachelle Cruz and
Melissa Sipin are Dean Francis and Nikki
Alfar, M. Evelina Galang, Veronica Montes,
Zosimo Quibilan, Catherine Torres,
Rebecca Mabanglo-Mayor, Sarah Gambito,
Vince Gotera, Barbara Jane Reyes, and Brian
Ascalon Roley, to name a few. The book’s
cover was designed by Eliseo Art Silva.
Another similar endeavor from San
Francisco is the book Claiming Our
Stories, a volume that accompanied
a photography exhibit by FilipinoAmerican photographer Ricardo
Alvarado. Curated by his daughter
Janet Alvarado under The Alvarado
Project nonprofit group, the book
contains
historic
photographs
of Filipino-American life in San
Francisco since the post-World War
II era. Filipino-American writers also
contributed notes in the book which
contains the late Alvarado’s iconic
photo collection.
Some anthologies talk about language
extensively, or use language as a
jumping off point of identifying one’s
place in the map. Be it the global map
or the country map, Filipino writers
outside of the Philippines make
30
their mark predominantly using English. An earlier example is 1996’s
anthology of poetry called Returning A Borrowed Tongue: An Anthology of
Filipino and Filipino American Poetry edited by Nick Carbo. This volume
is an interesting look at how Filipinos harness this “borrowed tongue” and
utilize the English language in writing about Filipino experiences. It’s not
exactly using the master’s tools to dismantle
the master’s house, as Audre Lorde once
put it, but perhaps it’s more of using the
master’s tools and re-appropriating them
to build a newer – and perhaps re-imagined
– house. In 2004, Carbo edited another
volume entitled Pinoy Poetics: A Collection
of Autobiographical and Critical Essays on
Filipino and Filipino American Poetics.
While he’s now based in Spain, Carbo’s
edited anthologies have been published in
America and are available there (also worldwide,
since one can order them online). And if we’re
going to talk about re-imagining, the US-based
poet Eileen Tabios, credited as the inventor of
the “hay(na)ku” poetic form, could also be found
mentioned in various hay(na)ku anthology projects
crediting her with this innovation. To quote her
blog: “The hay(na)ku is a 21st century poetic form
invented by Eileen R. Tabios. It is a six-word tercet
with the first line being one word, the second line
being two words, and the third line being three
words. Since its public inauguration, poets around Manila Noir, an anthology edited by
the world have used the form, and published the Jessica Hagedorn and published by
results in books, anthologies and literary journals. New York-based Akashic Books, is a
Poets also have created text and visual variations of winner of the National Book Award
the form, including the popular ‘chained hay(na) in the Philippines for best anthology.
It is widely available in print form
ku’ which strings together more than one tercet as and as an e-book. Some of the writers
well as the reverse hay(na)ku where the word count included here are Gina Apostol, Lourd
is reversed.”
De Veyra, Angelo Lacuesta, Marianne
Villanueva, Jose Dalisay Jr. and Sabina
While some anthologies are area-specific, some are Murray.
gender-specific. An example of this is Going Home
to a Landscape: Writings by Filipinas edited by Marianne Villanueva and Virginia
Cerenio, published in 2003 by Calyx Books. Around 52 contributors wrote about
life as a Filipino woman making or marking a difference in the diaspora, and it
contains a combination of haunting prose and lyrical poetry. A similar project was
published in 2000 by Aunt Lute Books called Babaylan: An Anthology of Filipina
and Filipina American Writers edited by Nick Carbo and Eileen Tabios. Indeed,
as the experiences resonate with Filipinos in the Philippines and abroad, these
collections try to bridge the gap between the motherland and the land they now
call home.
Contemporary Fiction by Filipinos in America
was published by Anvil in 1997. Some of
the authors included here are Fatima LimWilson, John L. Silva, Luis Cabalquinto, Mar
V. Puatu, Oscar Peñaranda, Nadine Sarreal,
Linda Ty-Casper, and Alma Jill Dizon.
But of course, writers write things
outside of their experiences as well,
and we can see these in several
anthologies that, once again, mix the
shared thoughts of Filipinos based
in the homeland and abroad, while
tackling specific themes that haunt
them or interest them. One such
anthology is called Kuwento: Lost
Things, An Anthology of New Philippine
Myths co-edited by Rachelle Cruz and
Melissa Sipin and published in 2015
by Carayan Press. Another example
is the Akashic Books noir series,
where a volume entitled Manila Noir
was published in 2013 and edited by
acclaimed Filipino-American writer
Jessica Hagedorn.
Speaking of Hagedorn, of course
it’s but apt to mention her two
edited
anthologies
of
AsianAmerican writings which gripped the
conversation of the Asian-American
experience and thrust it out there,
ever so boldly, to expose gardenvariety racism and stereotyping
that befall Asians in America,
including Filipinos, and to encourage
intersecting discourses on identity,
culture, history, and memory. The
first volume entitled Charlie Chan is
Dead: An Anthology of Contemporary
Asian American Fiction was published
by Penguin Books in 1993 and the
The internet also changed the
landscape of connectivity for Filipinos
based abroad, especially in putting out
works written by them. Using this
new technology, there have also been
several online webzines that shared
the objectives of the print anthology
creators in reaching out to an audience
and making their voices heard. One such
endeavor is the aptly named Our Own
Voice (www.oovrag.com), a webzine
that has been in existence since 2001. It
has been strictly a literary journal that
featured works which narrate Filipino
experiences in the diaspora, preferably
written by Filipinos based anywhere
in the world (not just America), but it
has currently been rebooted to become
wider in scope and reach. Now called
Our Own Voice: Beyond Homeland,
its founding editor, US-based writer
Remé-Antonia Grefalda, mentioned
that its content now encompasses more
global experiences that not only cater to
the Filipino heritage but to other types
of heritage that crossed the lands and
seas, much like Filipinos in the diaspora
did. Its latest issue features excerpts
from the writings of authors of Thai,
Vietnamese, and Filipino heritage,
among others.
***
So what does it take to create such
an anthology, and how is it possible
to gather varied voices and collect
them under one volume? Another
anthology editor, novelist and essayist
Cecilia Manguerra Brainard, shared
with us her thoughts on the matter.
A
California-based
writer
of
Cebuano heritage, Brainard travels
frequently to the Philippines where
she still enjoys literary connections
and publication deals. “I really had
fun editing the collections Fiction
by Filipinos in America, Contemporary
Fiction by Filipinos in America, Growing
Up Filipino: Stories for Young Adults,
and Growing Up Filipino: More Stories
for Young Adults. I did these books in
response to some need that I perceived.
Let me explain. For instance, Fiction
by Filipinos in America came about
because of my attempts to find an
anthology by Filipino American
writers to help me improve my own
writing. When I could not find such
an anthology I proposed doing the
book to Mrs. Rodriguez, my publisher
at New Day (in the Philippines), and
she welcomed the idea. That was
how that book came about. It’s a fine
collection that includes works by such
established writers as Carlos Bulosan,
Bienvenido N. Santos, Linda TyCasper, NVM Gonzalez, as well as
emerging writers. Contemporary Fiction
The literary webzine Our Own Voice: Beyond
Homeland, is a project founded by US-based writer
Remé-Antonia Grefalda in 2001. You can visit
the site at oovrag.com.
31
Bookwatch Vol. 20 No. 3
BookwatcH Vol. 20 No. 3
Filipino. After it came out and received
excellent mainstream reviews, Anvil
expressed interest in a Philippine
edition. Growing Up Filipino: More
Stories by Young Adults is an offshoot
of the first Growing Up Filipino. This
book also received excellent reviews.
I have learned a lot from
editing these books, and I
also had the great pleasure
of being in close contact
with numerous writers.
It is gratifying that these
books remain in print and
are used in schools.”
Cebu-born editor-writer Cecilia Manguerra
Brainard, author of When The Rainbow
Goddess Wept (published in the Philippines,
US, and Turkey), enjoys connections with
Philippine publishers supportive of the
anthology collections she puts out. Her
latest novel, The Newspaper Widow, will be
published by the University of Santo Tomas
Publishing House. Her small US publication
business, Philippine-American Literary
House, is also focused on coming out with
anthologies by fellow Filipino-American
authors. To be released in 2017 are Linda
Ty-Casper’s A River, One Woman Deep and
Veronica Montes’ Benedicta Takes Wing.
by Filipinos in America grew from that
first collection and was published by
Karina Bolasco at Anvil Publishing
(in the Philippines).”
Much like the previously mentioned
anthologies
by
other
editors,
Brainard also saw a thematic need
that needed to be addressed, and
her two literary collections tried to
contribute in hopefully removing
an obvious invisibility. “The young
adult anthologies came about when
I learned both in the US and in the
Philippines (that) there is a lack of
books for our young adults. I collected,
edited, and published Growing Up
32
As a writer in the diaspora
straddling two cultures (or
even more), there would
always
be
challenges
when it comes to curating
content. Brainard shares
with us her thoughts on
being a writer ensconced
in such a place and space. “It’s not easy
to become a writer no matter where
you are. Having said that, I have to
add that there are specific challenges
that so-called ‘minority writers’ deal
with in America. There are creative
questions to consider: Which language
to use, what topics to write about, what
characters to populate your stories
with? These questions relate to what
market the writers hope to reach,
and what publishers they hope to get.
Regardless of their ethnic background,
some writers may decide to write of
white protagonists with mainstream
themes. I know a black writer who has
done so and is successful commercially.
He writes of white characters, living
in white neighborhoods, with white
conflicts. You wouldn’t know from
his writings that he has an African
American background.”
Like any other writer struggling for
publication space, one common thing
hounds authors regardless of race or
ethnicity: markets. Brainard expounds
on this further. “These creative choices
by writers may have something to
do with the market and publishers
in the US. Obviously the majority of
readers are WASPs (White AngloSaxon Protestants) and they are the
“
It is impossible to pin down
who Filipino Americans
are, and it is just as difficult
to define what Filipino
American writing is. There
are many topics that Filipino
American writers tackle in
their creative attempts to
understand themselves and
their place in America.
“
- Cecilia Manguerra Brainard
ones who make up the bulk of the
buyers of magazines and books. Since
publishing is generally a business,
this means that editors have to cater
to these buyers and print the stories
and articles that these readers want.
Following this logic further, writings
by ‘ethnic writers’ have a limited
market and they have a harder time
finding publishers. Those are some of
the headaches that minority writers in
America deal with.”
Applying these challenges and
restrictions in her own life, Brainard
tries to go beyond the perception of
the audience while trying to strike
a balance on what publishers might
be looking for. “As a Filipino writer
in the US, I’ve had to look at these
issues and make decisions about my
own writing. I write in English for an
international readership. If I include
some Tagalog or Cebuano words, I
am aware that some people may not
understand them and I have to weigh
the matter – how important is it to
have that Cebuano or Tagalog word
in there? I’ll throw these ‘foreign’
words in for local color and for artistic
reasons, but I don’t flood my work
with them so that my readers don’t get
confused or stumble over too many of
these words. I have decided that what
is worth my time is to write about
what is close to my heart and not
try to write something for (maybe)
commercial success. Most of my
stories therefore explore my Filipino
and Filipino American experiences.
It has been difficult to market these
stories and books in the US because
of the business repercussions of my
decision to stick with these ‘nonmarketable’ topics, but I’ve been
fortunate in being able to get my work
in print.”
Discussing writer classifications in
relation to markets and audiences, we
asked Brainard if there are specific
definitions of what makes up “FilipinoAmerican literature.” Seeing from the
previous examples of anthologies we
shared, it is indeed hard to pin down
specific characteristics while at the
same time, it is somehow “easy” to
spot similarities in these anthologies.
“I am not sure anyone has defined
what Filipino American writing is; I
am not sure anyone has successfully
defined who Filipino Americans are.
Many are still bickering about who
the true Filipino American is. At some
point, some said only those born in the
US were the real Filipino Americans.
Of course the immigrants ignore this
definition.”
from. Perhaps like the saying goes, I
realized it’s important to know where
you came from in order to know where
you’re going.”
Seeing the newer batch of anthologies
penned by Filipinos in the diaspora,
Brainard also mentions the themes of
“going out of the roots box” that some
writers have been doing. “I should
add that I and other so-called Filipino
American writers do not necessarily
write exclusively of the Filipino
experience. We may be inspired to look
at the diaspora of the Filipino and write
stories of their personal experiences in
the United States and other countries,
for example. But we may also write of
any topic that will fascinate us, because
the bottom line is that writers have
imagination and can ‘get into the heads’
of any character that captivates them.
I am aware, however, that western
culture has a surplus of stories that are
widely circulated whereas Philippine
and Philippine American stories do
not. If I am tempted to write about
a white protagonist, I think of this.
Unless I feel compelling passion for the
topic, I will generally drop it because
writing takes time and energy, so why
should I contribute to a body of work
that really doesn’t need my input?”
Regardless of where we are in the
world, we Filipinos still need the
support of one another, especially when
it comes to encouraging the growth of
our own literature. Be it the literature
of Filipinos based elsewhere or based in
the homeland, one thing is clear: our
experiences are unique to us, and we
need to share them with the world.
As Brainard concludes, labels identifying
who we are as Filipinos sometimes
function beyond culture. Labels could
be initial connections, and what we do
with these connections is what’s more
important. “I think the ties between
Filipinos in America and elsewhere and
Filipinos in the Philippines are tight and
intertwined, and we are all interested
in knowing what literatures are being
produced by our brothers and sisters
everywhere. It’s the same consciousness.
In the end, the ‘tags’ of ‘Filipino’ or
‘Filipino American’ blend and merge
because writers can and will write about
topics dear to them. It happens that
quite a number of Filipino American
writers (or Filipino writers in America)
have written (or edited) books that are
relevant to Filipinos everywhere. These
works contribute to the
understanding of Filipinos
in the Philippines and
elsewhere. These works
should be read by Filipinos
anywhere in the world.”
She continues, “It is impossible to
pin down who Filipino Americans
are, and it is just as difficult to define
what Filipino American writing is,
but here are some thoughts about this
question. There are many topics that
Filipino American writers tackle in
their creative attempts to understand
themselves and their place in America.
The early Filipino writers in
America like Carlos Bulosan,
Ben Santos, and NVM Gonzalez
had stories with purely Filipino
themes (i.e. set in the Philippines)
but they also had stories (some
of them famous) about Filipinos
in America – what one can call
Filipino American themes.
What comes to my mind is the
story ‘The Romance of Magno
Rubio’ by Carlos Bulosan about
a simple Filipino worker, a
manong (elderly man) who gets
involved with an American
gold-digger. Linda Ty-Casper,
Ninotchka
Rosca,
Jessica
Hagedorn, and I have written
stories that explore historical
events in the Philippines. There
The young adult anthology Growing Up Filipino: Stories for Young
Adults and its local counterpart published by Anvil contain
is something about living in
short stories written by Filipinos based in the Philippines and
America that prodded me into
abroad. Growing Up Filipino II: More Stories for Young Adults
studying Philippine history as
is its 2010 sequel. All editions are available in print and can
well as my own personal history
be purchased online via Amazon.Com or the Anvil website
– a curiosity was aroused, a
anvilpublishing.com.
desire to know where I came
33
Bookwatch Vol. 20 No. 3
Alvin Juban
BookwatcH Vol. 20 No. 3
Insights about the
Online Publishing World
The international publishing scene is currently experiencing
a kind of transmedia platform crossing, mainly from print
to digital means—and even vice versa. We caught up with
Alvin Juban, president of the Game Developers Association
of the Philippines, to hear his insights about digital content
publishing issues before he flies to the Frankfurt Book Fair to
talk about these topics.
by Richard Ramos
BW: How were you invited to The Markets?
W
hether publishers are prepared or not, it is time to
think about going digital. But the idea of digital
publishing has many issues in itself, be the work an electronic
file version of the book itself, or if it is a game or interactive
program based on the author’s work.
Alvin Juban is one of the seasoned veterans of the local
digital world. He is the three-term president of the Game
Developer’s Association of the Philippines (GDAP) and
board member of the Animation Council. Alvin’s unique
experiences and insights are the reasons why he was invited
to speak at The Markets: Global Publishing Summit in this
year’s Frankfurt Book Fair. He is currently a consultant on
Industry Relations for Synergy88 Digital, Inc. Group of
Companies.
When Bookwatch contacted him for an interview, he
immediately made time – and invited us to sit and have some
barbecue with him at one of his preferred hangouts after
work.
34
Alvin Juban: [Frankfurt] Book Fair had been working
closely with NBDB. We had a no-agenda meeting; it was
more about learning what we represented in our industry,
which was games, apps, animation, and our capabilities.
BW: What do you think about digital and traditional
publishing? For example, from basic electronic copies
to interactive applications?
AJ: My stand is that I don’t want to say that traditional
publishing will be dead – no! I love books, I love printed
books. But we have to open ourselves to the digital side.
The world is going very digital, especially on the side of the
masses. We have to open ourselves to that possibility. We
can actually reach more people with digital. It’s the most
common platform we have right now. We just have to accept
it.
BW: Given the internet demographics for the
Philippines, what would be the first target market, or
audience, that would take to digital publishing, be it
standard text or interactive?
AJ: Definitely, what everybody is trying to capture in the
Philippines is the 18-24 market. If there is any target that
we want to reach, that would be the
demographic. It’s actually the best all
across – if you talk about the BPO
industry. It’s all across, if you’re talking
about talent. If I were a publisher, I’d
be aiming at the same market; this will
be the market that will be gainfully
employed. And as a publisher, that
gives them the capability of actually
purchasing digital products and
materials. I don’t think you’re going
to publish freely; you’re going to think
of how to earn from what you publish.
This would be the most economically
viable market. These are the people
with actually some cash to spare. And
these are the most connected people.
considering what we know of the
preference for shorter content?
BW: Do you see any major
difference in the publishing
process between traditional and
digital publishing, from writer, to
publisher, to output? Or would it
be following similar lines?
“
AJ: There would have to be some
minimal adjustments to come out with
digital versions, I think. But no, I think
it’s mostly understanding the UI – the
user interface – when transforming
printed material to a digital interface.
You have to understand the limits of
the device, because now everything is
going to smaller screens. There have
to be adjustments in format. I think
it’s minimal, very minimal.
BW: We’re sure you know that
the majority of Philippine users
are already on mobile, but not
necessarily on iPads. It’s more
of mobile phones. Given that,
and the smaller price bucket, do
you see the proliferation of texts
like romance novellas and other
shorter works? Would that be the
way to go?
AJ: I think everybody right now has
more of a Facebook orientation for
reading material: short, punchy.
AJ: For long-form content, I still cannot
answer. I guess we’ll figure it out as we
begin this journey. I just believe at this
stage, as we go to digital, the short form
will be vastly more consumable, and
vastly more powerful.
BW: What would you do you think
if the approach was like a teleserye
(Filipino TV soap opera) – per
chapter?
AJ: That would be what we call in
gaming as “episodic.” That would be
perfect, as that would go in very well into
the subscription mode. A lot of games
We want to potentially earn more.
And local content is best taken from
people who have been writing for the
longest time, the most experienced
ones.
And that’s another reason for people
to get together and ask, how can
we make our own stories more
interactive? Can we “gamify” it? Can
we turn it into a game? Yes, we can
talk about it – that can and should
be done. I mean seriously, most of
the games I see right now, these are
just reused stories, taken from games
made abroad. There’s nothing really
from the ethnically Filipino.
I don’t want to say that traditional publishing will be dead – no! I love
printed books. But we have to open ourselves to the digital side.
“
The world is going very digital, especially on the side of the masses.
We have to open ourselves to that possibility. We can actually reach
more people with digital. It’s the most common platform we have
right now. We just have to accept it.
right now are on subcription method.
That would be something that we
should really try – with the cooperation
of the telcos [telecommunication
companies or corporations].
BW: We’ll get back to the subject of
telcos later; now, what do you think
is the more practical end-result of
mixing traditional publishing with
interactive elements?
AJ: The big problem that we do have
in gaming right now is that we have
a vast lack of content. And everybody
has been wanting and screaming that
we produce our own IP [intellectual
property]. A lot of our companies are
actually outsourcing, which is good,
but of course that has a limit as well.
We really want to create a better mobile
economy, have a better internet and
e-commerce economy for our country.
BW: Let’s go back to an
earlier point. What does the
Philippines need in its own
telecommunications
structure
to actually make this [digital
publishing] work? And how do
traditional publishing companies
work with that infrastructure?
AJ: We should all stick to our core
competencies. We are developers;
let us develop. We should work with
publishers because they create the
content, and then we can develop
together. The telcos, I believe they
should concentrate on just giving
giving good service as a telco.
Now, one of the problems we’ve
always had is the revenue sharing. In
the Philippines, for the longest time,
the revenue is shared. For example, if
you sell an app, or an app meant for
BW: Yes, similar to Wattpad, or
fan fiction sites. But with that
orientation, how do you think
long-form works would make the
transition to the digital world,
35
Bookwatch Vol. 20 No. 3
BookwatcH Vol. 20 No. 3
NBDB AND BDAP HOST
“
Take a leap of faith with
us. Don’t be so adamant.
RIGHTS EXCHANGE FORUM
“
Try the experiment with
us. Don’t be too combative,
and don’t ask for too much.
Let’s help each other; we
have to work together to
create this market.”
a feature phone or a smart phone,
the sharing has been traditionally 70
percent for the telco – to the peso – and
30 for the developer. Now, that puts
us at a great disadvantage, because I’m
creating the content, you know, but
only get thirty percent, minus some
other taxes. There’s barely anything
that going to come to me. It’s a great
disadvantage.
Now, for example, in Japan, which
consumes a LOT of content, whether
it be gaming or social [media content]
using the telcos, they have a simple
principle: all telcos can only take 15
percent, period.
Provide me the platform, and we will
build stuff for you.
BW: So you need the element of
profitability.
AJ: At that point, it becomes
profitable for developers like us. But
at 70-30, that’s a bit unfair. If they
stick to 15 percent, so many will shift
to digital. There’s no bigger way to
create a profit.
BW: Let’s say a traditional
publication will want to explore
digital, and then they ask you,
36
“So how do we do this?” Off the
top of your head, what would you
tell them?
AJ: Take a leap of faith with us. Don’t
be so adamant. Try the experiment
with us. Don’t be too combative, and
don’t ask for too much. Let’s help each
other; we have to work together to
create this market. Ask for more later.
Let’s join together. Try the possiblity of
joining us in the revenue share model.
We both carry a risk - the usual stance
is up-front guarantee. We’re not there
yet.
BW: To content creators, what
is your advice about the digital
publishing model?
AJ: Hmmm. Is this on a personal level?
BW: You can do that, yes.
AJ: Good stories. There is actually a
lot of miseducation that has been going
on for years. We’re proud that we speak
some English, and that we have been
educated with some sense. But we’ve
wasted a lot of opportunities. There
will be a lot of correction to do.
And I would like to ask all these content
developers to creat good stories to
positively influence our youth. That is
the proper target market we’re looking
for, right?
What I’m saying is – and I know a lot
of people will dislike this – we should
teach better stories. Let’s avoid writing
content using jejemon [local youthidentified crude street slang], let’s not
limit ourselves. Not everything has to
be written in tabloid style. It will take
more than a supernatural president,
it will take ordinary youth, ordinary
people to actually make this change.
And the content developers, if they
put the right content on the digital
platform - if you think about it they carry a very, very big potential
for responsibility. They should really
make a difference. People are going
to consume it. I’m into games, and I
know for a fact that the Filipinos who
are on digital consume more social
content than gaming. It’s a fact.
“
I would like to ask all these
content developers to creat
“
good stories to positively
influence our youth. That is
the proper target market
we’re looking for, right?”
So, you see, this opportunity, it’s
either they try to make more profit as a
business using the negative storytelling
type, or if you’re brave enough, you
can make a positive spin on things.
This is the same thing I would like to
tell the people who make TV [shows
or content].
Remember that it’s a fact that we will
only retain eight percent of what we’ve
learned, and most of the education
our children will get comes from TV
and movies – and everything else, they
read.
So you want to make a difference? It’s
in your stories.
On September 15, 2016, the National Book
Development Board (NBDB), in partnership
with the Book Development Association of the
Philippines (BDAP), hosted a one-day forum
on Rights Exchange during the 37 th Manila
International Book Fair in Meeting Rooms 5 & 6 at
the SMX Convention Center.
The Rights Exchange Forum, which ran from 9:00
AM until 4:00 PM, aims to spur business transactions
between and among industry players. It provided
a venue for content creators to interact with
prospective publishers, as well as for publishers
looking to develop content and trade licenses.
The morning lectures and discussions composed of
the following:
9:30 AM
ASEAN, Asia, World Trends in Content and Trading
Speakers: Andrea Pasion-Flores, Literary Agent
of Jacaranda Literary Agency and former NBDB
Executive Director; Hasri Hasan, Director of
Malaysia’s Kota Buku (Book Market); Laura Prinsloo,
Chairperson of Indonesian National Book Committee
10:45 AM
Briefer on Rights and Rights Trading and preparing
for Frankfurt Book Fair
Speakers: Andrea Pasion-Flores and Laura Prinsloo
11:30 AM
Looking at Licensing for Books and Transmedia
Speakers: Hasri Hasan; Tanya Yuson, Partner/Producer
at Kawi Content; Ng Kah Gay, Editor at Ethos Books
From 2:00 PM to 4:00 PM, participants had 15
minutes with his or her chosen publisher or speaker
to ask specific questions on publishing, pitch ideas,
sell manuscripts, or trade licenses. Participants
met with Andrea Pasion-Flores, Hasri Hasan, Laura
Prinsloo, Tanya Yuson, Adarna House, Ateneo de
Manila University Press, Lampara/ Precious Hearts
Romances, University of the Philippines Press and
the University of Santo Tomas Publishing House to
discuss business opportunities.
37
Bookwatch Vol. 20 No. 3
Global
Visitor
BookwatcH Vol. 20 No. 3
Martin VopĚnka
The Storyteller & His Mountains
At the recently held Manila International Book Fair (MIBF), Bookwatch had the
pleasure of meeting foreign writers gracing our land. We caught up with Czech
writer Martin Vopěnka and asked his views about publishing procedures and
content insights from the other side of the globe.
“
One positive trend (in Czech literature) is that more and
more children’s literature is being published, and that
people really want to buy. Now, it’s 12 percent of our market;
“
six years ago, that was seven percent.
by Richard Ramos
I
t is rare that one meets a former
nuclear engineer who has become
a writer. It is unique to meet one
who is also the President of the
Czech Booksellers’ and Publishers’
Association. Such is the case with
Martin Vopěnka, who was in town
during the 37th Manila International
Book Fair (MIBF). He had with him
a special run of his book, A Girl and a
Soul: Fairytales from the Mountain. The
book is an English translation of the
original work, and, as Mr. Vopěnka
says, it will actually be released before
the run in the Czech Republic.
Bookwatch was able to sit down with
Mr. Vopěnka while the fair was going
on, and he gave his thoughts on the
book, publishing, nationalism, and
taboos.
BW: What is A Girl and a Soul about?
MV: This is a shorter version of
what will be published in the Czech
Republic. It involves eight stories,
but the Czech version will have 14
stories, and will be a colorful hardback
book. This release is also translated
into English. My [stories’] details are
situated in the mountains, which look
like mountains in Europe, but I think
they [the stories] will have something
in common [for everyone]. They are
more [about] philosophical, ecological
38
problems, environmental problems.
The heroes are mostly animals living
in the mountains, but the tales reflect
the modern lore. The main stories are
told by Raven, a storyteller. I think this
shorter edition represents the spirit of
all the stories.
BW: When it comes to book
publishing, how does the process
work, in a compressed or relatively
simplified process, in Czech
Republic? Given what you may have
seen or observed here in Manila,
what are the big differences?
MV: There was a special situation.
During the Communist period, all
publishing houses were governmentoperated – and there were not many
publishing houses. But it dramatically
changed after the fall of the Communist
regime in 1989, when freedom came
and we started our business. I was 27
when I started my own company, and I
knew nothing about this profession.
Of course after 25 years, now it’s a
classic market; smaller ones [publishing
companies] are being bought by bigger
ones. I publish about 40 titles per year.
The Czech market has 10 million
people, and many of them are readers.
Our writers are admired in society, and
are admired for [their contributions to]
Czech nationalism. The tradition [of
reading in the Czech Republic] is very
good, and now the industry publishes
17,000 titles per year. Sometimes it’s
not so good, because it can be difficult
to sell many copies. Now, it’s not so
easy to survive for some publishers.
But still, there are many Czech
publishers. If you are an artist there,
you still have a better position than
someone who is from a foreign
country.
BW: What are the big differences
that you have observed between
the Czech and Philippine markets?
MV: I must say that our international
book fair is much bigger. The space
we use is four times bigger [compared
to the MIBF here in SMX]. But I am
positively surprised that so many people
are coming in and buying so many
books. People here buy 10 books or
more! In our book fair, people are more
looking [rather than buying].
BW: Which genres are popular in
Czech Republic? What trends do
you see now, both locally in the
Czech Republic and globally?
MV: One positive trend is that more
and more children’s literature is being
published, and that people really want
to buy. Now, it’s 12 percent of our
market; six years ago, that was seven
percent.
The author with his work. Photo by Mr. Jan
Vytopil, courtesy of Czech Embassy Manila.
I see it in big bookstores; they use
more and more space for children’s
books and young adult literature –
it’s positive. What is negative is that
scientific and educational literature is
not doing as well, because everyone
copies from the internet now, and
because of illegal downloading.
Publishers aren’t able to publish as
many titles in those genres, and that is
going down.
BW: As the head of the Czech
Booksellers’
and
Publishers’
Association, what is your vision
for your association? What are
your plans and goals for the
future of the organization?
MV: I started three years ago, and our
organization was very obscure. The
biggest companies were not members,
so it was hard for people to take us
seriously. Now, it is different; the
big publishers are members, and we
represent 80 percent of the market.
It is important that the government
– The Ministry of Culture and the
Ministry of Finance – is speaking
with us. The situation when I started
was that the local tax was at 15 percent,
and that the year after, it would be 19
percent. I started negotiations with the
new government, and now we do not
have 19, but 10 percent. We hope that
in the future that it will be even lower.
It’s my best solution.
We also have 6,000 libraries for 10
million people, and we are now
discussing compensation for publishers
in that matter. It’s hard for publishers
when people can just borrow a book
from the library. We are now trying
to have one Crown [editor’s note: one
Koruna or Crown, is equal to PhP 2 or
USD .041] for the publisher, and one
Crown for the writer whenever a book
is borrowed. The number of borrowed
books is 60 million a year, and we
publish 30 million books a year. It is
very important.
The last one is that we try to receive
more support for important literary
works from the government. This
includes grants, including those for
translation.
BW: How do you grapple with
nationalist
themes
in
Czech
literature?
But I must say that there is some kind
of nationalism started now, like with
the issue of the European Union, and
the refugee crisis. These opened the
question, and Czech people aren’t
ready for this kind of politics.
BW: What are the taboo topics
for your local culture – and which
ones do you address, regardless?
MV: It’s a very interesting question,
but my answer is: there is no taboo. I
don’t feel any taboo. Of course, as the
artist, one will have some.
For me, it is my family. I don’t use
experiences from close people, from
people I love. I don’t want to destroy
my connections with them. So I don’t
write about those. But that is only my
decision.
BW: Are you familiar with any
Filipino works? And are there Filipino
writers who have gained an audience
in Czech Republic?
MV: Not yet, but after this experience,
I hope to discuss some possibilities of
publishing some [Filipino] authors.
MV: I think that now, in Czech
literature, writers write what they
want. They don’t reflect nationalist
issues in Czech. They ask sometimes if
someone will write about communism,
for example.
39
Bookwatch Vol. 20 No. 3
Selected
Recently Released
fiction
Non-fiction
1
1
2
3
4
Impiyerno (a translation
of Dante’s Inferno)
Resty Ceña
Visprint Inc.
October 2016
Fictionary
Jenny Ortuoste
University of Santo Tomas
Publishing House
November 2016
The Fish Pearl and Other
Stories
Antonio Enriquez
University of Santo Tomas
Publishing House
November 2016
Sanga sa Basang Lupa at
Iba Pang Kuwento
Jim Pascual Agustin
University of Santo Tomas
Publishing House
November 2016
2
3
100 Questions Vol. 1
Kata Garcia, Emylou Infante,
and Liwliwa Malabed
Adarna House
November 2016
100 Questions Vol. 2
Alai Agadulin, Javier Asuncion,
Victoria Bravo, Kata Garcia,
Emylou Infante, Glenda Oris,
May Tobias-Papa, and
Cynthia Villafranca
Adarna House
November 2016
Ano ang nasa Loob ng
Eroplano?
David West
Adarna House
November 2016
4 Ano ang nasa Loob ng Tren?
David West
Adarna House
November 2016
5 Navel n. the central point
of a place
Rica Bolipata-Santos
University of Santo Tomas
Publishing House
November 2016
6 What Kids Should Know about
Filipino Food
Felice Prudente Sta. Maria
Adarna House
November 2016
&
BookwatcH Vol. 20 No. 3
Upcoming Titles
Graphic literature
Young adult fiction
1
1
2
3
After Lambana
Eliza Victoria and
Mervin Malonzo
Visprint Inc.
November 2016
Dolly
Trizha Kho
Adarna House
November 2016
Si Dru at ang Kuwento ng
Limang Kaharian
Clara Ng
translated by Nanoy Rafael
Adarna House
November 2016
Meläg
Bong Redila
Adarna House
November 2016
7 Writing Naked: A Memoir
Arnie Quibranza Mejia
University of Santo Tomas
Publishing House
October 2016
children’s books
1
2
3
Science fiction
1
40
Ang Lakambini at Ako
Becky Bravo
Adarna House
November 2016
Ang Maraming Ngalan
ni Emilio
Weng Cahiles
Adarna House
November 2016
Estrellita, the Little
Wishing Star
May Tobias-Papa
Adarna House
November 2016
Alternatibo sa
Alternatibong Mundo: 13
Meta/Mala Kuwento
Egay Calabia Samar
Visprint, Inc.
October 2016
41
Bookwatch Vol. 20 No. 3
BookwatcH Vol. 20 No.3
others
University of Santo Tomas Publishing House
1
2
3
4
Indie Cinema at mga Sanaysay
sa Topograpiya ng Pelikula ng
Pilipinas
Rolando B. Tolentino
November 2016
Kabataang Kulturang
Popular at mga Sanaysay sa
Kartograpiyang Disaster at
Aktibismo sa Filipinas
Rolando B. Tolentino
November 2016
Learning from the Filipino
Diaspora: Lessons of
Resistance and Critical
Intervention
E. San Juan, Jr.
November 2016
New Media at mga Sanaysay
sa Platitude ng Bagong Objek
ng Media at Mediasyon sa
Filipinas
Rolando B. Tolentino
November 2016
5
6
7
textbooks
Tatlong Dula: Adaptasyon
Rody Vera
December 2016
The Camino Real to Freedom
and Other Notes on Philippine
History and Culture
Jose Victor Z. Torres
December 2016
To the People Sitting in
Darkness… and Other
Footnotes of Our Past
Jose Victor Torres
November 2016
Abiva Publishing House Inc.
1
2
3
4
5
42
Earth and Life Science: Knowing
and Understanding Nature
Rey Donne S. Papa, PhD,
Donna May Dela Cruz-Papa, RMT,
MS, Jonathan Carlo A. Briones, PhD,
Dino T. Tordesillas, MS
October 2016
6
Media and Information Literacy:
Empower the Discerning
Audiences
Jose Reuben Q. Alagaran II, PhD
October 2016
8
Mathematics Skills for Life
Corazon F. Regacho, MS,
Engr. Josephine Bernadette M.
Benjamin, MS,
Serano L. Oryan, PhD
October 2016
Probability, Statistics and
Application for Senior High
School
Shirlee R. Ocampo, PhD,
Regina M. Tresvalles, PhD
October 2016
Reading and Writing in the
Academe and the Workplace
Camilla D.J. Vizconde,
Honorata S. Dayao,
Jeffrey V. Engracia
October 2016
7
9
Tan-aw 11: Komunikasyon
at Pananaliksik sa Wika at
Kulturang Pilipino
Roberto D. Ampil, PhD,
Wennielyn F. Fajilan
October 2016
Tan-aw 11: Pagbasa at
Pagsusuri ng Iba’t-Ibang Teksto
Tungo sa Pananaliksik
Roberto D. Ampil, PhD,
Amur Mayor-Asuncion, EdD,
Elenita C. Mendoza, MA
October 2016
Towards an Understanding and
Appreciation of the Philosophy
of the Human Person
Jove Jim S. Aguas, PhD
October 2016
Voices: 21st Century Philippine
Literature from the Philippines
and the World
Luciana L. Urquiola, PhD,
Ma. Juana P. Lacuata, EdD
October 2016
43