National Artists of the Philippines (Filipino: Pambansang Alagad ng Sining ng Pilipinas) is an order bestowed

by the Philippines on Filipinos who have made significant contributions to the development of Philippine art.
Originally instituted as an Award, it was elevated to the status of Order in 2003.[1]

The Order is administered by the Cultural Center of the Philippines by virtue of PresidentFerdinand Marcos's
Proclamation № 1001 of April 2, 1972 and the National Commission for Culture and the Arts. The first award was
posthumously conferred on Filipino painter Fernando Amorsolo.

Conferment

The Order is the highest state honor conferred on individuals deemed as having done much for their artistic field.
Deserving individuals must have been recommended by both the Cultural Center and the National Commission on
Culture and the Arts prior to receiving the award. Such people are then titled, by virtue of a Presidential
Proclamation, as National Artist (Filipino: Gawad Pambansang Alagad ng Sining, "National Servant of the Arts
Award"), and are inducted into the Order.

Recipients attend a conferment ceremony at Malacañang Palace, where the President bestows on them the insignia
of the Order: an ornate, gilt collar and a small pin, both depicting the Order's emblem. In addition to the collar, each
new Member is given a citation that is presented during the conferment ceremony. The Cultural Center of the
Philippines then presents a Memorabilia Exhibit of the recipients' works, and holds a Gabi ng Parangal (Night of
Tributes) for the National Artists at the Tanghalang Pambansa.

Categories

Categories under which National Artists can be recognized originally included:[2]

 Music - composition, direction, and/or performance;

 Dance - choreography, direction and/or performance;
 Theater – direction, performance and/or production design;
 Visual Arts – painting, sculpture, printmaking, photography, installation art, mixed media works,
illustration, graphic arts, performance art and/or imaging;
 Literature – poetry, fiction, essay, playwriting, journalism and/or literary criticism;
 Film and Broadcast Arts – direction, writing, production design, cinematography, editing, camera work,
and/or performance; and
 Architecture, Design and Allied Arts – architecture design, interior design, industrial arts design, landscape
architecture and fashion design.

However, national artists have since been honored under new categories. The NCCA 'created' the category of
National Artist for Fashion Design when it nominated Ramon Valera, but subsumed that category under
"Architecture and Allied Arts". President Fidel V. Ramos issued an executive order creating the category of
National Artist for Historical Literature before conferring the honor to Carlos Quirino.

Criteria

Nominations for National Artist of the Philippines are based on a broad criteria, as set forth by the Cultural Center of
the Philippines and the National Commission on Culture and the Arts:[2]

1. Living artists who have been Filipino citizens for the last ten years prior to nomination as well as those who
have died after the establishment of the award in 1972 but were Filipino citizens at the time of their death;
2. Artists who have helped build a Filipino sense of nationhood through the content and form of their works;
3. Artists who have distinguished themselves by pioneering in a mode of creative expression or style, making
an impact on succeeding generations of artists;
4. Artists who have created a significant body of works and/or have consistently displayed excellence in the
practice of their art form, enriching artistic expression or style; and
5. Artists who enjoy broad acceptance through prestigious national and/or international recognition, awards in
prestigious national and/or international events, critical acclaim and/or reviews of their works, and/or
respect and esteem from peers within an artistic discipline.

Page 1 of 51
 National Artist for Literature (1973)
(September 13, 1903 – May 24, 1970)

Amado V. Hernandez, poet, playwright, and novelist, is among the Filipino writers who practiced “committed art”.
In his view, the function of the writer is to act as the conscience of society and to affirm the greatness of the human
spirit in the face of inequity and oppression. Hernandez’s contribution to the development of Tagalog prose is
considerable — he stripped Tagalog of its ornate character and wrote in prose closer to the colloquial than the
“official” style permitted. His novel Mga Ibong Mandaragit, first written by Hernandez while in prison, is the first
Filipino socio-political novel that exposes the ills of the society as evident in the agrarian problems of the 50s.

Hernandez’s other works include Bayang Malaya, Isang Dipang Langit, Luha ng Buwaya, Amado V.
Hernandez: Tudla at Tudling: Katipunan ng mga Nalathalang Tula 1921-1970, Langaw sa Isang Basong
Gatas at Iba Pang Kuwento ni Amado V. Hernandez, Magkabilang Mukha ng Isang Bagol at Iba Pang Akda
ni Amado V. Hernandez.

Page 2 of 51
Novels

His socio-political novels were based on his experiences as a guerrilla, as a labor leader and as a
political detainee.

 Mga Ibong Mandaragit (Birds of Prey),1969

 Luha Ng Buwaya (Crocodile's Tears), 1972

Poems

Chow Chow

Plays

His plays are mostly based on his experiences in prison.

 Muntinglupa, 1957
 Hagdan sa Bahaghari (Stairway to the Rainbow), 1958
 Ang Mga Kagalang-galang (The Venerables), 1959
 Magkabilang Mukha ng Isang Bagol (Two Sides of A Coin), 1960

Essays

 Si Atang at ang Dulaan (Atang and the Theater)

 Si Jose Corazon de Jesus at ang Ating Panulaan (Jose Corazon de Jesus and Our Poetry)

National Artist for Literature (1990)

(September 6, 1916 – August 1, 2002)

Francisco Arcellana, writer, poet, essayist, critic, journalist and teacher, is one of the most important progenitors of
the modern Filipino short story in English. He pioneered the development of the short story as a lyrical prose-poetic
form. For Arcellana, the pride of fiction is “that it is able to render truth, that is able to present reality”. Arcellana
has kept alive the experimental tradition in fiction, and has been most daring in exploring new literary forms to
express the sensibility of the Filipino people. A brilliant craftsman, his works are now an indispensable part of a
tertiary-level-syllabi all over the country. Arcellana’s published books are Selected Stories (1962), Poetry and
Politics: The State of Original Writing in English in the Philippines Today (1977), The Francisco Arcellana
Sampler(1990).

“The names which were with infinite slowness revealed, seemed strange and stranger still; the colors not bright but
deathly dull; the separate letters spelling out the names of the dead among them, did not seem to glow or shine with
a festive sheen as did the other living names.”

(from “The Mats”,  Philippine Contemporary Literature, 1963)

Some of his short stories are Frankie, The Man Who Would Be Poe, Death in a Factory, Lina, A Clown
Remembers, Divided by Two, The Mats, and his poems being The Other Woman, This Being the Third Poem
This Poem is for Mathilda, To Touch You and I Touched Her, among others.

Page 3 of 51
 National Artist for Literature (1999)
(April 22, 1919 – August 21, 2011)

Edith L. Tiempo, poet, fictionist, teacher and literary critic is one of the finest Filipino writers in English whose
works are characterized by a remarkable fusion of style and substance, of craftsmanship and insight. Born on April
22, 1919 in Bayombong, Nueva Vizcaya, her poems are intricate verbal transfigurations of significant experiences
as revealed, in two of her much anthologized pieces, “The Little Marmoset” and “Bonsai”. As fictionist, Tiempo is
as morally profound. Her language has been marked as “descriptive but unburdened by scrupulous detailing.” She is
an influential tradition in Philippine literature in English. Together with her late husband, Edilberto K. Tiempo, she
founded and directed the Silliman National Writers Workshop in Dumaguete City, which has produced some of the
country’s best writers.

Tiempo’s published works include the novel A Blade of Fern (1978), The Native Coast (1979), and The Alien
Corn (1992); the poetry collections, The Tracks of Babylon and Other Poems (1966), and The Charmer’s Box
and Other Poems(1993); and the short story collection Abide, Joshua, and Other Stories (1964).

 A Blade of Fern (1978)

 His Native Coast (1979)
 One, Tilting Leaves
 The Alien Corn (1992)
 The Builder (2004)
 The Jumong (2006)

Short stories

 Abide, Joshua, and Other Stories (1964)

 The Corral

Poetry

 The Tracks of Babylon and Other Poems (1966)

 The Charmer's Box and Other Poet (1993)
 Marginal Annotations and Other Poems
 Inside Job
 In the beginning
 The Return

https://en.wikipedia.org/wiki/Edith_Tiempo

Bienvenido Lumbera
Literature (2006)

Bienvenido Lumbera, is a poet, librettist, and scholar.

Page 4 of 51
*As a poet, he introduced to Tagalog literature what is now known as Bagay poetry, a landmark aesthetic tendency
that has helped to change the vernacular poetic tradition. He is the author of the following works: Likhang Dila,
Likhang Diwa (poems in Filipino and English), 1993; Balaybay, Mga Tulang Lunot at Manibalang, 2002; Sa
Sariling Bayan, Apat na Dulang May Musika, 2004; “Agunyas sa Hacienda Luisita,” Pakikiramay, 2004.

As a librettist for the Tales of the Manuvu and Rama Hari, he pioneered the creative fusion of fine arts and
popular imagination. As a scholar, his major books include the following: Tagalog Poetry, 1570-1898: Tradition
and Influences in its Development; Philippine Literature: A History and Anthology, Revaluation: Essays on
Philippine Literature, Writing the Nation/Pag-akda ng Bansa.

Poetry

 Ka Bel

Literary criticism

 Revaluation: Essays on Literature, Cinema, and Popular Culture, 1984

 Tagalog Poetry, 1570-1898: Tradition and Influences on Its Development, 1986
 Abot-Tanaw: Sulyap at Suri sa Nagbabagong Kultura at Lipunan, 1987

Textbooks

 Pedagogy
 Philippine Literature: A History and Anthology
 Rediscovery: Essays in Philippine Life and Culture
 Filipinos Writing: Philippine Literature from the Regions
 Paano Magbasa ng Panitikang Filipino: Mga Babasahing Pangkolehiyo

Nestor Vicente Madali

National Artist for Literature (1997)

(September 8, 1915 – November 28, 1999)

Nestor Vicente Madali Gonzalez, better known as N.V.M. Gonzalez, fictionist, essayist, poet, and teacher,
articulated the Filipino spirit in rural, urban landscapes. Among the many recognitions, he won the First
Commonwealth Literary Contest in 1940, received the Republic Cultural Heritage Award in 1960 and the Gawad
CCP Para sa Sining in 1990. The awards attest to his triumph in appropriating the English language to express,
reflect and shape Philippine culture and Philippine sensibility. He became U.P.’s International-Writer-In-Residence
and a member of the Board of Advisers of the U.P. Creative Writing Center. In 1987, U.P. conferred on him the
Doctor of Humane Letters, honoris causa, its highest academic recognition.

Major works of N.V.M Gonzalez include the following: The Winds of April, Seven Hills Away, Children of the
Ash-Covered Loam and Other Stories, The Bamboo Dancers, Look Stranger, on this Island Now, Mindoro
and Beyond: Twenty -One Stories, The Bread of Salt and Other Stories, Work on the Mountain, The Novel of
Justice: Selected Essays 1968-1994, A Grammar of Dreams and Other Stories.

Works

The works of Gonzalez have been published in Filipino, English, Chinese, German, Russian and
Indonesian.

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Novels

 The Winds of April (1941)

 A Season of Grace (1956)
 The Bamboo Dancers (1988)
 The Land And The Rain
 The Happiest Boy in The World

Short fiction

 "The Tomato Game".1993

 A Grammar of Dreams and Other Stories. University of the Philippines Press, 1997
 The Bread of Salt and Other Stories. Seattle: University of Washington Press, 1993; University of
the Philippines Press, 1993
 Mindoro and Beyond: Twenty-one Stories. Quezon City: University of the Philippines Press,
1981; New Day, 1989
 Selected Stories. Denver, Colorado: Alan Swallow, 1964
 Look, Stranger, on this Island Now. Manila: Benipayo, 1963
 Children of the Ash-Covered Loam and Other Stories. Manila: Benipayo, 1954; Bookmark
Filipino Literary Classic, 1992
 Seven Hills Away. Denver, Colorado: Alan Swallow, 1947

Essays

 A Novel of Justice: Selected Essays 1968–1994. Manila: National Commission for Culture and
the Arts and Anvil (popular edition), 1996
 Work on the Mountain (Includes The Father and the Maid, Essays on Filipino Life and Letters
and Kalutang: A Filipino in the World), University of the Philippines Press, 1996

https://en.wikipedia.org/wiki/N._V._M._Gonzalez

National Artist for Literature (2003)

Virgilio S. Almario, also known as Rio Alma, is a poet, literary historian and critic, who has revived and reinvented
traditional Filipino poetic forms, even as he championed modernist poetics. In 34 years, he has published 12 books
of poetry, which include the seminal Makinasyon and Peregrinasyon, and the landmark trilogy Doktrinang
Anakpawis, Mga Retrato at Rekwerdo and Muli, Sa Kandungan ng Lupa. In these works, his poetic voice
soared from the lyrical to the satirical to the epic, from the dramatic to the incantatory, in his often severe
examination of the self, and the society.

He has also redefined how the Filipino poetry is viewed and paved the way for the discussion of the same in his 10
books of criticisms and anthologies, among which are Ang Makata sa Panahon ng Makina, Balagtasismo versus
Modernismo,Walong Dekada ng Makabagong Tula Pilipino, Mutyang Dilim and Barlaan at Josaphat.

Many Filipino writers have come under his wing in the literary workshops he founded –the Galian sa Arte at Tula
(GAT) and the Linangan sa Imahen, Retorika at Anyo (LIRA). He has also long been involved with children’s
literature through the Aklat Adarna series, published by his Children’s Communication Center. He has been a
constant presence as well in national writing workshops and galvanizes member writers as chairman emeritus of the
Unyon ng mga Manunulat sa Pilipinas (UMPIL).

He headed the National Commission for Culture and the Arts as Executive Director, (from 1998 to 2001) ably
steering the Commission towards its goals.

But more than anything else, what Almario accomplished was that he put a face to the Filipino writer in the country,
one strong face determinedly wielding a pen into untruths, hypocrisy, injustice, among others.

Page 6 of 51
Works
Poetry Collections

 Palipad-Hangin. (1985)
 Katon Para sa Limang Pandama. (1987)
 Sentimental. (2004)
 Estremelenggoles. (2004)
 Memo Mulang Gimokudan. (2005)
 Dust Devils. (2005)
 Sonetos Postumos, book of poems with translation by Marne Kilates and paintings by National
Artist Ang Kiukok. (2006)
 Tatlong Pasyon sa Ating Panahon, poems for children with illustrations by Mark Justiniani, Neil
Doloricon, Ferdinand Doctolero. (2006)
 Buwan, Buwang, Bulawan. (2009)
 https://en.wikipedia.org/wiki/Virgilio_S._Almario

Cirilo F. Bautista is a poet, fictionist and essayist with exceptional achievements and significant contributions to
the development of the country’s literary arts. He is acknowledged by peers and critics, and the nation at large as the
foremost writer of his generation.

Throughout his career that spans more than four decades, he has established a reputation for fine and profound
artistry; his books, lectures, poetry readings and creative writing workshops continue to influence his peers and
generations of young writers.

As a way of bringing poetry and fiction closer to the people who otherwise would not have the opportunity to
develop their creative talent, Bautista has been holding regular funded and unfunded workshops throughout the
country. In his campus lecture circuits, Bautista has updated students and student-writers on literary developments
and techniques.

As a teacher of literature, Bautista has realized that the classroom is an important training ground for Filipino
writers. In De La Salle University, he was instrumental in the formation of the Bienvenido Santos Creative Writing
Center. He was also the moving spirit behind the founding of the Philippine Literary Arts Council in 1981, the Iligan
National Writers Workshop in 1993, and the Baguio Writers Group.

Thus, Bautista continues to contribute to the development of Philippine literature: as a writer, through his significant
body of works; as a teacher, through his discovery and encouragement of young writers in workshops and lectures;
and as a critic, through his essays that provide insights into the craft of writing and correctives to misconceptions
about art.

Major works: Summer Suns (1963), Words and Battlefields (1998), The Trilogy of Saint Lazarus (2001),
Galaw ng Asoge (2003).

Works
Poetry

 Summer Suns (with Albert Casuga, 1963)

 The Cave and Other Poems (1968)
 The Archipelago (1970)
 Charts (1973)
 Telex Moon (1981)
 Sugat ng Salita (1985)
 Kirot Ng Kataga (1995),
 Sunlight On Broken Stones (2000)

Page 7 of 51
  Tinik Sa Dila: Isang Katipunan Ng Mga Tula (2003)
 The Trilogy Of Saint Lazarus (2001)
 Believe and Betray: New and Collected Poems (2006)

wew.

Fiction

 Stories (1990)
 Galaw ng Asoge (2004)

Literary Theory and Cultural Studies

 Breaking Signs (1990)

 Words And Battlefields: A Theoria On The Poem (1998)
 The Estrella D. Alfon Anthology Vol. I - Short Stories (2000)
 Bullets And Roses: The Poetry Of Amado V. Hernandez / A Bilingual Edition (translated Into
English And With A Critical Introduction) (2002)

https://en.wikipedia.org/wiki/Cirilo_Bautista

NICK Joaquin

National Artist for Literature (1976)

(May 4, 1917 – April 29, 2004)

“Before 1521 we could have been anything and everything not Filipino; after 1565 we can be nothing but Filipino.”
― Culture and History, 1988

Nick Joaquin, is regarded by many as the most distinguished Filipino writer in English writing so variedly and so
well about so many aspects of the Filipino. Nick Joaquin has also enriched the English language with critics coining
“Joaquinesque” to describe his baroque Spanish-flavored English or his reinventions of English based on
Filipinisms. Aside from his handling of language, Bienvenido Lumbera writes that Nick Joaquin’s significance in
Philippine literature involves his exploration of the Philippine colonial past under Spain and his probing into the
psychology of social changes as seen by the young, as exemplified in stories such as Doña Jeronima, Candido’s
Apocalypse and The Order of Melchizedek. Nick Joaquin has written plays, novels, poems, short stories and
essays including reportage and journalism. As a journalist, Nick Joaquin uses the nome de guerre  Quijano de
Manila but whether he is writing literature or journalism, fellow National Artist Francisco Arcellana opines that “it
is always of the highest skill and quality”.

Among his voluminous works are The Woman Who Had Two Navels, A Portrait of the Artist as Filipino,
Manila, My Manila: A History for the Young, The Ballad of the Five Battles, Rizal in Saga, Almanac for
Manileños, Cave and Shadows.

Nick Joaquin died April 29, 2004.

Works

 May Day Eve (1947)

 Prose and Poems (1952)
 The Woman Who had Two Navels (1961)
 La Naval de Manila and Other Essays (1964)
 A Portrait of the Artist as Filipino (1966)
 Tropical Gothic (1972)

Page 8 of 51
  A Question of Heroes (1977)
 Joseph Estrada and Other Sketches (1977)
 Nora Aunor & Other Profiles (1977)
 Ronnie Poe & Other Silhouettes (1977)
 Reportage on Lovers (1977)
 Reportage on Crime (1977)
 Amalia Fuentes & Other Etchings (1977)
 Gloria Diaz & Other Delineations (1977)
 Doveglion & Other Cameos (1977)
 Language of the Streets and Other Essays (1977)
 Manila: Sin City and Other Chronicles (1977)
 Pop Stories for Groovy Kids (1979)
 Reportage on the Marcoses (1979)
 Language of the Street and Other Essays (1980)
 The Ballad of the Five Battles (1981)
 Reportage on Politics (1981)
 Tropical Baroque (1982)
 The Aquinos of Tarlac: An Essay on History as Three Generations (1983)
 Almanac for Manileños
 Cave and Shadows (1983)
 The Quartet of the Tiger Moon: Scenes from the People Power Apocalypse (1986)
 Collected Verse (1987)
 Culture and History: Occasional Notes on the Process of Philippine Becoming (1988)
 Manila, My Manila: A History for the Young (1990),
 The D.M. Guevara Story (1993),
 Mr. F.E.U., the Culture Hero That Was Nicanor Reyes (1995).
 Rizal in Saga (1996)
 ABE: A Frank Sketch of E. Aguilar Cruz (2004)

https://en.wikipedia.org/wiki/Nick_Joaquin

Amado V. Hernandez

National Artist for Literature (1973)

(September 13, 1903 – May 24, 1970)

Amado V. Hernandez, poet, playwright, and novelist, is among the Filipino writers who practiced “committed art”.
In his view, the function of the writer is to act as the conscience of society and to affirm the greatness of the human
spirit in the face of inequity and oppression. Hernandez’s contribution to the development of Tagalog prose is
considerable — he stripped Tagalog of its ornate character and wrote in prose closer to the colloquial than the
“official” style permitted. His novel Mga Ibong Mandaragit, first written by Hernandez while in prison, is the first
Filipino socio-political novel that exposes the ills of the society as evident in the agrarian problems of the 50s.

Hernandez’s other works include Bayang Malaya, Isang Dipang Langit, Luha ng Buwaya, Amado V.
Hernandez: Tudla at Tudling: Katipunan ng mga Nalathalang Tula 1921-1970, Langaw sa Isang Basong
Gatas at Iba Pang Kuwento ni Amado V. Hernandez, Magkabilang Mukha ng Isang Bagol at Iba Pang Akda
ni Amado V. Hernandez.

Novels

His socio-political novels were based on his experiences as a guerrilla, as a labor leader and as a
political detainee.

 Mga Ibong Mandaragit (Birds of Prey),1969

 Luha Ng Buwaya (Crocodile's Tears), 1972

Page 9 of 51
Poems

Chow Chow

Plays

His plays are mostly based on his experiences in prison.

 Muntinglupa, 1957
 Hagdan sa Bahaghari (Stairway to the Rainbow), 1958
 Ang Mga Kagalang-galang (The Venerables), 1959
 Magkabilang Mukha ng Isang Bagol (Two Sides of A Coin), 1960

Essays

 Si Atang at ang Dulaan (Atang and the Theater)

 Si Jose Corazon de Jesus at ang Ating Panulaan (Jose Corazon de Jesus and Our Poetry)

Lazaro Francisco

National Artist for Literature (2009)

(February 22, 1898 – June 17, 1980)

Prize-winning writer Lazaro A. Francisco developed the social realist tradition in Philippine fiction. His eleven
novels, now acknowledged classics of Philippine literature, embodies the author’s commitment to nationalism.
Amadis Ma. Guerrero wrote, “Francisco championed the cause of the common man, specifically the oppressed
peasants. His novels exposed the evils of the tenancy system, the exploitation of farmers by unscrupulous landlords,
and foreign domination.” Teodoro Valencia also observed, “His pen dignifies the Filipino and accents all the
positives about the Filipino way of life. His writings have contributed much to the formation of a Filipino
nationalism.” Literary historian and critic Bienvenido Lumbera also wrote, “When the history of the Filipino novel
is written, Francisco is likely to occupy an eminent place in it. Already in Tagalog literature, he ranks among the
finest novelists since the beginning of the 20th century. In addition to a deft hand at characterization, Francisco has a
supple prose style responsive to the subtlest nuances of ideas and the sternest stuff of passions.”

Francisco gained prominence as a writer not only for his social conscience but also for his “masterful handling of the
Tagalog language” and “supple prose style”. With his literary output in Tagalog, he contributed to the enrichment of
the Filipino language and literature for which he is a staunch advocate. He put up an arm to his advocacy of Tagalog
as a national language by establishing the Kapatiran ng mga Alagad ng Wikang Pilipino (KAWIKA) in 1958.

His reputation as the “Master of the Tagalog Novel” is backed up by numerous awards he received for his
meritorious novels in particular, and for his contribution to Philippine literature and culture in general. His
masterpiece novels—Ama, Bayang Nagpatiwakal, Maganda Pa Ang Daigdig and Daluyong—affirm his eminent
place in Philippine literature. In 1997, he was honored by the University of the Philippines with a special
convocation, where he was cited as the “foremost Filipino novelist of his generation” and “champion of the Filipino
writer’s struggle for national identity.”

F. Sionil Jose

Page 10 of 51
 National Artist for Literature (2001)

F. Sionil Jose’s writings since the late 60s, when taken collectively can best be described as epic. Its sheer volume
puts him on the forefront of Philippine writing in English. But ultimately, it is the consistent espousal of the
aspirations of the Filipino–for national sovereignty and social justice–that guarantees the value of his oeuvre.

In the five-novel masterpiece, the Rosales saga, consisting of The Pretenders, Tree, My Brother, My
Executioner, Mass, and Po-on, he captures the sweep of Philippine history while simultaneously narrating the lives
of generations of the Samsons whose personal lives intertwine with the social struggles of the nation. Because of
their international appeal, his works, including his many short stories, have been published and translated into
various languages.

F. Sionil Jose is also a publisher, lecturer on cultural issues, and the founder of the Philippine chapter of the
international organization PEN. He was bestowed the CCP Centennial Honors for the Arts in 1999; the Outstanding
Fulbrighters Award for Literature in 1988; and the Ramon Magsaysay Award for Journalism, Literature, and
Creative Communication Arts in 1980.

Works
Rosales Saga novels

A five-novel series that spans three centuries of Philippine history, translated into 22 languages

 Po-on (Source) (1984) ISBN 971-8845-10-0

 The Pretenders (1962) ISBN 971-8845-00-3
 My Brother, My Executioner (1973) ISBN 971-8845-16-X
 Mass (December 31, 1974) ISBN 0-86861-572-2
 Tree (1978) ISBN 971-8845-14-3

Original novels containing the Rosales Saga

 Source (Po-on) (1993) ISBN 0-375-75144-0

 Don Vicente (1980) ISBN 0-375-75243-9 – Tree and My Brother, My Executioner combined in
one book
 The SamsonsISBN 0-375-75244-7The Pretenders and Mass combined in one book

Other novels

 Gagamba (The Spider Man) (1991) ISBN 978-971-536-105-7

 Viajero (1993) ISBN 978-971-8845-04-2
 Sin (1994) ISBN 0-517-28446-4
 Ben Singkol (2001) ISBN 971-8845-32-1
 Ermita (1988) ISBN 971-8845-12-7
 Vibora! (2007)
 Sherds (2008)
 Muse and Balikbayan: Two Plays (2008)
 Short Stories (with Introduction and Teaching Guide by Thelma B. Kintanar) (2008)
 The Feet of Juan Bacnang (2011)

Novellas

 Three Filipino Women (1992) ISBN 9780307830289

 Two Filipino Women (1981) ISBN 9711001136

Short story collections

 The God Stealer and Other Stories (2001) ISBN 971-8845-35-6

 Puppy Love and Thirteen Short Stories (March 15, 1998) ISBN 971-8845-26-7 and ISBN 978-
971-8845-26-4
 Olvidon and Other Stories (1988) ISBN 971-8845-18-6

Page 11 of 51
  Platinum: Ten Filipino Stories (1983) ISBN 971-8845-22-4 (now out of print, its stories are
added to the new version of Olvidon and Other Stories)
 Waywaya: Eleven Filipino Short Stories (1980) ISBN 99922-884-0-X
 Asian PEN Anthology (as editor) (1966)
 Short Story International (SSI): Tales by the World's Great Contemporary Writers (Unabridged,
Volume 13, Number 75) (co-author, 1989) ISBN 1-55573-042-6

Children's books

 The Molave and The Orchid (November 2004)

Verses

 Questions (1988)

Essays and non-fiction

 In Search of the Word (De La Salle University Press, March 15, 1998) ISBN 971-555-264-1 and
ISBN 978-971-555-264-6
 We Filipinos: Our Moral Malaise, Our Heroic Heritage
 Soba, Senbei and Shibuya: A Memoir of Post-War JapanISBN 971-8845-31-3 and ISBN 978-
971-8845-31-8
 Heroes in the Attic, Termites in the Sala: Why We are Poor (2005)
 This I Believe: Gleanings from a Life in Literature (2006)
 Literature and Liberation (co-author) (1988)

Carlos P. Romulo

National Artist for Literature (1982)

(January 14, 1899 – December 15, 1985)

Carlos P. Romulo‘s multifaceted career spanned 50 years of public service as educator, soldier, university
president, journalist and diplomat. It is common knowledge that he was the first Asian president of the United
Nations General Assembly, then Philippine Ambassador to Washington, D.C., and later minister of foreign affairs.
Essentially though, Romulo was very much into writing: he was a reporter at 16, a newspaper editor by the age of
20, and a publisher at 32. He was the only Asian to win America’s coveted Pulitzer Prize in Journalism for a series
of articles predicting the outbreak of World War II. Romulo, in all, wrote and published 18 books, a range of literary
works which included The United (novel), I Walked with Heroes (autobiography), I Saw the Fall of the
Philippines, Mother America, I See the Philippines Rise (war-time memoirs).

His other books include his memoirs of his many years’ affiliations with United Nations (UN), Forty Years: A
Third World Soldier at the UN, and The Philippine Presidents, his oral history of his experiences serving all the
Philippine presidents.

Books

 I Saw the Fall of The Philippines

 Mother America
 My Brother Americans
 I See The Philippines Rise
 The United
 Crusade in Asia (The John Day Company, 1955; about the 1953 presidential election
campaign of Ramon Magsaysay)

Page 12 of 51
  The Meaning of Bandung
 The Magsaysay Story (with Marvin M. Gray, The John Day Company 1956, updated re-
edition by Pocket Books, Special Student Edition, SP-18, December 1957; biography of
Ramon Magsaysay, Pocket Books edition updated with an additional chapter on
Magsaysay's death)
 I Walked with Heroes (autobiography)
 Last Man off Bataan (Romulo's experience during the Japanese Plane bombings.)
 The Filipino Flag Rises...Alone
 Im a Filipino

Jose Garcia Villa

National Artist for Literature (1973)

(August 5, 1908 – July 7, 1997)

“Art is a miraculous flirtation with Nothing!

Aiming for nothing, and landing on the Sun.”
―  Doveglion: Collected Poems

Jose Garcia Villa is considered as one of the finest contemporary poets regardless of race or language. Villa, who
lived in Singalong, Manila, introduced the reversed consonance rime scheme, including the comma poems that made
full use of the punctuation mark in an innovative, poetic way. The first of his poems “Have Come, Am Here”
received critical recognition when it appeared in New York in 1942 that, soon enough, honors and fellowships were
heaped on him: Guggenheim, Bollingen, the American Academy of Arts and Letters Awards. He used Doveglion
(Dove, Eagle, Lion) as penname, the very characters he attributed to himself, and the same ones explored by e.e.
cummings in the poem he wrote for Villa (Doveglion, Adventures in Value). Villa is also known for the tartness of
his tongue.

Villa’s works have been collected into the following books: Footnote to Youth,Many Voices, Poems by
Doveglion, Poems 55, Poems in Praise of Love: The Best Love Poems of Jose Garcia Villa as Chosen By
Himself, Selected Stories,The Portable Villa, The Essential Villa, Mir-i-nisa, Storymasters 3: Selected Stories
from Footnote to Youth, 55 Poems: Selected and Translated into Tagalog by Hilario S. Francia.

Works

As an editor, Villa first published Philippine Short Stories: Best 25 Short Stories of 1928 in
1929, an anthology of Filipino short stories written in English literature English that were mostly
published in the literary magazine Philippine Free Press for that year. It is the second anthology
to have been published in the Philippines, after Philippine Love Stories by editor Paz Márquez-
Benítez in 1927. His first collection of short stories that he had written were published under the
title Footnote to Youth: Tales of the Philippines and Others in 1933; while in 1939, Villa
published Many Voices, his first collection poems, followed by Poems by Doveglion in 1941.
Other collections of poems include Have Come, Am Here (1942) and Volume Two (1949; the
year he edited The Doveglion Book of Philippine Poetry in English from 1910). Three years later,
he released a follow-up for The Portable Villa entitled The Essential Villa. Villa, however, went
under "self-exile" after the 1960s, even though he was nominated for several major literary
awards including the Pulitzer Prize for Poetry. This was perhaps because of oppositions between
his formalism (literature) formalist style and the advocates of proletarian literature, who
misjudged him as a petty bourgeois. Villa only "resurfaced" in 1993 with an anthology entitled
Charlie Chan Is Dead, which was edited by Jessica Hagedorn.

Several reprints of Villa's past works were done, including Appasionata: Poems in Praise of
Love in 1979, A Parliament of Giraffes (a collection of Villa's poems for young readers, with

Page 13 of 51
Tagalog language Tagalog translation provided by Larry Francia), and The Anchored Angel:
Selected Writings by Villa that was edited by Eileen Tabios with a foreword provided by
Hagedorn (both in 1999).

His popular poems include When I Was No Bigger Than A Huge, an example of his "comma
poems", and The Emperor's New Sonnet (a part of Have Come, Am Here) which is basically a
blank sheet of paper.

https://en.wikipedia.org/wiki/Jose_Garcia_Villa

Alejandro Roces

National Artist for Literature (2003)

(July 13, 1924 – May 23, 2011)

“You cannot be a great writer; first, you have to be a good person”

Alejandro Roces, is a short story writer and essayist, and considered as the country’s best writer of comic short
stories. He is known for his widely anthologized “My Brother’s Peculiar Chicken.” In his innumerable newspaper
columns, he has always focused on the neglected aspects of the Filipino cultural heritage. His works have been
published in various international magazines and has received national and international awards.

Ever the champion of Filipino cultures, Roces brought to public attention the aesthetics of the country’s fiestas. He
was instrumental in popularizing several local fiestas, notably, Moriones and Ati-atihan. He personally led the
campaign to change the country’s Independence Day from July 4 to June 12, and caused the change of language
from English to Filipino in the country’s stamps, currency and passports, and recovered Jose Rizal’s manuscripts
when they were stolen from the National Archives.

His unflinching love of country led him to become a guerilla during the Second World War, to defy martial law and
to found the major opposition party under the dictatorship. His works have been published in various international
magazines and received numerous national and international awards, including several decorations from various
governments.

Literary works

During his freshman year in the University of Arizona, Roces won Best Short Story for We
Filipinos are Mild Drinkers. Another of his stories, My Brother’s Peculiar Chicken, was listed as
Martha Foley’s Best American Stories among the most distinctive for years 1948 and 1951.
Roces did not only focus on short stories alone, as he also published books such as Of Cocks and
Kites (1959), Fiesta (1980), and Something to Crow About (2005). Of Cocks and Kites earned
him the reputation as the country's best writer of humorous stories. It also contained the widely
anthologized piece “My Brother’s Peculiar Chicken”. Fiesta, is a book of essays, featuring folk
festivals such as Ermita's Bota Flores, Aklan's Ati-atihan, and Naga's Peñafrancia.

Something to Crow About, on the other hand, is a collection of Roces’ short stories. The book
has been recently brought to life by a critically acclaimed play of the same title; the staged
version of Something to Crow About is the first Filipino zarzuela in English. This modern
zarzuela tells the story of a poor cockfighter named Kiko who, to his wife's chagrin, pays more
attention to the roosters than to her. Later in the story, a conflict ensues between Kiko’s brother
Leandro and Golem, the son of a wealthy and powerful man, over the affections of a beautiful
woman named Luningning. The resolution? A cockfight, of course. Something to Crow About

Page 14 of 51
won the Aliw Award for Best Musical and Best Director for a Musical Production. It also had a
run off-Broadway at the La Mama Theater in New York.

Through the years, Roces has won numerous awards, including the Patnubay ng Sining at
Kalinangan Award, the Diwa ng Lahi Award, the Tanging Parangal of the Gawad CCP Para sa
Sining, and the Rizal Pro Patria Award. He was finally bestowed the honor as National Artist of
Literature on the 25th of June 2003.

When once asked for a piece of advice on becoming a famous literary figure Roces said, "You
cannot be a great writer; first, you have to be a good person".[

https://en.wikipedia.org/wiki/Alejandro_Roces

Rolando S. Tinio
National Artist for Theater and Literature (1997)
(March 5, 1937 – July 7, 1997)

Rolando S. Tinio, playwright, thespian, poet, teacher, critic and translator, marked his career with prolific artistic
productions. Tinio’s chief distinction is as a stage director whose original insights into the scripts he handled
brought forth productions notable for their visual impact and intellectual cogency. Subsequently, after staging
productions for the Ateneo Experimental Theater (its organizer and administrator as well), he took on Teatro
Pilipino. It was to Teatro Pilipino which he left a considerable amount of work reviving traditional Filipino drama
by re-staging old theater forms like the sarswela and opening a treasure-house of contemporary Western drama. It
was the excellence and beauty of his practice that claimed for theater a place among the arts in the Philippines in the
1960s.

Aside from his collections of poetry (Sitsit sa Kuliglig, Dunung – Dunungan, Kristal na Uniberso, A Trick of
Mirrors) among his works were the following: film scripts for Now and Forever, Gamitin Mo Ako, Bayad Puri
and Milagros; sarswelas Ang Mestisa, Ako, Ang Kiri, Ana Maria; the komedya Orosman at Zafira; and
Larawan, the musical.

Works
Poetry collections

 "Sitsit sa Kulilig" (Whistling at Cicadas) or (Shusshing Cicadas) (1972) [1][2][3]

 "Dunung-Dunungan" (Pedantry) (1975)[1][2][3]
 "Kristal na Uniberso" (Crystal Universe) (1989)
 "Trick of Mirrors" (1993)[1][2][3]
 "Ang Burgis sa Kanyang Almusal"(1970)
 "Mga Ehersisyong Analitiko"
 "Na DASTINGO kaba?"

Translated plays

 "Laruang Kristal" (The Glass Menagerie) (1966) [1][2][3]

 "Pahimakas sa Isang Ahente" (Death of a Salesman) (1966) [1][2][3]
 "Paghihintay Kay Godo" (Waiting for Godot) (1967)
 "Miss Julie" (1967)[1][2][3]
 "Rama Hari" (Rama, King) (1980)

Essay collections

 "A Matter of Language, Where English Fails" (1990) [1][2][3]

Page 15 of 51
Newspaper columns

 "Touchstones" for Metro Manila (1977)[1][2][3]

 "Totally Tinio" for Manila Chronicle (1986–1987, 1990)[1][2][3]
 "In Black and White" for Philippine Daily Globe (1987–1989)
 https://en.wikipedia.org/wiki/Rolando_Tinio

Levi Celerio

National Artist for Literature / Music (1997)

(April 30, 1910 – April 2, 2002)

Levi Celerio is a prolific lyricist and composer for decades. He effortlessly translated/wrote anew the lyrics to
traditional melodies: “O Maliwanag Na Buwan” (Iloko), “Ako ay May Singsing” (Pampango), “Alibangbang”
(Visaya) among others.

Born in Tondo, Celerio received his scholarship at the Academy of Music in Manila that made it possible for him to
join the Manila Symphony Orchestra, becoming its youngest member. He made it to the Guinness Book of World
Records as the only person able to make music using just a leaf.

A great number of his songs have been written for the local movies, which earned for him the Lifetime Achievement
Award from the Film Academy of the Philippines. Levi Celerio, more importantly, has enriched the Philippine
music for no less than two generations with a treasury of more than 4,000 songs in an idiom that has proven to
appeal to all social classes.

Reference: http://ncca.gov.ph/about-culture-and-arts/culture-profile/national-artists-of-the-philippines/

Early life and career

Levi Celerio was born on April 30, 1910, in Tondo, Manila to parents that hailed from Baliuag,
Bulacan. He received a scholarship to the Academy of Music in Manila and became the youngest
member of the Manila Symphony Orchestra. He wrote several number of songs for local movies,
which earned for him the Lifetime Achievement Award of the Film Academy of the Philippines.
Celerio has written lyrics for more than 4,000 Filipino folk, Christmas, and love songs, including
many that became movie titles.

Known for being a good lyricist, his songs cherish life, convey nationalistic sentiments and utter
grand philosophies. Celerio wrote more than 4,000 songs, among them are popular pieces, which
many consider to be immortal. At one time or another, no Filipino could miss the tune or lyrics
of Levi's Christmas songs: Pasko na Naman, Maligayang Pasko at Manigong Bagong Taon
(Ang Pasko ay Sumapit), and Misa de Gallo.

His more popular love songs include: Saan Ka Man Naroroon?, Kahit Konting Pagtingin,
Gaano Ko Ikaw Kamahal, Kapag Puso'y Sinugatan, and Ikaw, O Maliwanag na Buwan, Dahil
Sa Isang Bulaklak, Sa Ugoy ng Duyan, Bagong Pagsilang, and Sapagkat Kami'y Tao Lamang,
while his folk songs include Ang Pipit, Tinikling, Tunay na Tunay, Itik-Itik, Waray-Waray,
Pitong Gatang, Ako ay May Singsing, Alibangbang, Alembong, Galawgaw, Caprichosa, Ang
Tapis ni Inday, Dungawin Mo Hirang, Umaga na Neneng, Ikaw Kasi, and Basta't Mahal Kita.
Celerio also wrote nationalistic songs such as Ang Bagong Lipunan, Lupang Pangarap, and
Tinig ng Bayan.

Page 16 of 51
Celerio, for a time, was also recognized by the Guinness Book of World Records as the only man
who could play music with a leaf. Because of his talent, Celerio was invited to The Merv Griffin
Show, where he played "All the Things You Are" with 39 musicians. Using his leaf, Levi wowed
the crowd and got the attention of the Guinness Book of World Records. The Book later listed
the entry: "The only leaf player in the world is in the Philippines". He would also later appear on
That's Incredible!.[1]

https://en.wikipedia.org/wiki/Levi_Celerio

Retrieved on July 15, 2016

Jose Garcia Villa

From Wikipedia, the free encyclopedia

  (Redirected from José García Villa)

Jose Garcia Villa

Page 17 of 51
 José García Villa in 1953

August 5, 1908
Born
Singalong, Manila, Philippine Islands

February 7, 1997 (aged 88)

Died
New York City, New York, United States

Pen name Doveglion

Occupation Poet, critic, lecturer

Language English

Nationality Filipino

Literary
movement Modernism, Surrealism

The Anchored Angel, The Emperor's New

Notable works
Sonnet, Footnote to Youth

Philippine National Artist, Academy

Award for Literature, Guggenheim
Notable
awards Fellowship, UP Golden Jubilee Literary
Contests, Pro Patria Award, Heritage
Award

Literature portal

José García Villa (August 5, 1908 – February 7, 1997) was a Filipinopoet, literary critic, short
story writer, and painter. He was awarded the National Artist of the Philippines title for literature
in 1973,[1] as well as the Guggenheim Fellowship in creative writing by Conrad Aiken.[2] He is
known to have introduced the "reversed consonance rhyme scheme" in writing poetry, as well as
the extensive use of punctuation marks—especially commas, which made him known as the
Comma Poet.[3] He used the penname Doveglion (derived from "Dove, Eagle, Lion"), based on

Page 18 of 51
the characters he derived from himself. These animals were also explored by another poet e.e.
cummings in Doveglion, Adventures in Value, a poem dedicated to Villa.[1]

Contents

 1Biography
o 1.1Early life
o 1.2Writing career
o 1.3Death
o 1.4New York Centennial Celebration
o 1.5Personal
 2Works
 3Writing style
 4Critical reception
 5Awards
 6References
 7Further reading

Biography
Early life

Villa was born on August 5, 1908, in Manila's Singalong district. His parents were Simeón Villa
(a personal physician of Emilio Aguinaldo, the founding President of the First Philippine
Republic) and Guia Garcia (a wealthy landowner). He graduated from the University of the
Philippines Integrated School and the University of the Philippines High School in 1925. Villa
enrolled on a Pre-Medical course in the University of the Philippines, but then switched to Pre-
Law course. However, he realized that his true passion was in the arts. Villa first tried painting,
but then turned into creative writing after reading Winesburg, Ohio by Sherwood Anderson.

Writing career

Villa's tart poetic style was considered too aggressive at that time. In 1929 he published Man
Songs, a series of erotic poems, which the administrators in UP found too bold and was even
fined Philippine peso for obscenity by the Manila Court of First Instance. In that same year, Villa
won Best Story of the Year from Philippine Free Press magazine for Mir-I-Nisa. He also
received P1,000 prize money, which he used to migrate to the United States.

He enrolled at the University of New Mexico, wherein he was one of the founders of Clay, a
mimeograph literary magazine. He graduated with a Bachelor of Arts degree, and pursued post-
graduate work at Columbia University. Villa had gradually caught the attention of the country's
literary circles, one of the few Asians to do so at that time.

After the publication of Footnote to Youth in 1933, Villa switched from writing prose to poetry,
and published only a handful of works until 1942. During the release of Have Come, Am Here in
1942, he introduced a new rhyming scheme called "reversed consonance" wherein, according to
Villa: "The last sounded consonants of the last syllable, or the last principal consonant of a word,
are reversed for the corresponding rhyme. Thus, a rhyme for near would be run; or rain, green,
reign."

In 1949, Villa presented a poetic style he called "comma poems", wherein commas are placed
after every word. In the preface of Volume Two, he wrote: "The commas are an integral and
essential part of the medium: regulating the poem's verbal density and time movement: enabling
each word to attain a fuller tonal value, and the line movement to become more measured."

Villa worked as an associate editor for New Directions Publishing in New York City from 1949
to 1951, and then became director of poetry workshop at City College of New York from 1952 to

Page 19 of 51
1960. He then left the literary scene and concentrated on teaching, first lecturing in The New
School|The New School for Social Research from 1964 to 1973, as well as conducting poetry
workshops in his apartment. Villa was also a cultural attaché to the Philippine Mission to the
United Nations from 1952 to 1963, and an adviser on cultural affairs to the President of the
Philippines beginning 1968.

Death

On February 5, 1997, at the age of 88, Jose was found in a coma in his New York apartment and
was rushed to St. Vincent Hospital in the Greenwich Village area. His death two days later,
February 7, was attributed to "cerebral stroke and multilobar pneumonia". He was buried on
February 10 in St. John's Cemetery in New York, wearing a Barong Tagalog.

New York Centennial Celebration

On August 5 and 6, 2008, Villa's centennial celebration began with poem reading at the Jefferson
Market Library. For the launch of Doveglion: Collected Poems, Penguin Classics’ reissue of
Villa's poems edited by John Edwin Cowen, there were readings of his poems by Cowen, by
book introducer Luis H. Francia, and by scholar Tina Chang.[4] Then, the Leonard Lopate Show
will interview Cowen and Francia on the "Pope of Greenwich Village's" life and work, followed
by the Asia Pacific Forum show.

Personal

In 1946 Villa married Rosemarie Lamb, with whom he had two sons, Randall and Lance. They
annulled ten years later. He also had three grandchildren, Jordan Villa, Sara Villa Stokes and
Travis Villa. Villa was especially close to his nieces, Ruby Precilla, Milagros Villanueva, Maria
Luisa Cohen and Maria Villanueva.

Works

As an editor, Villa first published Philippine Short Stories: Best 25 Short Stories of 1928 in
1929, an anthology of Filipino short stories written in English literature English that were mostly
published in the literary magazine Philippine Free Press for that year. It is the second anthology
to have been published in the Philippines, after Philippine Love Stories by editor Paz Márquez-
Benítez in 1927. His first collection of short stories that he had written were published under the
title Footnote to Youth: Tales of the Philippines and Others in 1933; while in 1939, Villa
published Many Voices, his first collection poems, followed by Poems by Doveglion in 1941.
Other collections of poems include Have Come, Am Here (1942) and Volume Two (1949; the
year he edited The Doveglion Book of Philippine Poetry in English from 1910). Three years later,
he released a follow-up for The Portable Villa entitled The Essential Villa. Villa, however, went
under "self-exile" after the 1960s, even though he was nominated for several major literary
awards including the Pulitzer Prize for Poetry. This was perhaps because of oppositions between
his formalism (literature) formalist style and the advocates of proletarian literature, who
misjudged him as a petty bourgeois. Villa only "resurfaced" in 1993 with an anthology entitled
Charlie Chan Is Dead, which was edited by Jessica Hagedorn.

Several reprints of Villa's past works were done, including Appasionata: Poems in Praise of
Love in 1979, A Parliament of Giraffes (a collection of Villa's poems for young readers, with
Tagalog language Tagalog translation provided by Larry Francia), and The Anchored Angel:
Selected Writings by Villa that was edited by Eileen Tabios with a foreword provided by
Hagedorn (both in 1999).

His popular poems include When I Was No Bigger Than A Huge, an example of his "comma
poems", and The Emperor's New Sonnet (a part of Have Come, Am Here) which is basically a
blank sheet of paper.

Page 20 of 51
Writing style

Villa described his use of commas after every word as similar to "Seurat's architectonic and
measured pointillism—where the points of color are themselves the medium as well as the
technique of statement". This unusual style forces the reader to pause after every word, slowing
the pace of the poem and resulting in what Villa calls "a lineal pace of dignity and movement".
An example of Villa's "comma poems" can be found in an excerpt of his work #114:

In, my, undream, of, death,

“ I, unspoke, the, Word.
Since, nobody, had,
dared,
With, my, own, breath,
I, broke, the, cord! ”
Villa also created verses out of already-published proses and forming what he liked to call
"Collages". This excerpt from his poem #205 was adapted from Letters of Rainer Maria Rilke,
volume 1:

And then suddenly,

“ A life on which one could
Stand. Now it carried one and
Was conscious of one while it

Carried. A stillness in which

Reality and miracle

Had become identical -

Stillness of that greatest
Stillness. Like a plant that is to
Become a tree, so was I
Taken out of the little container,
Carefully, while earth ”
While Villa agreed with William Carlos Williams that "prose can be a laboratory for metrics", he
tried to make the adapted words his own. His opinion on what makes a good poetry was in
contrast to the progressive style of Walt Whitman, concerning which he said: "Poetry should
evoke an emotional response. The poet has a breathlessness in him that he converts into a
breathlessness of words, which in turn becomes the breathlessness of the reader. This is the sign
of a true poet. All other verse, without this appeal, is just verse."[5]

He also advised his students who aspire to become poets not to read any form of fiction, lest their
poems become "contaminated by narrative elements", insisting that real poetry is "written with
words, not ideas".[6]

Critical reception

Villa was considered as a powerful literary influence in the Philippines throughout much of the
20th century, although he had lived most of his life in the United States. His writing style, as
well as his personality and staunch opinions on writing, has often made him considered as an
eccentric.[5] Francia explained in Asiaweek magazine, "In a world of English-language poetry

Page 21 of 51
dominated by British and Americans, Villa stood out for the ascetic brilliance of his poetry and
for his national origin." Fellow Filipino writer Salvador P. López described Villa as "the one
Filipino writer today who it would be futile to deride and impossible to ignore ... the pace-setter
for an entire generation of young writers, the mentor laying down the law for the whole tribe, the
patron-saint of a cult of rebellious moderns."[6] However, Villa was accused of having little faith
in Filipinos' ability to write creatively in English, saying that "poetry in English has no prospects
whatsoever in the Philippines—i.e., ... that it cannot be written by Filipino writers. An exception
or two may arise after a long period of time, but these writers will remain exceptions. The reason
why Filipino writers are at a disadvantage in the writing of English poetry—is that they have no
oneness with the English language."[7]

In a review to Footnote to Youth, The New York Times wrote, "For at least two years the name of
Jose Garcia Villa has been familiar to the devotees of the experimental short story... They knew,
too, that he was an extremely youthful Filipino who had somehow acquired the ability to write a
remarkable English prose and who had come to America as a student in the summer of 1930."
This comment brought out two opposing impressions of him: as a literary genius, and merely as
a writer of English as a second language.[6]

During the United States' Formalist period in literature, American writers admired Villa's work.
Mark Van Doren wrote in reaction to Selected Poems and New that it is "...So natural yet in its
daring so weird, a poet rich and surprising, and not to be ignored". Babette Deutsch wrote in The
New Republic that Have Come, Am Here reveals that Villa's concern for "ultimate things, the self
and the universe. He is also on visiting terms with the world. He is more interested in himself
than in the universe, and he greets the world with but a decent urbanity." Although she viewed
Villa's range as somewhat narrow, he "soars high and plunges deep". British poet Edith Sitwell
revealed in the preface of Villa's Selected Poems and New that she experienced "a shock" upon
reading Have Come, Am Here, most notably the poem "#57", "a strange poem of ineffable
beauty, springing straight from the depths of Being. I hold that this is one of the most wonderful
short poems of our time, and reading it I knew that I was seeing for the first time the work of a
poet with a great, even an astonishing, and perfectly original gift."[6] Meanwhile, noted American
poet Garret Hongo described Villa as "one of the greatest pioneers of Asian American
literature...our bitter, narcissistic angel of both late Modernism and early post-colonialism."[5] In
his introduction to Footnote to Youth, American writer Edward J. O'Brien—who dedicated his
collection Best American Short Stories of 1932 to Villa—hailed the poet as "one of a half-dozen
American short-story writers who count".[2][6] Meanwhile, in reaction to Villa's poems, e.e.
cummings wrote, "and i am alive to see a man against the sky".[8]

Critics were divided about Villa's "comma poems". On one side, they were irritated by them,
calling them "gimmicky". Leonard Casper wrote in New Writings from the Philippines that the
technique of putting commas after every word "is as demonstrably malfunctional as a dragging
foot". Ten years later, Casper continued to criticize Villa because he "still uses the 'commas' with
inadequate understanding and skill". On the other hand, Sitwell wrote in The American Genius
magazine that the comma poem "springs with a wild force, straight from the poet's being, from
his blood, from his spirit, as a fire breaks from wood, or as a flower grows from its soil".[6]

Despite his success in the United States, Villa was largely dismissed in mainstream American
literature and has been criticized by Asian American scholars for not being "ethnic" enough.[9]

Awards

Villa was granted a Guggenheim Fellowship in Creative Writing by American writer Conrad
Aiken, wherein he was also awarded a $1,000 prize for "outstanding work in American
literature", as well as a fellowship from Bollingen Foundation.[5] He was also bestowed an
Academy Award for Literature from The American Academy of Arts and Letters in 1943.[10]
Villa also won first prize in the Poetry Category of UP Golden Jubilee Literary Contests in 1958,
as well as the Pro Patria Award for literature in 1961, and the Heritage Award for poetry and
short stories a year later. He was conferred with a honoris causa doctorate degree for literature

Page 22 of 51
by Far Eastern University in Manila on 1959 (and later by University of the Philippines), and the
National Artist Award for Literature in 1973.[3]

He was one of three Filipinos, along with novelist Jose Rizal and translator Nick Joaquin,
included in World Poetry: An Anthology of Verse from Antiquity to Our Time published in 2000,
which featured over 1,600 poems written by hundreds of poets in different languages and culture
within a span of 40 centuries dating from the development of early writing in ancient Sumer and
Egypt.[2]

Nick Joaquin
From Wikipedia, the free encyclopedia

Nicomedes Márquez Joaquín (May 4, 1917 – April 29, 2004) was a Filipino writer, historian
and journalist, best known for his short stories and novels in the English language. He also wrote
using the pen name Quijano de Manila. Joaquín was conferred the rank and title of National
Artist of the Philippines for Literature.

He is considered[by whom?] one of the most important Filipino writers in English, and the third most
important overall, after José Rizal and Claro M. Recto.

Biography
Early life and education

Joaquín was born in Paco, Manila, one of ten children of Leocadio Joaquín, a colonel under
General Emilio Aguinaldo in the 1896 Revolution, and Salome Márquez, a teacher of English
and Spanish. As a boy, after being read poems and stories by his mother, Joaquín read widely in
his father's library and at the National Library of the Philippines. By then, his father had become
a successful lawyer after the revolution. From reading, Joaquín became interested in writing.

At age 17, Joaquín had his first piece published, in the literary section of the pre-World War II
Tribune, where he worked as a proofreader. It was accepted by the writer and editor Serafín
Lanot. After Joaquín won a nationwide essay competition to honor La Naval de Manila,
sponsored by the Dominican Order, the University of Santo Tomas awarded him an honorary
Associate in Arts (A.A.) and a scholarship to St. Albert's Convent, the Dominican monastery in
Hong Kong.

Career

After returning to the Philippines, Joaquín joined the Philippines Free Press, starting as a
proofreader. He soon attracted notice for his poems, stories and plays, as well as his journalism
under the pen name Quijano de Manila. His journalism was both intellectual and provocative, an
unknown genre in the Philippines at that time, and raised the country's level of reportage.

Page 23 of 51
Nick Joaquin is interred at the Libingan ng mga Bayani.

Joaquín deeply admired José Rizal, the national hero of the Philippines, paying him tribute in
such books as The Storyteller's New Medium – Rizal in Saga, The Complete Poems and Plays of
Jose Rizal, and A Question of Heroes: Essays in Criticism on Ten Key Figures of Philippine
History. He translated the hero's valedictory poem, in the original Spanish Mi Ultimo Adios, as
"Land That I Love, Farewell!"

Joaquín represented the Philippines at the International PEN Congress in Tokyo in 1957, and
was appointed as a member of the Motion Pictures commission under presidents Diosdado
Macapagal and Ferdinand E. Marcos.

After being honored as National Artist, Joaquin used his position to work for intellectual
freedom in society. He secured the release of imprisoned writer José F. Lacaba. At a ceremony
on Mount Makiling attended by First Lady Imelda Marcos, Joaquín delivered an invocation to
Mariang Makiling, the mountain's mythical maiden. Joaquín touched on the importance of
freedom and the artist. After that, Joaquín was excluded by the Marcos regime as a speaker at
important cultural events.

Joaquín died of cardiac arrest in the early morning of April 29, 2004, at his home in San Juan,
Metro Manila. He was then editor of Philippine Graphic magazine, where he worked with Juan
P. Dayang, the magazine's first publisher. Joaquín was also publisher of its sister publication,
Mirror Weekly, a women’s magazine, and wrote the column “Small Beer” for the Philippine
Daily Inquirer and Isyu, an opinion tabloid.

Adaptations

 Tatarin (2001), a movie based on Joaquín’s short story "The Summer Solstice", was directed by
Amable “Tikoy” Aguiluz. The screenplay was written by Ricardo Lee. Joaquín was consulted on
the film. The cast included notable Filipino actors Edu Manzano (as Paeng Moreta,) Dina
Bonnevie (Lupe Moreta), Rica Peralejo (Amada), and Raymond B. Bagatsing.

Works

 May Day Eve (1947)

 Prose and Poems (1952)
 The Woman Who had Two Navels (1961)
 La Naval de Manila and Other Essays (1964)
 A Portrait of the Artist as Filipino (1966)
 Tropical Gothic (1972)
 A Question of Heroes (1977)
 Joseph Estrada and Other Sketches (1977)
 Nora Aunor & Other Profiles (1977)
 Ronnie Poe & Other Silhouettes (1977)
 Reportage on Lovers (1977)
 Reportage on Crime (1977)
 Amalia Fuentes & Other Etchings (1977)
 Gloria Diaz & Other Delineations (1977)
 Doveglion & Other Cameos (1977)
 Language of the Streets and Other Essays (1977)
 Manila: Sin City and Other Chronicles (1977)
 Pop Stories for Groovy Kids (1979)
 Reportage on the Marcoses (1979)
 Language of the Street and Other Essays (1980)
 The Ballad of the Five Battles (1981)
 Reportage on Politics (1981)
 Tropical Baroque (1982)

Page 24 of 51
  The Aquinos of Tarlac: An Essay on History as Three Generations (1983)
 Almanac for Manileños
 Cave and Shadows (1983)
 The Quartet of the Tiger Moon: Scenes from the People Power Apocalypse (1986)
 Collected Verse (1987)
 Culture and History: Occasional Notes on the Process of Philippine Becoming (1988)
 Manila, My Manila: A History for the Young (1990),
 The D.M. Guevara Story (1993),
 Mr. F.E.U., the Culture Hero That Was Nicanor Reyes (1995).
 Rizal in Saga (1996)
 ABE: A Frank Sketch of E. Aguilar Cruz (2004)

Awards

 José García Villa's Honor Roll (1940)

 Philippines Free Press Short Story Contest (1949)
 Ten Most Outstanding Young Men of the Philippines (TOYM), Awardee for Literature (1955)
 Don Carlos Palanca Memorial Literary Awards (1957–1958; 1965; 1976)
 Harper Publishing Company (New York, U.S.) writing fellowship
 Stonehill Award for the Novel (1960)
 Republic Cultural Heritage Award (1961)
 Patnubay ng Sining at Kalinangan Award from the City of Manila (1964)
 National Artist Award (1976).
 S.E.A. Write Award (1980)
 Ramon Magsaysay Award for Literature (1996)
 Tanglaw ng Lahi Award from the Ateneo de Manila University (1997)
 Several ESSO Journalism awards, including the highly covetedJournalist of the Year Award.
 Several National Book Awards from the Manila Critics' Circle for The Aquinos of Tarlac: An Essay
in History as Three Generations; The Quartet of the Tiger Moon: Scenes from the People Power
Apocalypse; Culture and History: Occasional Notes on the Process of Philippine Becoming; The
World of Damian Domingo: 19th Century Manila (co-authored with Luciano P.R. Santiago); and
Jaime Ongpin: The Enigma: The Profile of a Filipino as Manager.

Famous lines

 "Love should have no alternatives; love should be the sole reason for loving; love should spring
of itself.”
 “The point is not how we use a tool, but how it uses us.”
 “If for us culture means museum and library and open house and art gallery, for them it meant
the activities and amenities of everyday life... The rift is... between "folk" culture, where the
unschooled can be wise, and print culture, which enslaved the other senses to the eye.”

Carlos P. Romulo
From Wikipedia, the free encyclopedia

Carlos Peña Rómulo, QSCPLH (14 January 1899 – 15 December 1985) was a Filipino diplomat,
statesman, soldier, journalist and author. He was a reporter at 16, a newspaper editor by the age of 20,
and a publisher at 32. He was a co-founder of the Boy Scouts of the Philippines, a general in the US Army
and the Philippine Army, university president, President of the UN General Assembly, was eventually
named one of the Philippines' National Artists in Literature, and was the recipient of many other honors
and honorary degrees. His original hometown was in Camiling, Tarlac. He also studied at the Camiling
Central Elementary School during his basic education.

Page 25 of 51
Diplomatic career

Rómulo served eight Philippine presidents, from Manuel L. Quezon to Ferdinand Marcos, as the
Secretary of Foreign Affairs of the Philippines and as the country’s representative to the United
States and to the United Nations. He also served as the Resident Commissioner to the U.S.
House of Representatives during the Commonwealth era. In addition, he served also as the
Secretary of Education in President Diosdado P. Macapagal’s and President Ferdinand E.
Marcos’s Cabinet through 1962 to 1968.[1][2]

United Nations

In his career in the United Nations, Rómulo was a strong advocate of human rights, freedom and
decolonization. In 1948 in Paris, France, at the third UN General Assembly, he strongly
disagreed with a proposal made by the Soviet delegation headed by Andrei Vishinsky, who
challenged his credentials by insulting him with this quote: "You are just a little man from a little
country." In return, Romulo replied, "It is the duty of the little Davids of this world to fling the
pebbles of truth in the eyes of the blustering Goliaths and force them to behave!", leaving
Vishinsky with nothing left to do but sit down.[3]

President of the UN General Assembly

He served as the President of the Fourth Session of United Nations General Assembly from
1949–1950, and chairman of the United Nations Security Council.[4] He had served with General
Douglas MacArthur in the Pacific, was Ambassador to the United States, and became the first
non-American to win the Pulitzer Prize in Correspondence in 1942. The Pulitzer Prize website
says Carlos P. Romulo of Philippine Herald was awarded "For his observations and forecasts of
Far Eastern developments during a tour of the trouble centers from Hong Kong to Batavia." He
was a candidate for the position of United Nations Secretary-General in 1953, but did not win.

Philippine Presidential Aspiration

Instead, he returned to the Philippines and was a candidate for the nomination as the presidential
candidate for the Liberal Party, but lost at the party convention to the incumbent Elpidio Quirino,
who ran unsuccessfully for re-election against Ramon Magsaysay. Quirino had agreed to a secret
ballot at the convention, but after the convention opened, the president demanded an open roll-
call voting, leaving the delegates no choice but supporting Quirino, the candidate of the party
machine. Feeling betrayed, Romulo left the Liberal Party and became national campaign
manager of Magsaysay, the candidate of the opposing Nacionalista Party who won the election.

Rómulo, portrait by Soshana, oil on canvas, 1945

Page 26 of 51
Ang Paglulunsad Memorial, Lingayen, Pangasinan (Carlos P. Romulo launched in January 10, 1945
Philippine and Pacific troops to liberate Luzon

Minister of Foreign Affairs

He served as Resident Commissioner of the Philippines to the United States Congress from 1944
to 1946. He was the signatory for the Philippines to the United Nations Charter when it was
founded in 1946. He was the Philippines' Secretary (Minister from 1973 to 1984) of Foreign
Affairs under President Elpidio Quirino from 1950 to 1952, under President Diosdado
Macapagal from 1963 to 1964 and under President Ferdinand Marcos from 1968 to 1984. In
April 1955 he led the Philippines' delegation to the Asian-African Conference at Bandung.

Rómulo, in all, wrote and published 18 books, which included The United (novel), I Walked with
Heroes (autobiography), I Saw the Fall of the Philippines, Mother America and I See the
Philippines Rise (war-time memoirs).

Death

He died, at 87, in Manila on 15 December 1985 and was buried in the Heroes’ Cemetery
(Libingan ng mga Bayani). He was honored as the Philippines’ greatest diplomat in the 20th
Century.[citation needed] In 1980, he was extolled by United Nations Secretary-General Kurt
Waldheim as "Mr. United Nations" for his valuable services to the United Nations and his
dedication to freedom and world peace.′

Awards and Recognitions

Page 27 of 51
Gen. Romulo (3d from R), as President of the United Nations General Assembly, talks with Prime
Minister Jawaharlal Nehru

Carlos P. Romulo statue UN Avenue.

Rómulo is perhaps among the most decorated Filipino in history, which includes 82 honorary
degrees from different international institutions and universities and 74 decorations from foreign
countries:

 Nobel Peace Prize nomination in 1952 "For his contribution in international cooperation, in
particular on questions on undeveloped areas, and as president for UN's 4th General Assembly"
[5]

 Philippine Congressional Quezon Service Cross, April 17, 1951

 Philippine National Artist in Literature, 1982
 United States Presidential Medal of Freedom, January 12, 1984
 Boy Scouts of AmericaSilver Buffalo Award
 Distinguished Service Star of the Philippines
 Philippine Gold Cross
 Distinguished Conduct Star
 Purple Heart
 Presidential Unit-Citation with Two Oak Leaf Clusters
 Philippine Legion of Honor (Commander)
 Grand Cross of the Order of the Phoenix from the Greek Government
 Grand Cross of the Order of Carlos Manuel do Cespedes from the Republic of Cuba
 Pulitzer Prize in Correspondence, 1942
 World Government News First Annual Gold Nadal Award (for work in the United Nations for
peace and world government), March 1947
 Princeton University- Woodrow Wilson Memorial Foundation Gold Medal award ("in recognition
Of his contribution to public life"), May 1947
 International Benjamin Franklin Society's Gold Medal (for “distinguished world statesmanship in
1947”), January 1948
 Freeman of the City of Plymouth, England, October 1948
 United Nations Peace Medal
 World Peace Award
 Four Freedoms Peace Award
 Named in the 100 Most Prominent Rotarians in the world
 Philippine Presidential Medal of Merit, July 3, 1949
 Hero of the Republic Award, 1984
 Member, Alpha Phi Omega Fraternity
 Co-founder, Boy Scout of the Philippines

Page 28 of 51
Anecdotes from Beth Rómulo through Reader's Digest (June 1989)

At the third UN General Assembly, held in Paris in 1948, the USSR’s deputy foreign minister,
Andrei Vishinsky, sneered at Rómulo and challenged his credentials: “You are just a little man
from a little country.” “It is the duty of the little Davids of this world,” cried Rómulo, “to fling
the pebbles of truth in the eyes of the blustering Goliaths and force them to behave!”

During his meeting with Josip Broz Tito of Yugoslavia, Marshal Tito welcomed Gen. Romulo
with drinks and cigars, to which the general kindly refused. Their conversation went as follows:

Tito: "Do you drink?"

“ Romulo: "No, I don't."

Tito: "Do you smoke?"

Romulo: "No, thank you."

Tito: "What do you do then?"

Romulo: "I etcetera." ”

At this, Marshal Tito was tickled by his reply and loudly exclaimed around the room, "I etcetera,
etcetera, etcetera!"

When the UN official seal, which depicts the world, was being selected, Romy looked it over
and demanded, “where is the Philippines?” “It’s too small to include,” explained US Senator
Warren Austin, who headed the committee. “If we put in the Philippines it would be no more
than a dot.” “I want that dot!” Romy insisted. Today, if you look at the UN seal, you will find a
tiny dot between the Pacific Ocean and the South China Sea.[citation needed]

Rómulo was a dapper little man (barely five feet four inches in shoes). When they waded in at
Leyte beach in October 1944, and the word went out that General MacArthur was waist deep,
one of Romulo's journalist friends cabled, “If MacArthur was in water waist deep, Rómulo must
have drowned!”

In later years, Rómulo told another story himself about a meeting with MacArthur and other tall
American generals who disparaged his physical stature. "Gentlemen," he declared, "When you
say something like that, you make me feel like a dime among nickels."

Francisco Arcellana
From Wikipedia, the free encyclopedia

Francisco "Franz"[1] Arcellana (September 6, 1916 – August 1, 2002) was a Filipino writer,
poet, essayist, critic, journalist and teacher. He was born on September 6, 1916. Arcellana
already had ambitions of becoming a writer during his years in the elementary. His actual
writing, however, started when he became a member of The Torres Torch Organization during
his high school years. Arcellana Grande continued writing in various school papers at the
University of the Philippines Diliman. He later on received a Rocketfeller Granted and became a
follower in creative writing the University of Iowa and Breadloaf's writers conference from
1956– 1957.[2][3]

Page 29 of 51
He is considered an important progenitor of the modern Filipino short story in English. Arcellana
pioneered the development of the short story as a lyrical prose-poetic form within Filipino
literature. His works are now often taught in tertiary-level-syllabi in the Philippines. Many of his
works were translated into Tagalog, Malaysian, Russian, Italian, and German. Arcellana won
2nd place in 1951 Don Carlos Palanca Memorial Awards for Literature, with his short story,
"The Flowers of May." 14 of his short stories were also included in Jose Garcia Villa's Honor
Roll from 1928 to 1939. His major achievements included the first award in art criticism from
the Art Association of the Philippines in 1954, the Patnubay ng Sining at Kalinangan award from
the city government of Manila in 1981, and the Gawad Pambansang Alagad ni Balagtas for
English fiction from the Unyon ng mga Manunulat sa Pilipino (UMPIL) in 1988.

On April 2, 1989, the University of the Philippines conferred upon Arcellana a doctorate in
humane letters, honoris causa. Francisco Arcellana was proclaimed National Artist of the
Philippines in Literature on 23, 1990 by then Philippine President Corazon C. Aquino.[4]

In 2009, or seven years after his death, his family came out with a book to pay tribute to National
Artist for Literature Arcellana. The book entitled, "Franz," is a collection of essays gathered by
the Arcellana family from colleagues, friends, students and family members, including fellow
National Artist Nick Joaquin, Butch Dalisay, Recah Trinidad, Jing Hidalgo, Gemino Abad,
Romina Gonzalez, Edwin Cordevilla, Divina Aromin, Doreen Yu, Danton Remoto, Jose Esteban
Arcellana and others.[5]

Arcellana is buried at the Libingan ng mga Bayani.

Arcellana died in 2002. As a National Artist, he received a state funeral at the Libingan ng mga
Bayani.

His grandson Liam Hertzsprung performed a piano concert in 2006 dedicated to him.

Arcellana's published books include:

 Selected Stories (1962)

 Poetry and Politics: The State of Original Writing in English in the Philippines Today (1977)
 The Francisco Arcellana Sampler (1990).

Rolando Tinio
From Wikipedia, the free encyclopedia

  (Redirected from Rolando S. Tinio)

Rolando S. Tinio

Rolando Santos Tinio (March 5, 1937 – July 7, 1997) was a Filipinopoet, dramatist, director, actor, critic,
essayist and educator

Page 30 of 51
Biography

Rolando Tinio is a Philippine National Artist for Theater and Literature. He was born in
Gagalangin, Tondo, Manila on March 5, 1937.[5] As a child, Tinio was fond of organizing and
directing his playmates for costumed celebrations. He was an active participant in the Filipino
movie industry and enjoyed working with Philippine celebrities who he himself had admired in
his childhood. Tinio himself became a film actor and scriptwriter. He is often described as a
religious, well-behaved and gifted person. Tinio graduated with honors (a "magna cum laude"
achiever) with a degree in Philosophy from the Royal and Pontifical University of Santo Tomas
at age 18 in 1955 and an M.F.A. degree in Creative Writing:Poetry from the State University of
Iowa.[1][2][3][5]

In Iowa, Tinio was known as a great writer that used English as the medium of the Filipino
writer. He wrote his poetic collection: Rage and Ritual which won an award from the University
of the Philippines. Bienvenido Lumbera, also an alumnus of the Royal and Pontifical University
of Santo Tomas, describes this collection as elegant and with a truly contemporary tone if taken
from the European literary critical view. At this point in time, Tinio believed that only English
can hone the themes that he wanted to communicate in his works. Once, in a conference, an
author delivered his belief in the value of the Tagalog dialect in Creative Writing. In response to
this, Tinio published an article in the scholarly journal Philippine Studies, which contained parts
of English poems translated into Tagalog. The article’s purpose was to prove the inadequacy of
Tagalog as the writer’s medium. (Lumbera)

In the mid-1960s, however, Tinio decided to try writing in Tagalog and the product of this trial
was the collection of poems now called Bagay. Rolando Tinio was the sole inventor of “Taglish”
in Philippine poetry. Through this, he gave an authentic tone to the poetry of the native middle-
class Filipino. In 1972, Tinio wrote another poetry collection: Sitsit sa Kuliglig and this showed
the great contrast between his old and new advocacy. If in Rage and Ritual, portrayals of art and
the artist that are not closely associated with the Filipino lifestyle are communicated, Sitsit sa
Kuliglig clearly portrays the everyday experiences of a Tondo-grown individual now living in
Loyola heights. Heaven and earth; the gap between Tinio’s works in English and those in
Tagalog.(Lumbera)

Tinio was also an actor, director, and a set and costume designer. He served all these roles during
his stay with the Ateneo Experimental Theater. Tinio chooses the plays, designs the stage,
directs, creates the costumes and determines the musical score and other sounds. Productions of
the Ateneo Experimental Theater are completely his vision. In his production of Oedipus Rex, he
replaced the Greek costumes with modern renditions made primarily of metal pipes supposedly
to express the thought of industrial 20th century. (Lumbera)

His work with the Ateneo Experimental Theater expresses the concept of the actor being merely
one of the director’s tools in shaping the stage; communicate his vision through all aspects of the
production. The last production of Tinio’s “personal” theater company was entitled ?. The
production was performed in a classroom rather than an auditorium and Tinio made the actors
mingle freely with the audience. There is no real “meaning” in the action and there is no definite
storyline. The “meaning” is hidden in the intentional actions of the actors and the unexpected
reply of the audience (Lumbera)

He published four seminal books of poems between 1972 and 1993, in which, along with his
longtime friend, Bienvenido Lumbera, helped modernize the traditionally sentimental Filipino
style. He had also worked on his own projects such as the Ateneo Experimental Theater
productions and other serious dramas in Filipino. His contribution to Philippine literature and
theater is immense.[1][2][3]

Circa 1976, Tinio also wrote the lyrics for the six hymns of the "Misa ng Alay-Kapwa" the music
for which was composed by Fr. Eduardo P. Hontiveros, SJ. (The most popular of these hymns

Page 31 of 51
still sung in Churches throughout the Philippines is "Buksan ang Aming Puso.) These hymns
were published in the now out of print, -Mga Awiting Pansamba-.

Rolando Santos Tinio was directing a musical when he suffered a heart attack in Manila on July
7, 1997. He died on July 8, 1997 at age 60. His wife, theatre and film actress, Ella Luansing had
died some years before. He was survived by his two children, Antonio and Victoria.[1][2][3]

Works
Poetry collections

 "Sitsit sa Kulilig" (Whistling at Cicadas) or (Shusshing Cicadas) (1972) [1][2][3]

 "Dunung-Dunungan" (Pedantry) (1975)[1][2][3]
 "Kristal na Uniberso" (Crystal Universe) (1989)
 "Trick of Mirrors" (1993)[1][2][3]
 "Ang Burgis sa Kanyang Almusal"(1970)
 "Mga Ehersisyong Analitiko"
 "Na DASTINGO kaba?"

Translated plays

 "Laruang Kristal" (The Glass Menagerie) (1966)[1][2][3]

 "Pahimakas sa Isang Ahente" (Death of a Salesman) (1966) [1][2][3]
 "Paghihintay Kay Godo" (Waiting for Godot) (1967)
 "Miss Julie" (1967)[1][2][3]
 "Rama Hari" (Rama, King) (1980)

Essay collections

 "A Matter of Language, Where English Fails" (1990) [1][2][3]

Newspaper columns

 "Touchstones" for Metro Manila (1977)[1][2][3]

 "Totally Tinio" for Manila Chronicle (1986–1987, 1990) [1][2][3]
 "In Black and White" for Philippine Daily Globe (1987–1989) [1][2][3]

Achievements

Tinio was known for translating Westernclassics, which includes the works of Sophocles,
Shakespeare, Ibsen, Chekhov, Puccini and Verdi, into Tagalog. He did these translations in order
to advance the Filipino language. He was a prolific poet and writer who helped establish the
Filipino-language drama in the 1970s.[1][2][3][6]

He was made a National Artist of the Philippines for Theater and Literature in 1997.[1][2][3][7]

Other achievements of tinio

 Ten Outstanding Young Men (1967)

 Patnubay ng Sining at Kalinangan, City government of Manila (1967)
 Gantimpalang Quezon sa Panitikan (1977)
 Gawad CCP Para Sa Sining for Theater (1993)[1][2][3]
 Famas Award for 'Sidhi'(1999)

N. V. M. Gonzalez

Page 32 of 51
From Wikipedia, the free encyclopedia

Néstor Vicente Madali González (September 8, 1915 – November 28, 1999) was a Filipino novelist, short
story writer, essayist and poet. Conferred as the National Artist of the Philippines for Literature in 1997.

Biography

He was born on 8 September 1915 in Romblon, Philippines.[1] González, however, was raised in
Mansalay, a southern town of the Philippine province of Oriental Mindoro. González was a son
of a school supervisor and a teacher. As a teenager, he helped his father by delivering meat door-
to-door across provincial villages and municipalities. González was also a musician. He played
the violin and even made four guitars by hand. He earned his first peso by playing the violin
during a Chinese funeral in Romblon. González attended Mindoro High School (now Jose J.
Leido Jr. Memorial National High School) from 1927 to 1930. González attended college at
National University (Manila) but he was unable to finish his undergraduate degree. While in
Manila, González wrote for the Philippine Graphic and later edited for the Evening News
Magazine and Manila Chronicle. His first published essay appeared in the Philippine Graphic
and his first poem in Poetry in 1934. González made his mark in the Philippine writing
community as a member of the Board of Advisers of Likhaan: the University of the Philippines
Creative Writing Center, founding editor of The Diliman Review and as the first president of the
Philippine Writers' Association. González attended creative writing classes under Wallace
Stegner and Katherine Anne Porter at Stanford University. In 1950, González returned to the
Philippines and taught at the University of Santo Tomas, the Philippine Women's University and
the University of the Philippines (U.P.). At U.P., González was only one of two faculty members
accepted to teach in the university without holding a degree. On the basis of his literary
publications and distinctions, González later taught at the University of California, Santa
Barbara, California State University, Hayward, the University of Washington, the University of
California, Los Angeles, and the University of California, Berkeley.

Gonzalez is buried at the Libingan ng mga Bayani.

On 14 April 1987, the University of the Philippines conferred on N.V.M. González the degree of
Doctor of Humane Letters, honoris causa, "For his creative genius in shaping the Philippine
short story and novel, and making a new clearing within the English idiom and tradition on
which he established an authentic vocabulary, ...For his insightful criticism by which he
advanced the literary tradition of the Filipino and enriched the vocation for all writers of the
present generation...For his visions and auguries by which he gave the Filipino sense and
sensibility a profound and unmistakable script read and reread throughout the international
community of letters..."

N.V.M. González was proclaimed National Artist of the Philippines in 1997. He died on 28
November 1999 in , Philippines at the age of 84. As a National Artist, Gonzalez was honored
with a state funeral at the Libingan ng mga Bayani.

Page 33 of 51
Works

The works of Gonzalez have been published in Filipino, English, Chinese, German, Russian and
Indonesian.

Novels

 The Winds of April (1941)

 A Season of Grace (1956)
 The Bamboo Dancers (1988)
 The Land And The Rain
 The Happiest Boy in The World

Short fiction

 "The Tomato Game".1993

 A Grammar of Dreams and Other Stories. University of the Philippines Press, 1997
 The Bread of Salt and Other Stories. Seattle: University of Washington Press, 1993; University of
the Philippines Press, 1993
 Mindoro and Beyond: Twenty-one Stories. Quezon City: University of the Philippines Press, 1981;
New Day, 1989
 Selected Stories. Denver, Colorado: Alan Swallow, 1964
 Look, Stranger, on this Island Now. Manila: Benipayo, 1963
 Children of the Ash-Covered Loam and Other Stories. Manila: Benipayo, 1954; Bookmark Filipino
Literary Classic, 1992
 Seven Hills Away. Denver, Colorado: Alan Swallow, 1947

Essays

 A Novel of Justice: Selected Essays 1968–1994. Manila: National Commission for Culture and the
Arts and Anvil (popular edition), 1996
 Work on the Mountain (Includes The Father and the Maid, Essays on Filipino Life and Letters and
Kalutang: A Filipino in the World), University of the Philippines Press, 1996

Levi Celerio
From Wikipedia, the free encyclopedia

Levi Celerio (April 30, 1910 – April 2, 2002) was a Filipino composer and lyricist. Celerio was a prolific
songwriter, with over 4,000 songs to his credit. He is perhaps best known for being a leaf-player, a feat
for which he was put into the Guinness Book of World Records. In 1997, he was named National Artist of
the Philippines for Music.

Early life and career

Levi Celerio was born on April 30, 1910, in Tondo, Manila to parents that hailed from Baliuag,
Bulacan. He received a scholarship to the Academy of Music in Manila and became the youngest
member of the Manila Symphony Orchestra. He wrote several number of songs for local movies,
which earned for him the Lifetime Achievement Award of the Film Academy of the Philippines.
Celerio has written lyrics for more than 4,000 Filipino folk, Christmas, and love songs, including
many that became movie titles.

Known for being a good lyricist, his songs cherish life, convey nationalistic sentiments and utter
grand philosophies. Celerio wrote more than 4,000 songs, among them are popular pieces, which
many consider to be immortal. At one time or another, no Filipino could miss the tune or lyrics

Page 34 of 51
of Levi's Christmas songs: Pasko na Naman, Maligayang Pasko at Manigong Bagong Taon
(Ang Pasko ay Sumapit), and Misa de Gallo.

His more popular love songs include: Saan Ka Man Naroroon?, Kahit Konting Pagtingin,
Gaano Ko Ikaw Kamahal, Kapag Puso'y Sinugatan, and Ikaw, O Maliwanag na Buwan, Dahil
Sa Isang Bulaklak, Sa Ugoy ng Duyan, Bagong Pagsilang, and Sapagkat Kami'y Tao Lamang,
while his folk songs include Ang Pipit, Tinikling, Tunay na Tunay, Itik-Itik, Waray-Waray,
Pitong Gatang, Ako ay May Singsing, Alibangbang, Alembong, Galawgaw, Caprichosa, Ang
Tapis ni Inday, Dungawin Mo Hirang, Umaga na Neneng, Ikaw Kasi, and Basta't Mahal Kita.
Celerio also wrote nationalistic songs such as Ang Bagong Lipunan, Lupang Pangarap, and
Tinig ng Bayan.

Celerio, for a time, was also recognized by the Guinness Book of World Records as the only man
who could play music with a leaf. Because of his talent, Celerio was invited to The Merv Griffin
Show, where he played "All the Things You Are" with 39 musicians. Using his leaf, Levi wowed
the crowd and got the attention of the Guinness Book of World Records. The Book later listed
the entry: "The only leaf player in the world is in the Philippines". He would also later appear on
That's Incredible!.[1]

Levi Celerio is buried at the Libingan ng mga Bayani.

Personal life

He was married to Leonila Jose. They had two daughters, namely Divinia and Nora.

Proclaimed as National Artist

On October 9, 1997, pursuant to Proclamation No. 1114, PresidentFidel V. Ramos proclaimed

him a National Artist for Music and Literature. His citation read that his music "was a perfect
embodiment of the heartfelt sentiments and valued traditions of the Filipino."[2]

Later years

In his old age, Levi occasionally appeared in public, usually at a concert at the Cultural Center of
the Philippines. He was also playing at a Quezon City bar from time to time.[3]

Death

He died at the Delgado Clinic in Quezon City on April 2, 2002, at the age of 91, just two days
after the death of a fellow National Artist, Lucio San Pedro (who wrote the music for Sa Ugoy
ng Duyan). But his death was overshadowed by the death a few days earlier of the popular
matinee idol Rico Yan, thus, his death was received with little public attention. He was buried
with full military honors at the Libingan ng mga Bayani (National Heroes' Cemetery).[3]

Early life and career

Levi Celerio was born on April 30, 1910, in Tondo, Manila to parents that hailed from Baliuag,
Bulacan. He received a scholarship to the Academy of Music in Manila and became the youngest
member of the Manila Symphony Orchestra. He wrote several number of songs for local movies,
which earned for him the Lifetime Achievement Award of the Film Academy of the Philippines.
Celerio has written lyrics for more than 4,000 Filipino folk, Christmas, and love songs, including
many that became movie titles.

Page 35 of 51
Known for being a good lyricist, his songs cherish life, convey nationalistic sentiments and utter
grand philosophies. Celerio wrote more than 4,000 songs, among them are popular pieces, which
many consider to be immortal. At one time or another, no Filipino could miss the tune or lyrics
of Levi's Christmas songs: Pasko na Naman, Maligayang Pasko at Manigong Bagong Taon
(Ang Pasko ay Sumapit), and Misa de Gallo.

His more popular love songs include: Saan Ka Man Naroroon?, Kahit Konting Pagtingin,
Gaano Ko Ikaw Kamahal, Kapag Puso'y Sinugatan, and Ikaw, O Maliwanag na Buwan, Dahil
Sa Isang Bulaklak, Sa Ugoy ng Duyan, Bagong Pagsilang, and Sapagkat Kami'y Tao Lamang,
while his folk songs include Ang Pipit, Tinikling, Tunay na Tunay, Itik-Itik, Waray-Waray,
Pitong Gatang, Ako ay May Singsing, Alibangbang, Alembong, Galawgaw, Caprichosa, Ang
Tapis ni Inday, Dungawin Mo Hirang, Umaga na Neneng, Ikaw Kasi, and Basta't Mahal Kita.
Celerio also wrote nationalistic songs such as Ang Bagong Lipunan, Lupang Pangarap, and
Tinig ng Bayan.

Celerio, for a time, was also recognized by the Guinness Book of World Records as the only man
who could play music with a leaf. Because of his talent, Celerio was invited to The Merv Griffin
Show, where he played "All the Things You Are" with 39 musicians. Using his leaf, Levi wowed
the crowd and got the attention of the Guinness Book of World Records. The Book later listed
the entry: "The only leaf player in the world is in the Philippines". He would also later appear on
That's Incredible!.[1]

Levi Celerio is buried at the Libingan ng mga Bayani.

Personal life

He was married to Leonila Jose. They had two daughters, namely Divinia and Nora.

Proclaimed as National Artist

On October 9, 1997, pursuant to Proclamation No. 1114, PresidentFidel V. Ramos proclaimed

him a National Artist for Music and Literature. His citation read that his music "was a perfect
embodiment of the heartfelt sentiments and valued traditions of the Filipino."[2]

Later years

In his old age, Levi occasionally appeared in public, usually at a concert at the Cultural Center of
the Philippines. He was also playing at a Quezon City bar from time to time.[3]

Page 36 of 51
Death

He died at the Delgado Clinic in Quezon City on April 2, 2002, at the age of 91, just two days
after the death of a fellow National Artist, Lucio San Pedro (who wrote the music for Sa Ugoy
ng Duyan). But his death was overshadowed by the death a few days earlier of the popular
matinee idol Rico Yan, thus, his death was received with little public attention. He was buried
with full military honors at the Libingan ng mga Bayani (National Heroes' Cemetery).[3]

Carlos Quirino
From Wikipedia, the free encyclopedia

Carlos Lozada Quirino (14 January 1910 – 20 May 1999) was a Philippine biographer and
historian.

Life

Carlos Quirino is a nephew of Philippine president Elpidio Quirino. He is best known for his
early biography of Jose Rizal. He also wrote several works on Philippine history and biographies
of President Manuel Quezon and the painter Damian Domingo. In 1997 he was recognised as a
National Artist of the Philippines for Historical Literature.[1]

Bibliography

 Man of Destiny (1935)

 The Great Malayan (1940)
 Magsaysay and the Philippines (1958)
 Philippine Cartography (1959)
 Damian Domingo: First Eminent Filipino Painter (1961)
 History of the Philippine Sugar Industry (1974)
 Filipinos at War (1981)
 Amang, the Life and Times of Eulogio Rodriguez, Sr. (1983)

Edith Tiempo
From Wikipedia, the free encyclopedia

  (Redirected from Edith L. Tiempo)

Edith L. Tiempo (April 22, 1919 – August 21, 2011),[1] poet, fiction writer, teacher and literary
critic was a Filipino writer in the English language.

Tiempo was born in Bayombong, Nueva Vizcaya. Her poems are intricate verbal transfigurations
of significant experiences as revealed, in two of her much anthologized pieces, "Lament for the
Littlest Fellow" and "Bonsai." As fictionist, Tiempo is as morally profound. Her language has
been marked as "descriptive but unburdened by scrupulous detailing." She is an influential
tradition in Philippine Literature in English. Together with her late husband, writer and critic
Edilberto K. Tiempo, they founded (in 1962) and directed the Silliman National Writers
Workshop in Dumaguete City, which has produced some of the Philippines' best writers.

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She was conferred the National Artist Award for Literature in 1999.

Works
Novels

 A Blade of Fern (1978)

 His Native Coast (1979)
 One, Tilting Leaves
 The Alien Corn (1992)
 The Builder (2004)
 The Jumong (2006)

Short stories

 Abide, Joshua, and Other Stories (1964)

 The Corral

Poetry

 The Tracks of Babylon and Other Poems (1966)

 The Charmer's Box and Other Poet (1993)
 Marginal Annotations and Other Poems
 Inside Job
 In the beginning
 The Return

Honors and awards

 National Artist Award for Literature (1999)

 Carlos Palanca Memorial Awards for Literature
 Cultural Center of the Philippines (1979, First Prize in Novel)
 Gawad Pambansang Alagad ni Balagtas (1988)

F. Sionil José
From Wikipedia, the free encyclopedia

  (Redirected from F. Sionil Jose)

Francisco Sionil José (born 3 December 1924) is one of the most widely read Filipino writers in the
English language.[1][2] His novels and short stories depict the social underpinnings of class struggles and
colonialism in Filipino society.[3][4] José's works—written in English—have been translated into 22
languages, including Korean, Indonesian, Czech, Russian, Latvian, Ukrainian and Dutch.[

Page 38 of 51
Life and career
Early life

F. Sionil José Bust monument (Rosales, Pangasinan Presidencia).

The Inscription in the Monument (February 23, 2007).

José was born in Rosales, Pangasinan, the setting of many of his stories. He spent his childhood
in Barrio Cabugawan, Rosales, where he first began to write. José is of Ilocano descent whose
family had migrated to Pangasinan before his birth. Fleeing poverty, his forefathers traveled
from Ilocos towards Cagayan Valley through the Santa Fe Trail. Like many migrant families,
they brought their lifetime possessions with them, including uprooted molave posts of their old
houses and their alsong, a stone mortar for pounding rice.[1][2][3][4]

One of the greatest influences to José was his industrious mother who went out of her way to get
him the books he loved to read, while making sure her family did not go hungry despite poverty
and landlessness. José started writing in grade school, at the time he started reading. In the fifth
grade, one of José’s teachers opened the school library to her students, which is how José
managed to read the novels of José Rizal, Willa Cather’s My Antonia, Faulkner and Steinbeck.
Reading about Basilio and Crispin in Rizal’s Noli Me Tangere made the young José cry, because
injustice was not an alien thing to him. When José was five years old, his grandfather who was a
soldier during the Philippine revolution, had once tearfully showed him the land their family had
once tilled but was taken away by rich mestizolandlords who knew how to work the system
against illiterates like his grandfather.[1][2][3][4]

Writing career

José attended the University of Santo Tomas after World War II, but dropped out and plunged
into writing and journalism in Manila. In subsequent years, he edited various literary and
journalistic publications, started a publishing house, and founded the Philippine branch of PEN,
an international organization for writers.[1][2] José received numerous awards for his work. The
Pretenders is his most popular novel, which is the story of one man's alienation from his poor
background and the decadence of his wife's wealthy family.[3][4]

José Rizal's life and writings profoundly influenced José's work. The five volume Rosales Saga,
in particular, employs and interrogates themes and characters from Rizal's work.[7] Throughout
his career, José's writings espouse social justice and change to better the lives of average Filipino

Page 39 of 51
families. He is one of the most critically acclaimed Filipino authors internationally, although
much underrated in his own country because of his authentic Filipino English and his anti-elite
views.[1][2][3][4]

"Authors like myself choose the city as a setting for their fiction because the city itself illustrates
the progress or the sophistication that a particular country has achieved. Or, on the other hand, it
might also reflect the kind of decay, both social and perhaps moral, that has come upon a
particular people."

— F. Sionil José, BBC.com, 30 July 2003[1]

Sionil José also owns Solidaridad Bookshop, which is on Padre Faura Street in Ermita, Manila.
The bookshop offers mostly hard-to-find books and Filipiniana reading materials. It is said to be
one of the favorite haunts of many local writers.[1][2][3][4]

In his regular column, Hindsight, in The Philippine STAR, dated 12 September 2011, he wrote
"Why we are shallow", blaming the decline of Filipino intellectual and cultural standards on a
variety of modern amenities, including media, the education system—particularly the loss of
emphasis on classic literature and the study of Greek and Latin—and the abundance and
immediacy of information on the Internet.[8]

Awards

Five of José's works have won the Carlos Palanca Memorial Awards for Literature: his short
stories The God Stealer in 1959, Waywaya in 1979, Arbol de Fuego (Firetree) in 1980, his novel
Mass in 1981, and his essay A Scenario for Philippine Resistance in 1979.[9]

Since 1980s, various award-giving bodies have feted José with awards for his outstanding works
and for being an outstanding Filipino in the field of literature. His first award was the 1979 City
of Manila Award for Literature which was presented to him by Manila Mayor Ramon Bagatsing.
The following year, he was given the prestigious Ramon Magsaysay Award for Journalism,
Literature and Creative Communication Arts. Among his other awards during that period include
the Outstanding Fulbrighters Award for Literature (1988) and the Cultural Center of the
Philippines Award (Gawad para sa Sining) for Literature (1989).

By the turn of the century, José continued to receive recognition from several award-giving
bodies. These include the Cultural Center of the Philippines Centennial Award in 1999, the
prestigious Chevalier dans l'Ordre des Arts et Lettres in 2000, and the Order of Sacred Treasure
(Kun Santo Zuiho Sho) in 2001. In that same year, the Philippine government bestowed upon
him the prestigious title of National Artist for Literature for his outstanding contributions to
Philippine literature.[10] In 2004, José was garnered the coveted Pablo Neruda Centennial Award
in Chile.

Works
Rosales Saga novels

A five-novel series that spans three centuries of Philippine history, translated into 22 languages

 Po-on (Source) (1984) ISBN 971-8845-10-0

 The Pretenders (1962) ISBN 971-8845-00-3
 My Brother, My Executioner (1973) ISBN 971-8845-16-X
 Mass (December 31, 1974) ISBN 0-86861-572-2
 Tree (1978) ISBN 971-8845-14-3

Page 40 of 51
Original novels containing the Rosales Saga

 Source (Po-on) (1993) ISBN 0-375-75144-0

 Don Vicente (1980) ISBN 0-375-75243-9 – Tree and My Brother, My Executioner combined in one
book
 The SamsonsISBN 0-375-75244-7The Pretenders and Mass combined in one book

Other novels

 Gagamba (The Spider Man) (1991) ISBN 978-971-536-105-7

 Viajero (1993) ISBN 978-971-8845-04-2
 Sin (1994) ISBN 0-517-28446-4
 Ben Singkol (2001) ISBN 971-8845-32-1
 Ermita (1988) ISBN 971-8845-12-7
 Vibora! (2007)
 Sherds (2008)
 Muse and Balikbayan: Two Plays (2008)
 Short Stories (with Introduction and Teaching Guide by Thelma B. Kintanar) (2008)
 The Feet of Juan Bacnang (2011)

Novellas

 Three Filipino Women (1992) ISBN 9780307830289

 Two Filipino Women (1981) ISBN 9711001136

Short story collections

 The God Stealer and Other Stories (2001) ISBN 971-8845-35-6

 Puppy Love and Thirteen Short Stories (March 15, 1998) ISBN 971-8845-26-7 and ISBN 978-971-
8845-26-4
 Olvidon and Other Stories (1988) ISBN 971-8845-18-6
 Platinum: Ten Filipino Stories (1983) ISBN 971-8845-22-4 (now out of print, its stories are added
to the new version of Olvidon and Other Stories)
 Waywaya: Eleven Filipino Short Stories (1980) ISBN 99922-884-0-X
 Asian PEN Anthology (as editor) (1966)
 Short Story International (SSI): Tales by the World's Great Contemporary Writers (Unabridged,
Volume 13, Number 75) (co-author, 1989) ISBN 1-55573-042-6

Children's books

 The Molave and The Orchid (November 2004)

Verses

 Questions (1988)

Essays and non-fiction

 In Search of the Word (De La Salle University Press, March 15, 1998) ISBN 971-555-264-1 and
ISBN 978-971-555-264-6
 We Filipinos: Our Moral Malaise, Our Heroic Heritage
 Soba, Senbei and Shibuya: A Memoir of Post-War JapanISBN 971-8845-31-3 and ISBN 978-971-
8845-31-8
 Heroes in the Attic, Termites in the Sala: Why We are Poor (2005)
 This I Believe: Gleanings from a Life in Literature (2006)
 Literature and Liberation (co-author) (1988)

Page 41 of 51
In translation

 Zajatec bludného kruhu (The Pretenders) (Czech language, Svoboda, 1981)

 Po-on (Tagalog language, De La Salle University Press, 1998) ISBN 971-555-267-6 and ISBN 978-
971-555-267-7
 Anochecer (Littera) (Spanish language, Maeva, October 2003) ISBN 84-95354-95-0 and ISBN 978-
84-95354-95-2

In anthologies

 Tong (a short story from Brown River, White Ocean: An Anthology of Twentieth-Century
Philippine Literature in English by Luis Francia, Rutgers University Press, August 1993) ISBN 0-
8135-1999-3 and ISBN 978-0-8135-1999-9

In film documentaries

 Francisco Sionil José – A Filipino Odyssey by Art Makosinski (Documentary, in color, 28min,
16mm. Winner of the Golden Shortie for Best Documentary at the 1996 Victoria Film and Video
Festival)[11]

Books about F. Sionil José

 Frankie Sionil José: A Tribute by Edwin Thuboo (editor) (Times Academic Press, Singapore,
January 2005) ISBN 981-210-425-9 and ISBN 978-981-210-425-0
 Conversations with F. Sionil José by Miguel A. Bernard (editor) (Vera-Reyes Publishing Inc.,
Philippines, 304 pages, 1991
 The Ilocos: A Philippine Discovery by James Fallows, The Atlantic Monthly magazine, Volume
267, No. 5, May 1991
 F. Sionil José and His Fiction by Alfredo T. Morales (Vera-Reyes Publishing Inc., Philippines, 129
pages)
 Die Rosales Saga von Francisco Sionil José. Postkoloniale Diskurse in der Romanfolge eines
Philippinischen Autors by Hergen Albus (SEACOM Edition, Berlin, 2009)
 Post-colonial Discourses in Francisco Sionil José's Rosales Saga: Post-colonial Theory vs.
Philippine Reality in the Works of a Philippine Autor by Hergen Albus (Südwestdeutscher Verlag
für Hochschulschriften, 14. November 2012)

Virgilio S. Almario
From Wikipedia, the free encyclopedia

Virgilio S. Almario, (born March 9, 1944) better known by his pen name, RIO ALMA, is a
Filipino artist, poet, critic, translator, editor, teacher, and cultural manager.[1] He is a National
Artist of the Philippines and currently serves as the chairman of the Komisyon sa Wikang
Filipino (KWF), the government agency mandated to promote and standardize the use of the
Filipino language.

Growing up in Bulacan among peasants, Almario sought his education at Manila and completed
his degree in A.B. Political Science at the University of the Philippines.

His life as a poet started when he took master’s course in education at the University of the East
where he became associated with Rogelio G. Mangahas and Lamberto E. Antonio.

A prolific writer, he spearheaded the second successful modernist movement in Filipino poetry
together with Rogelio Mangahas and Teo Antonio. His earliest pieces of literary criticism were
collected in Ang Makata sa Panahon ng Makina (1972), now considered the first book of literary
criticism in Filipino. Later, in the years of martial law, he set aside modernism and formalism

Page 42 of 51
and took interest in nationalism, politics and activist movement. As critic, his critical works deal
with the issue of national language.

Aside from being a critic, Almario engaged in translating and editing. He has translated the best
contemporary poets of the world. He has also translated for theater production the plays of Nick
Joaquin, Bertolt Brecht, Euripedes and Maxim Gorki. Other important translations include the
famous works of the Philippines' national hero, José Rizal, namely Noli Me Tangere and El
filibusterismo. For these two, he was awarded the 1999 award for translation by the Manila
Critics Circle.[2][3]

Almario has been a recipient of numerous awards such as several Palanca Awards, two grand
prizes from the Cultural Center of the Philippines, the Makata ng Taon of the Komisyon sa
Wikang Filipino, the TOYM for literature, and the Southeast Asia Write Award of Bangkok.

He was an instructor at the Lagao Central Elementary School from 1969-1972. He only took his
M.A. in Filipino in 1974 in the University of the Philippines. In 2003, he was appointed Dean of
the College of Arts and Letters in the said university. On June 25 of the same year, he was
proclaimed National Artist for Literature.[4]

Almario is also the founder and workshop director of the Linangan sa Imahen, Retorika, at Anyo
(LIRA), an organization of poets who write in Filipino. Award-winning writers and poets such as
Roberto and Rebecca Añonuevo, Romulo Baquiran Jr., Michael Coroza, Jerry Gracio, and Vim
Nadera are but some of the products of the LIRA workshop.

He was a founding member of the Gallan sa Arte at Tula (GAT), along with fellow poets Teo
Antonio and Mike Bigornia.

Works
Poetry Collections

 Palipad-Hangin. (1985)
 Katon Para sa Limang Pandama. (1987)
 Sentimental. (2004)
 Estremelenggoles. (2004)
 Memo Mulang Gimokudan. (2005)
 Dust Devils. (2005)
 Sonetos Postumos, book of poems with translation by Marne Kilates and paintings by National
Artist Ang Kiukok. (2006)
 Tatlong Pasyon sa Ating Panahon, poems for children with illustrations by Mark Justiniani, Neil
Doloricon, Ferdinand Doctolero. (2006)
 Buwan, Buwang, Bulawan. (2009)

Alejandro Roces
From Wikipedia, the free encyclopedia

  (Redirected from Alejandro R. Roces)

Alejandro Reyes Roces (13 July 1924 – 23 May 2011) was a Filipino author, essayist, dramatist
and a National Artist of the Philippines for literature. He served as Secretary of Education from
1961 to 1965, during the term of Philippine PresidentDiosdado Macapagal.

Noted for his short stories, the Manila-born Roces was married to Irene Yorston Viola
(granddaughter of Maximo Viola), with whom he had a daughter, Elizabeth Roces-Pedrosa.
Anding attended elementary and high school at the Ateneo de Manila University, before moving

Page 43 of 51
to the University of Arizona and then Arizona State University for his tertiary education. He
graduated with a B.A. in Fine Arts and, not long after, attained his M.A. from Far Eastern
University back in the Philippines.[1] He has since received honorary doctorates from Tokyo
University, Baguio's St. Louis University, Polytechnic University of the Philippines, and the
Ateneo de Manila University. Roces was a captain in the Marking’s Guerilla during World War
II and a columnist in Philippine dailies such as the Manila Chronicle and the Manila Times. He
was previously President of the Manila Bulletin and of the CAP College Foundation.

In 2001, Roces was appointed as Chairman of the Movie and Television Review and
Classification Board (MTRCB). Roces also became a member of the Board of Trustees of GSIS
(Government Service Insurance System) and maintained a column in the Philippine Star called
Roses and Thorns.

Literary works

During his freshman year in the University of Arizona, Roces won Best Short Story for We
Filipinos are Mild Drinkers. Another of his stories, My Brother’s Peculiar Chicken, was listed as
Martha Foley’s Best American Stories among the most distinctive for years 1948 and 1951.
Roces did not only focus on short stories alone, as he also published books such as Of Cocks and
Kites (1959), Fiesta (1980), and Something to Crow About (2005). Of Cocks and Kites earned
him the reputation as the country's best writer of humorous stories. It also contained the widely
anthologized piece “My Brother’s Peculiar Chicken”. Fiesta, is a book of essays, featuring folk
festivals such as Ermita's Bota Flores, Aklan's Ati-atihan, and Naga's Peñafrancia.

Something to Crow About, on the other hand, is a collection of Roces’ short stories. The book
has been recently brought to life by a critically acclaimed play of the same title; the staged
version of Something to Crow About is the first Filipino zarzuela in English. This modern
zarzuela tells the story of a poor cockfighter named Kiko who, to his wife's chagrin, pays more
attention to the roosters than to her. Later in the story, a conflict ensues between Kiko’s brother
Leandro and Golem, the son of a wealthy and powerful man, over the affections of a beautiful
woman named Luningning. The resolution? A cockfight, of course. Something to Crow About
won the Aliw Award for Best Musical and Best Director for a Musical Production. It also had a
run off-Broadway at the La Mama Theater in New York.

Through the years, Roces has won numerous awards, including the Patnubay ng Sining at
Kalinangan Award, the Diwa ng Lahi Award, the Tanging Parangal of the Gawad CCP Para sa
Sining, and the Rizal Pro Patria Award. He was finally bestowed the honor as National Artist of
Literature on the 25th of June 2003.

When once asked for a piece of advice on becoming a famous literary figure Roces said, "You
cannot be a great writer; first, you have to be a good person".[2]

Socio-Cultural-Civic Affiliations

 Trustee, Government Service Insurance System (GSIS)

 Chairman, College Assurance Plan Foundation
 Columnist, “Roses and Thorns” of The Philippine Star
 Chairman, Movie and Television Review and Classification Board (MTRCB), 2001
 President, Bagong Katipunan Foundation
 President, UNESCO Philippine Centre of the International Theatre Institute
 President, Bulletin Publishing Corporation
 Secretary of Education, Republic of the Philippines, 1961
 Dean of the Institute of Arts and Science, Far Eastern University
 Co-Founder of the Philippine PEN
 Board of Regents, University of the Philippines
 Chairman, Board of Trustees, Colegio San Agustin
 Chairman, Board of Regents, Pamantasan ng Lungsond ng Maynila

Page 44 of 51
  Chairman, Board of Regents, St. Louis University, Baguio City
 Chairman, Board of Regents, St. Mary's University, Bayombong, Nueva Vizcaya
 Chair, United Way Philippines
 Chairman, UNESCO National Commission of the Philippines
 President, Cultural Nationalism of the Philippines
 Head, FEU Cultural Research Team
 President, Philippine International Friendship Organization
 President, Research Foundation in Philippine Anthropology and Archeology, Inc.
 Vice President, Art Association of the Philippines
 Vice President, Manila Symphony Society
 President, Philippine-Italian Association
 Chair, Philippine Selection Committee - Eisenhower Fellowship Inc.
 Member of the Board, Academia Filipina de la Lengua Española
 Member of the Board, Association for Philippine China Understanding
 Member of the Board, National Historical Commission of the Philippines
 Board of Authenticators, National Museum
 Member of the Board, TOYM Foundation
 Member of the Board, Casino Español de Manila
 Member of the Board, Philippine National Bank
 Member of the Board, Brent International School, Baguio
 Member of the Board, Yuchengco Museum
 First Chairman of the Board, PETA Theater
 First Chairman of the Board, Philippine Ballet Theater

Bienvenido Lumbera
From Wikipedia, the free encyclopedia

Bienvenido Lumbera is a Filipino poet, critic and dramatist. He is a National Artist of the
Philippines and a recipient of the Ramon Magsaysay Award for Journalism, Literature and
Creative Communications. He won numerous literary awards, including the National Book
Awards from the National Book Foundation, and the Carlos Palanca Memorial Awards.

Personal life

Lumbera was born in Lipa on April 11, 1932.[1] He was barely a year old when his fathers,
Christian Lumbera (a Shooting Guard with a local basketball team), fell from a fruit tree, broke
his back, and died. Carmen Lumbera, his mother, suffered from cancer and died a few years
later. By the age of five he was an orphan. He and his older sister were cared for by their paternal
grandmother, Eusebia Teru.

When the war ended, Lumbera and his grandmother returned to their home in Lipa. Eusebia,
however, soon succumbed to old age and he was once again orphaned. For his new guardians, he
was asked to choose between his maiden aunts with whom his sister had stayed or Enrique and
Amanda Lumbera, his godparents. The latter had no children of their own and Bienvenido, who
was barely fourteen at the time, says he chose them mainly because "they could send me to
school."

Education

Lumbera received his Litt.B. and M.A. degrees from the University of Santo Tomas in 1950, and
then his Ph.D. in Comparative Literature from Indiana University in 1968.

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Academe

Lumbera taught Literature, Philippine Studies and Creative Writing at the Ateneo de Manila
University, De La Salle University, the University of the Philippines Diliman, and the University
of Santo Tomas. He was also appointed visiting professor of Philippine Studies at Osaka
University of Foreign Studies in Japan from 1985 to 1988 and the very first Asian scholar-in-
residence at the University of Hawaii at Manoa.

Martial law

After Philippine PresidentFerdinand Marcos declared Martial Law, Lumbera was arrested by the
Philippine military in January 1974. He was released in December of the same year. Cynthia
Nograles, his former student at the Ateneo de Manila University, wrote to Gen. Fidel Ramos for
his release. Lumbera married Cynthia a few months later. In 1976, Lumbera began teaching at
the Department of Filipino and Philippine Literatures, U.P. College of Arts and Letters. In 1977,
he served as editor of Diliman Review upon the request of then College of Arts and Sciences
Dean Francisco Nemenzo. The publication was openly against the dictatorship but was left alone
by Marcos’ authorities.

Creative works

At the height of Martial Law, Lumbera had taken on other creative projects. He began writing
librettos for musical theater. Initially, the Philippine Educational Theater Association (PETA)
requested him to create a musical based on Carlos Bulosan’s America Is in the Heart.
Eventually, Lumbera created several highly acclaimed musical dramas such as Tales of the
Manuvu; Rama, Hari; Nasa Puso ang Amerika; Bayani; Noli me Tangere: The Musical; and
Hibik at Himagsik Nina Victoria Laktaw. Sa Sariling Bayan: Apat na Dulang May Musika, an
anthology of Lumbera's musical dramas, was published by De La Salle University-Manila Press
in 2004. Lumbera authored numerous books, anthologies and textbooks such as: Revaluation;
Pedagogy; Philippine Literature: A History and Anthology; Rediscovery: Essays in Philippine
Life and Culture; Filipinos Writing: Philippine Literature from the Regions; and Paano
Magbasa ng Panitikang Filipino: Mga Babasahing Pangkolehiyo.

Organizational affiliations

Lumbera also established his leadership among Filipino writers, artists and critics by co-
founding cultural organizations such as the Philippine Comparative Literature Association
(1969); Pamana ng Panitikan ng Pilipinas (1970); Kalipunan para sa mga Literatura ng
Pilipinas (1975); Philippine Studies Association of the Philippines (1984) and Manunuri ng
Pelikulang Pilipino (1976). In such ways, Lumbera contributed to the downfall of Marcos
although he was in Japan during the 1986 Edsa uprising, teaching at the Osaka University of
Foreign Studies.

Lumbera is also the founding and current chairperson of the Board of Trustees of the multi-
awarded media group Kodao Productions and a member of the Concerned Artists of the
Philippines and the Bagong Alyansang Makabayan.

Literary reputation

Lumbera is now widely acknowledged as one of the pillars of contemporary Philippine literature,
cultural studies and film, having written and edited numerous books on literary history, literary
criticism, and film. He also received several awards citing his contribution to Philippine letters,
most notably the 1975 Palanca Award for Literature; the 1993 Magsaysay Award for Journalism,
Literature, and Creative Communication Arts; several National Book Awards from the Manila
Critics Circle; the 1998 Philippine Centennial Literary Prize for Drama; and the 1999 Cultural

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Center of the Philippines Centennial Honors for the Arts. He is currently the editor of Sanghaya
(National Commission on Culture and the Arts), Professor at the Department of English in the
School of Humanities of the Ateneo de Manila University, Emeritus Professor at the Department
of Filipino and Philippine Literature, College of Arts and Letters, U.P. Diliman, and Professor of
Literature at De La Salle University. For a time, he also served as president of the Alliance of
Concerned Teachers (ACT), a national organization of more than 40,000 teachers and employees
in the education sector.

The launching of Bayan at Lipunan: Ang Kritisismo ni Bienvenido Lumbera, edited by Rosario
Torres-Yu and published by the University of Santo Tomas Publishing House, was celebrated by
the University of the Philippines in January 2006.

Bienvenido Lumbera was proclaimed National Artist in April 2006.

Works
Poetry

 Ka Bel

Literary criticism

 Revaluation: Essays on Literature, Cinema, and Popular Culture, 1984

 Tagalog Poetry, 1570-1898: Tradition and Influences on Its Development, 1986
 Abot-Tanaw: Sulyap at Suri sa Nagbabagong Kultura at Lipunan, 1987

Textbooks

 Pedagogy
 Philippine Literature: A History and Anthology
 Rediscovery: Essays in Philippine Life and Culture
 Filipinos Writing: Philippine Literature from the Regions
 Paano Magbasa ng Panitikang Filipino: Mga Babasahing Pangkolehiyo

Awards

 National Artist, April, 2006

 Ramon Magsaysay Award for Journalism, Literature, and Creative Communication Arts, 1993
 Pambansang Gawad Pambansang Alagad ni Balagtas, Unyon ng mga Manunulat ng Pilipinas
(UMPIL)
 National Book Awards from the Manila Critics' Circle
 Carlos Palanca Memorial Award for Literature
 Visiting Professorship, Osaka University of Foreign Studies
 Professor Emeritus, University of the Philippines
 Philippine Centennial Literary Prize for Drama
 Cultural Center of the Philippines Centennial Honors for the Arts
 1st Asian scholar-in-residence at the University of Hawaii at Manoa

Cirilo Bautista
From Wikipedia, the free encyclopedia

  (Redirected from Cirilo F. Bautista)

Cirilo F. Bautista (born 1941) is a Filipino poet, fictionist, critic and writer of nonfiction. He is conferred
with the National Artist of the Philippines award.

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Education

He received his basic education from Legarda Elementary School (1st Honorable Mention, 1954)
and Mapa High School (Valedictorian, 1959). He received his degrees in AB Literature from the
University of Santo Tomas (magna cum laude, 1963), MA Literature from St. Louis University,
Baguio City (magna cum laude, 1968), and Doctor of Arts in Language and Literature from De
La Salle University-Manila (1990). He received a fellowship to attend the International Writing
Program at the University of Iowa (1968–1969) and was awarded an honorary degree—the only
Filipino to have been so honored there.

Career

Bautista taught creative writing and literature at St. Louis University (1963–1968) and the
University of Santo Tomas (1969–1970) before moving to De La Salle University-Manila in
1970. He is also a co-founding member of the Philippine Literary Arts Council (PLAC) and a
member of the Manila Critics Circle, Philippine Center of International PEN and the Philippine
Writers Academy.

Bautista has also received Carlos Palanca Memorial Awards (for poetry, fiction and essay in
English and Filipino) as well as Philippines Free Press Awards for Fiction, Manila Critics' Circle
National Book Awards, Gawad Balagtas from the Unyon ng mga Manunulat ng Pilipinas, the
Pablo Roman Prize for the Novel, and the highest accolades from the City of Manila, Quezon
City and Iligan City. Bautista was hailed in 1993 as Makata ng Taon by the Komisyon ng mga
Wika ng Pilipinas for winning the poetry contest sponsored by the government. The last part of
his epic trilogy The Trilogy of Saint Lazarus, entitled Sunlight on Broken Stones, won the
Centennial Prize for the epic in 1998. He was an exchange professor in Waseda University and
Ohio University. He became an Honorary Fellow in Creative Writing at the University of Iowa
in 1969, and was the first recipient of a British Council fellowship as a creative writer at Trinity
College, Cambridge in 1987.

Bautista works include Boneyard Breaking, Sugat ng Salita, The Archipelago, Telex Moon,
Summer Suns, Charts, The Cave and Other Poems, Kirot ng Kataga, and Bullets and Roses: The
Poetry of Amado V. Hernandez. His novel Galaw ng Asoge was published by the University of
Santo Tomas Press in 2004. His latest book, Believe and Betray: New and Collected Poems,
appeared in 2006, published by De La Salle University Press.

His poems have appeared in major literary journals, papers, and magazines in the Philippines and
in anthologies published in the United States, Japan, the Netherlands, China, Romania, Hong
Kong, Germany and Malaysia. These include: excerpts from Sunlight on Broken Stones,
published in World Literature Today, USA, Spring 2000; What Rizal Told Me (poem), published
in Manoa, University of Hawaii, 1997; She of the Quick Hands: My Daughter and The Seagull
(poems), published in English Teacher’s Portfolio of Multicultural Activities, edited by John
Cowen (New York: Simon & Schuster, 1996).

Aside from his teaching, creative and research activities as a Professor Emeritus of Literature at
the College of Liberal Arts, De La Salle University-Manila, Bautista is also a columnist and
literary editor of the Philippine Panorama, the Sunday Supplement of the Manila Bulletin. He is
also a member of the Board of Advisers and Associate, Bienvenido Santos Creative Writing
Center of De La Salle University-Manila and Senior Associate, The Center for Creative Writing
and Studies of the University of Santo Tomas.

, U.S. Works
Poetry

 Summer Suns (with Albert Casuga, 1963)

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  The Cave and Other Poems (1968)
 The Archipelago (1970)
 Charts (1973)
 Telex Moon (1981)
 Sugat ng Salita (1985)
 Kirot Ng Kataga (1995),
 Sunlight On Broken Stones (2000)
 Tinik Sa Dila: Isang Katipunan Ng Mga Tula (2003)
 The Trilogy Of Saint Lazarus (2001)
 Believe and Betray: New and Collected Poems (2006)

wew.

Fiction

 Stories (1990)
 Galaw ng Asoge (2004)

Literary Theory and Cultural Studies

 Breaking Signs (1990)

 Words And Battlefields: A Theoria On The Poem (1998)
 The Estrella D. Alfon Anthology Vol. I - Short Stories (2000)
 Bullets And Roses: The Poetry Of Amado V. Hernandez / A Bilingual Edition (translated Into
English And With A Critical Introduction) (2002)

Awards, Prizes and Honors

 First Prize in Epic Writing English Category, of the National Centennial Commission’s Literary
Contests, 1998, sponsored by the Philippine Government. The judges in this prestigious contest,
held to commemorate the Centennial of our freedom, gave the prize to Bautista’s Sunlight on
Broken Stones, the last volume in his The Trilogy of Saint Lazarus. This epic of 3,050 lines
concludes his monumental work on Philippine history.
 In 1999, Sunlight on Broken Stones, published by De La Salle University-Manila Press, garnered
the National Book Award given by the Manila Critics Circle and the Gintong Aklat Award given by
the Book Development Association of the Philippines
 Hall of Fame of the Palanca Awards Foundation for achievements in the field of literature, 1995.
This is given to Filipino writers who have distinguished themselves by winning at least five First
Prizes in the Palanca Literary Contests.
 Don Carlos Palanca Memorial Awards for Literature nine (9) times for poetry, fiction and essay.
His prize-winning works include: Philippine Poetics: The Past Eight Years (essay), 1981;
Crossworks (collected poems), 1979; Charts (collected poems), 1973; The Archipelago (epic
poem), 1970; Telex Moon (epic poem), 1975; The Cave and Other Poems (collected poems),
1968; and the short stories Ritual and The Man Who Made a Covenant with the Wind.
 National Book Award given by the Manila Critics Circle five (5) times, for The Archipelago, Sugat
ng Salita, Sunlight on Broken Stones, The Trilogy of Saint Lazarus and Tinik sa Dila.
 Diwa ng Lahi, Gawad Antonio Villegas at Patnubay ng Sining at Kalinangan in the field of
literature by the City of Manila. This award is given to outstanding Manila artists who have
contributed to the advancement of arts and culture. 430th Araw ng Maynila, June 22, 2001,
Bulwagang Villegas, Manila City Hall.
 Gawad Balagtas in 1997 by the Unyon ng mga Manunulat ng Pilipinas for Bautista’s
achievements as a poet, fictionist, and critic.
 Included in Who’s Who in the World, 1996, New Providence, New Jersey, U.S.
 Makata ng Taon 1993, sponsored by the Komisyon ng mga Wikang Pilipinas with the poem Ulat
Buhat Sa Bulkan. With this and his Palanca award for Tagalog poetry and his winning the First
Prize in the Poetry contest sponsored by the Dyaryo Filipino with his poem, Ilang Aeta Mula Sa
Botolan, Bautista affirmed his importance as a bilingual writer.

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  Included in The Oxford Companion to the English Language, edited by Tom MacArthur, Oxford
University Press, 1992.
 Included in The Traveller’s Guide to Asian Literature, 1993.
 Knight Commander of Rizal by the Order of the Knights of Rizal, December 1998, in recognition
of Bautista’s literary works that helped propagate the ideas and achievements of the national
hero. His The Trilogy of Saint Lazarus has the national hero as the main character and focal point
in the author’s poetic recreation of the development of the Filipino soul from the beginning of
our history to the present.
 Adopted Son of Iligan City, 1997, by virtue of Executive Order #98 signed by Mayor Alejo Yanes,
for his contribution “in the development of creative writing in Mindanao, for serving as a role
model among young writers, as well as his tireless promotion of Iligan City as a center for
literary arts in the Philippines.” Bautista was instrumental in the founding of the Iligan Writers
Workshop and was its primary mover in attracting young writers to congregate in Mindanao and
learn the craft of writing.
 Gawad Manuel L. Quezon in 1996 by the Quezon City Government in connection with the
Quezon Day Celebrations for Bautista’s outstanding achievement as writer, editor and teacher.
 Certificate of appreciation from the Benigno Aquino, Jr., Foundation for his literary works that
helped perpetuate the memory of the late senator
 St. Miguel Febres Cordero Research Award, SY2002-03 given by De La Salle University-Manila,
2002. This award was given to Bautista in recognition of his achievements in research and
creative writing.
 First Annual Dove Award by the College of Liberal Arts, De La Salle University-Manila, February
14, 2001. An alumnus of the Graduate School of the University, Bautista was honored for the
contributions he had in energizing the writing life in campus through his co-founding of the
creative writing programs in the University and activities as Writer-in-Residence for fifteen
years.
 Most Outstanding Achievement Award in Literature by the Philets-Artlets Centennial Alumni
Association of the University of Santo Tomas, 1996.
 Most Outstanding Alumnus Award for Literature, Mapa High School Alumni Association, 1983.
 Pablo Roman Prize for his Novel-in-Progress entitled Reconstruction, 1982.
 Most Outstanding Alumnus Award for Literature from the Alumni Association of the College of
Arts and Letters, University of Santo Tomas, 1982.
 Fernando Maria Guerrero Award for Literature, University of Santo Tomas Alumni Association,
1980.
 Most Outstanding Alumnus Award for Literature, Graduate School, Saint Louis University, 1975.
 British Council Fellowship as Visiting Writer, Trinity College, Cambridge, England, 1987. Bautista
was the first Filipino writer to be invited to attend the Cambridge Seminar on Contemporary
Literature.
 Honorary Fellow in Creative Writing, University of Iowa, U.S., 1969
 Visiting Professor at Waseda University, Japan and Ohio University

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