PHILIPPINE LITERATURE REVIEWER
MODULE 1- THE EARLY PERIOD
TIMELINE
August 13, 1898 - the American forces occupied
Manila.
1899 - English newspapers such as The Courier,
Insular Press, and Manila Freedom.
April of 1900- President William McKinley
directed the Philippine Commission to make
English the official medium of instruction for all
public schools.
1900- Daily Bulletin was founded.
August of 1901- six hundred American teachers
arrived on the transport Thomas.
1901 - The Philippine Normal School was founded.
1902- Cablenews
1905- Philippine Free Press started edited by F.
Theodore Rogers.
1908- The University of the Philippines was
founded.
1910 - the University of the Philippines’ College
Folio was published they were the first promising
writers in English.
 Among the famous early teachers of
English might be mentioned Professors
Dean S. Fansler and his wife Harriot Ely
Fansler, George Pope Sahnnon, Tom
Inglis Moore, Harold P. Scott. And C. V.
Wicker. In literature classes they taught the
works of Chaucer, Milton, Donne,
Shakespeare, Irving, Hawthorne, Emerson,
Thoreau, Poe, Longfelloww, Bryant, Harte,
Holmes. Lowell, Shelley, Keats, Coleridge,
Lamb, Joyce, Tennyson, Thackeray,
Macaulay, and other famous writers.
1913 – In one of the college students were asked to
write speeches for these topics: The Building of a
Modern Sanitary Market; a Speech at the First
Banquet of the Philippine Normal School; An
Appeal to the Moral Sense – Cockfighting;
Primary Education in the Philippines; A Stump
Speech before the People of a Certain Barrio;
and the Unveiling of a Monument Dedicated to
Apolinario Mabini.
1913- The Philippine Normal School introduced
its publication, The Torch.
1912- These writings were gathered by Dean S.
Fansler and published in Filipino Popular Tales in
1912. In 1912 the graduates of the Manila high
School published their English writings in The
Coconut.
1914- Between 1908 and 1914 some students at the
University of the Philippines collected and retold, in
English, old Filipino tales.
1920- the Philippine Herald began publication. It
was founded by Manuel L. Quezon and its
magazine section was edited by Paz Marquez
Benitez. Helped Paz Latorena, Loreto Paras, Jose
Garcia Villa, Casiano T. Calalang.
1924- A.V.H. Hartendorp became the editor of the
Philippine Education Magazine later became
Philippine Magazine.
1925- Free Press began paying for original
manuscripts and offered Php 1,000 for the best
stories.
 The Manila Tribune was founded and,
along with the Graphic, the Woman’s
Outlook, the Woman’s Home Journal,
and the Philippine Collegian.
 Philippine Writers Association was
organized with Rizal G. Adorablel as
president.
 Among the early members were: Paz
Latorena, Loreto Paras, Jose Garcia Villa,
Jose Panganiban, Remefios Mijares,
Mercedes Grau, Clemencia Joven, Casiano
Calalang, Jose Dayrit, Sol H. Gwekoh,
Arturo B. rotor, D.H. Soriano, and Augusto
C. Catanjal.
1927- Writer’s club was founded University of the
Philippines. This group published Literary
Apprentice which became the leading college
literary publication in the country.
1921- The First Filipino novel in English was A
Child of Sorrow, written by Zoilo M. Galang in
1921.
1924- Vision of a Sower in 1924
1929- Nadia
 Ernest Lopez who published His
Awakening in 1929.
ESSAY
1926- essayists expressed the need for a literature
that was native and national. Many essays first
appeared as newspaper columns and later they were
published in anthologies.
 In 1921 Zoilo M. Galang published Life
and Success, the first volume of essays in
 PHILIPPINE LITERATURE REVIEWER
English. Another collection of Filipino
essays appeared in 1924, entitled Thinking
for Ourselves, edited by Vicente M.
Hilario and Eliseo Quirino.
 In that year Zoilo M. Galang also
published another book of essays, Master
of Destiny. Among the early essay writers
might be mentioned F. M. Africa, Francisco
Benitez, Jorge Bocobo, Amador Daguio,
Leonardo Fernandez, Zoilo M. Galang,
Fernando Ma. Guerrerro, M.M. Kalaw,
Pedro de la Llana, I. V. Mallari, Igancio
Manlapaz, Fernando Maramag, Camilo
Osias, Claro M. Recto, Carlos P. Romulo,
and Eulogio B. Rodriguez.
SHORTSTORIES
Virginia R. Moreno has described the
literary years
1910-1924 as “…a period of novices with
their experiences both in fiction-making
and the use of the new language;
1925 to 1031 was the period of phenomenal
growth among the practitioners in the art. “
July 1917 - Jorge Bocobo’s “Horrible
Adventure” in the Philippine Review for
Review for were praised by critics for their
high literary quality.
September 20, 1925 The Philippines
Herald published “Dead Stars” by Paz
Marquez Benitez.
1925- Zoilo M. Galang published the first
collection of short stories in book form
under the title Box of Ashes and Other
Short Stories.
1926- Jose Garcia Villa encouraged
writers with his yearly selection of the best
Filipino short stories.
1927 -the first anthology of Filipino short
stories was edited by Paz Marquez
Benitez. It was entitled Filipino Love
Stories.
 In that same year, Jose Villa
Panganiban published The Stealer
of Heart and Other Short Stories.
 In 1928 the best short stories were
compiled by Jose Garcia Villa in
Philippine Short Stories: The
Best 25 Stories of 1928.
 1930 original and significant stories
were being written. “Zita”, written
by Arturo B. Rotor around 1930,
has been called “…one of the finest
love stories in Filipino literature in
English.”
 Among the early short story writers
were: Paz Marquez Benitez, Jorge
Bocob, Amador T. Daguio, Pular
hidalgo Lim, Paz Latorena, Tarcila
Malabanan, Jose Villa Panganiban,
Arturo B. Rotor, Loreto Paras Sulit,
L.B. Uichangco, and Jose Garcia
Villa.
POEMS
The first known Filipino poem in English is
“Sursum Corda”, by Justo Juliano. It
appeared in the Philippine Press in 1907. This
poem, along with others of that period, has been
criticized as being too artificial and overwritten
in order to achieve intensity.
The first collection of poems in booko form
was Reminiscences, by Lorenzo Paredes, in
1921.
In 1922 Procopio Solidum published Never
Mind, a collection of Filipino poetry in English.
Rodolfo Dato edited an anthology of Filipino
poems in 1924 under the title Filipino Poetry.
In 1926 he published his own poems in Manila.
Most critics agree that Marcelo de Gracia
Concepcion was a leading poet of early period.
His Azucena was published In New York in
1925. His poems reveal simple images with
deep sensitivity and original thought.
Some poets who belonged to the early period of
Philippine Literature were: Aurelio S. Alvero,
Marcelo de Gracia Concepcion, Rafael Zulueta
da Costa, Luis Da to, Vicente L. del Fierro,
Virgilio Floresca, Angela Manalang Gloria,
Jose M. Hernandez, A. E. Litiatco, Fernando M.
Maramag, Natividad Marquez, Conrado B.
Rigor, Juan F. Salazar, Abelardo Subido,
Trinidad Tarrosa Subido, Francisco G.
Tonogbanua, L. B. Uichangco, and Jose Garcia
Villa.
POEMS
Poems are forms of literature usually written in
lines or verses that make-up stanzas. The lines
and stanzas may be of various lengths. Some poems
have rhymes and meters.
Poems are designed to be recited or read aloud.
The recitation of poem reveals its rhythm (regular

sound patterns) and thought units that help out the
meaning it wishes to convey.
1. Elements of poetry
1.1. Sense. It is revealed through the words, images,
and symbols.
1.1.1 Diction. This refers to the poet’s
choice of words; the denotative
and connotative meanings of the
words.
1.1.2 Images and sense impressions.
These are words used
to appeal to the sense
of sight, smell,
hearing, taste and
touch.
1.1.3 Figures of Speech. This refers to the
creative use of words
or expressions that a
poet uses to enhance
the sense impression.
1.2 Sound. This is the result of the creative
combination of words. The poet may
resort to the use of alliteration,
assonance, rhyme, repetition and
anaphora.
1.2.1 Rhythm. This is the ordered
alternation of strong and
weak elements in the flow
of sound and silence.
1.2.2 Meter. This is the duration, stress, or
number of syllables per line.
1.2.3 Rhyme scheme. This is the formal
arrangement of
PHILIPPINE LITERATURE REVIEWER
rhymes in a
stanza or in the
whole poem.
1.3 Structure. This refers to the arrangement of
words and lines to fit together and
the organization of the parts to form
the whole.
1.3.1 Word order. This is the natural or
unnatural arrangement
of words.
1.3.2 Ellipsis. This refers to the omission of
some words for economy
or effect.
1.3.3 Punctuation. This refers to the
abundance of lack
of punctuation
marks
1.3.4 Shape. The contextual or visual
design, omission of
spaces, use of
capitalization or lower
case.
TYPESOFPOEMS
2.1. Lyric poem. It expresses the author’s mood,
emotion, and reflection in musical language. It
derives its name from the lyre, and was primarily
intended to be sung. Not all lyrics are singable, but
they are all melodious.
1.1 The ode. The most majestic type of
lyric poem. It expresses enthusiasm, lofty praise of
some person, thing, a deep reflection, or a restrained
feeling. The author is in an exalted mood. He/she
feels deeply what he/she is saying, hence, the
subject matter can never be trivial.
1.1.2 The Elegy- a lyric poem that can
always be distinguished by its subject matter- death.
It may voice the author’s personal grief for a loved
one, or a loss affecting the public as a whole, or it
may simply be meditation on death in general.
1.1.3 The Sonnet- a lyric poem that can be
distinguished by its form. It always consists 14
iambic pentameter lines. The Shakespearean sonnet
follows the rhyme scheme: abab cdcd gg- the last
two lines (called the couplet) rhyme consecutively.
1.1.4 The Simple Lyric-the category of all
those lyric poems that do not properly belong under
any of the other types of lyrics. The simple lyric
touches on every mood and emotion of the human
heart.
2.2 Narrative Poem, this tells a story of love,
adventure or romance in verse form.
2.2.1. The Epic- a long, narrative poem
about the exploits of a supernatural hero. Some
example is: The Iliad and the Odyssey, the Aenid,
The epic of Gilgamesh, Song of Roland (Chanson
de Roland), The Nibelungenlied (Song of the
Nibelungs), El Cid.
2.2.2 The Ballad- tells the story of ordinary
people. Some examples are: get up and bar the door,
Lochinvar
2.2.3 The Metrical Tale- a story told in
verse. The Canterbury Tales of Geoffrey Chaucer is
the best example of this.

2.2.4 The Metrical Romance- a medieval
verse tale based on legends, chivalric love and
adventure or the supernatural. The story Sir Gawain
and the Greek Knight is one example of this.
3. Literary Devices in Poetry
3.1.1 Simile- a composition of two unlike
things by using the word like or as, e.g There is no
frigate like a book
3.1.2 Metaphor- a composition of two
unlike things or ideas, e.g. She is a phantom of
delight 3.1.3 Personification- give human traits to
inanimate objects or ideas, e.g Can Honor’s voice
provoke the silent dust?
3.1.4 Synecdoche- using a part of the
whole, e.g. No busy hand provokes a tear/No roving
foot shall crust thee there.
3.1.5 Metonymy- using another word
which is clear identifiable or associated with the
other ideas referred to, e.g. And trouble deaf heaven
with my bootless cries
3.1.6 Hyperbole- exaggeration, e.g. I
breathed song in the air, /It fell to earth, I know
where;/For who has sight so keen and strong, /That
it can follow flight of song.
3.1.7 Apostrophe- a direct address to
something inanimate or dead or dead, e.g. Break,
break, break, /O thy cold grey stones, O sea!
3.1.8 Oxymoron- using contradictory terms
or ideas, e.g. O heavy lightness, serious vanity!
3.1.9 Litotes-giving an assertion by means
of negation or understatement, e.g. I never saw a
PHILIPPINE LITERATURE REVIEWER
moor, / I never saw the sea, / Yet I know the heather
looks, / And what a wave must be.
Fernando Ma. Guerrero
3.1.10 Allusion- refers to any scientific,
historical, mythological, literary, or biblical event or
figure, e.g. I am not Lazarus nor Prince Hamlet.
3.1.11 Paradox – a phrase or statement that
on the surface seems contradictory, but makes some
kind of emotional sense, e.g. You have to die or
live.
3.2. Sound Devices
3.2.1 Onomatopoeia- the use of words that
imitate the sound of the idea it denotes, e.g. The fly
buzzed in my ear.
3.2.2 Alliteration- the repetition of
consonant sounds, especially in the initial position,
e.g. The splendor falls on castle walls/ Any snowy
summits old in story.
3.2.3 Assonance- the repetition of vowel
sounds e.g. Long. Long afterward, in an oak, I
found the arrow, still unbroken;/ And the song, from
beginning to end, / I found again in the heart of a
friend.
3.2.4 Rhyme- the repetition of the same
sound usually at the end of words, e.g. And what
shoulder and what art/Could twist the sinews of thy
heart? / And, when thy heart began to beat, / What
dread Hand and what dread feet?
3.2.5 Anaphora- the repetition of a word or
words at the beginning of two or more successive
clauses or verses, e.g. Bring me my Bow of burning
gold! Bring me my Arrows of desire! / Bring me my
spear! O clouds, unfold! /Bring me my chariot of
fire.
EARLY PERIOD WORKS/AUTHORS
 Born in 1873 in Ermita, Manila, Fernando
Ma. Guerrero studied at the Ateneo de
Manila and then took law courses in the
University of Santo Tomas.
 After a few years’ practice as lawyer, he
took up journalism.
 General Antonio Luna invited him to join
the editorial staff of La Independencia, the
organ of the Revolution.
 “The poet of the Revolution”.
 He was elected representative of the south
district of Manila in the first Philippine
Assembly. Later he became city councilor,
and he held his position for several years.
 Afterward he became Secretary of the
Commission of Independence.
 As a founder and editor of the La
Opinion, at the time of his death, June 12
1929, he was actively engaged in
newspaper work. In his leisure time he
wrote lyrics, short stories, novelettes, and
miscellaneous articles.
 In his poetry he combined realism with
idealism. His hobbies were music and
painting. Guerrero appreciated native
kundimans and yet he was a great lover of
classical music. Most of his paintings were
landscapes, sunsets and dawns. During his
life only one book of his Spanish poems
was published, -Crisalidas.
 He wrote several poems in ‘’Where Is My
May’’ In his death the Philippines lost a
national poet and distinguished writer and
journalist.

An essay is a prose composition with a focused
subject of discussion or a “long systematic
discourse”. The word essay is taken from the
French infinitive essayer, “to try” or “”to attempt”.
Micahel Montaigne was the first author to
popularize this genre by describing his work as
essais.
Aldous Huxley, a leading essayist, argues that an
essay has a three-poled frame of reference:
● Personal and the autobiographical essays: these
use “fragments of reflective autobiography”.
● Objective and factual: in these essays, the
authors “do not speak directly of themselves, but
turn their attention outward to some literary or
scientific or political theme”.
● Abstract-universal: these essays “make the
best… of all the three worlds in which it is possible
for the essay to exist.”
Types of Essays
1. Persuasive/argumentative essay. This makes a
claim or presents a position and supports such claim
or position with quotes from experts, facts,
substantial information, and supportive evidences.
2. Comparison and contrast essay. This type of
essay shows the similarities and differences
between two topics, objects, and ideas. It
demonstrates similarities and differences between
two topics.
3. Descriptive essay. This essay provides
explanation on the “what, why, how, when and
where” of a topic. Usually, it is characterized by the
use of sensory details that appeal to the senses and
readers’ sensibilities.
PHILIPPINE LITERATURE REVIEWER
4. Narrative essay. It tells a story in logical
sequence. A narrative essay may employ flashback,
transition or suspense. The focus is the totality of
the sequence of event, usually arranged
chronologically.
What is an Educated Filipino?
5. Cause and effect. The main feature of the cause
and effect essay is the causal connections, careful
language and the chronological or empathic order.
In writing this type of essay, a writer considers the
subject, identifies the purpose, considers the
audience, takes a critical stance about different
causes or consequences, thinks of a thesis
statement, arranges the parts in logical order,
employs appropriate language and presents a
conclusion.
6. Classification and division. This classification
essay focuses on the categorization of objects,
things and ideas into a larger whole, while the essay
division breaks a larger whole into smaller parts.
7. Definition. This essay provides an extensive
definition of a term through giving of examples,
contrasting, or giving historical background.
8. Dialectic. This type of essay is usually used in
Philosophy. The writer makes a thesis or argument,
then analyzes the argument (with a Oriental excels in reflective thinking; he is
counterargument), then counters the counter
argument with a final and novel argument.
EARLY PERIOD WORKS/AUTHORS
Francisco Benitez
 He was a pioneer in education and
administration.
 He founded the College of Education at
the University of the Philippines, and he
established the National Federation of
Filipino Teachers.
 He was also founder and editor of the
Philippine Journal of Education.
 Alterations in Our Social Life- The
contact with Americans and their
civilization has modified many of our own
social customs, traditions, and practices,
some for the worse and many for the better.
 Education Has Changed in Meaning-
With this growth in national consciousness
and national spirit among our people, we
witness the corresponding rise of a new
conception of education – the training of
the individual for the duties and privileges
of citizenship, not only for his own
happiness and efficiency but also for
national service and welfare.
THREE CHARACTERISTICS OF
EDUCATED FILIPINO
1. Practical Activity- I venture to suggest that
the educated Filipino should first be
distinguished by the power to do. The
a philosopher. The Occidental is the doer;
he manages things, men and affairs.
2. Acquaintance with Native History and
Culture- The Educated Filipino, in the
second place, should be distinguished not
only by his knowledge of the past and of
current events in the world’s progress but
more especially by his knowledge of his
race, hi people, and his country, and his
love of the truths and ideals that our people
have learned to cherish.

3. Refinement in Speech and Conduct -The
Educated Filipino, in the third place, must
have ingrained in his speech and conduct
those elements that are everywhere
recognized as accompaniments of culture
and morality; so that, possessing the
capacity for self – entertainment and study,
he may not be at the mercy of the pleasure
of the senses only or a burden to himself
when alone.
There are, then, at least three characteristics
which I believe to be the evidence of the
educated Filipino – the power to do, to support
himself and contribute to the wealth of our
people; acquaintance with the world’s progress,
especially with that of his race, people, and the
community, together with love of our best
ideals and traditions; and refined manners and
moral conduct as well as the power of growth.
1. College Uneducation (Jorge Bocobo)
2. Book Worship
3. Professional Philistinism
4. The Jading Dullness of Modern Life
5. Misguided Zeal
6. “Uneducated” Juan de la Cruz as
Teacher
The story is a fictional narrative in prose consisting
of a series of events designed to create a single
dominant effect. It is intended to be read in one
sitting.
Elements of a short story.
1. Setting. The setting answers the questions where
and when the story happens. It refers to the place
and time of the story.
PHILIPPINE LITERATURE REVIEWER
2. Character/s. This element answers the questions
who takes part in the action. The character may be
people, animals or animated objects such as plants,
books, toys, and the like. Abstract ideas like virtues
and vices may also act as characters.
3. Characterization. To characterize is to delineate
a character by projecting his/her strong and weak
points. Thus, a character is described as
sympathetic, evil, respectable, affectionate, sincere,
etc.
4. Plot. This element answers what happens in the
story. It is the sequence of the actions and events in
a story. Since every story, true or fictional, portrays
human beings engaged in an action and
participating in events, it follows that every story
has a plot, one that can be sketched in a summary or
outline. Some stories, however, are plotless.
4.1.1 Introduction (exposition): presents
the necessary knowledge about the main characters
and the situation existing prior to the action proper.
4.1.2 Beginning of the Action
(complication): the character meets his first
important brush with the series of events.
4.1.3 Middle of the Action (climax): this is
the highest point of interest, also known as the
height of the conflict.
4.1.4 End of the Action (resolution,
denouement): also known as the point of no return,
it signals the falling action pf the story.
4.1.5 Conclusion (aftermath): rounds off
the action, underlying its point.
5. Theme. This is the controlling idea or the central
idea around which the plot revolves. It should not
be confused with the moral of the story. Some
examples of themes are: a) Good always wins over
evil; b) Slavery is bad so it should be abolished; c)
Man must know his limits.
6. Conflict. This is the element that makes a plot
interesting because it involves the tension or
struggle between two opposing forces – the
protagonist (main character) hinds himself/herself
in opposition to another person called antagonist
(villain). Sometimes the conflicting force is within
the character himself/herself or it may be against
nature or society.
7. Point of View. This refers to the storyteller. The
story may be told from the first-person point of
view (I am (author is a mere observer to events the
story teller), third person point of view (author is a
mere observer of events); omniscient point of view
(the narrator assumes an all-knowing stance) telling
the story from the points of view of all characters.
8. Atmosphere. This refers to the predominant
mood or feeling projected by the story. Thus, a
story may be tragic, pathetic, comic, and the like.
Paz Marquez Benitez was born in Lucena,
Tayabas.
 She finished her secondary course at the
Tayabas High School and received a
Bachelor of Arts Degree from the
University of the Philippines in 1912.
 From 1919 to 1924 she was editor of the
Woman’s Journal, the first feminine
literary magazine in English published in
the Philippines.
 In 1923 she was appointed instructor of
English at the College of Liberal Arts,
University of the Philippines.

 She became an assistant professor in 1926.
She is the widow of the late Dean
Francisco Benitez and editor and
publisher of the Philippine Journal of
Education.
 Some of her short stories are: ‘’Stepping
Stones”, ‘’Half a life”, ‘’An Old Story”,
‘’Courtship Child”, and “The Fool”. “Dead
Stars” is considered her best short story.
DRAMA
Drama is a form of fiction that is represented in
performance. Dram is enacted in theatre or stage by
actors before an audience.
A drama cannot be complete or staged without a
director, the actors, a scene and a costume designer.
Hence, the structure of dramatic texts is heavily
influenced by the collaborative production and
collective reception.
Drama is represented by the traditional generic
division between comedy and tragedy which are
symbols of the ancient Greek Muses, Thalia and
Melpomene. Thalia is the Muse of comedy (the
laughing face). While Melpomene is the muse of
tragedy (the weeping face). Drama is often
combined with music and dance: the drama in opera
is sung throughout; musicals include spoken
dialogue and songs; and some forms of drama have
regular musical accompaniment.
1. Types of Drama:
1.1 Tragedy. This involves the demise of
the leading characters.
1.2 Comedy. This is a lighter drama in
which the leading characters surpass the
obstacles which beset them.
PHILIPPINE LITERATURE REVIEWER
1.3 Problem Play. This is a drama on
social commentaries focusing on social, economic,
or political problems by means of a play.
1.4 Farce. This is a comedy involving silly
and funny obstacles and situations without
consideration for human values.
2. Literary Terms
2.1 Aside. These are lines whispered to the
audience or to another character on stage but should
not be heard by other characters.
2.2 Catastrophe. This is the final sequence
in a drama which could be a death (in a tragedy) or
marriage (in a comedy).
2.3 Comedy. This is a light play with a
happy ending.
2.4 Comic relief. A comedy is sometimes
incorporated in a serious play to relieve the tension
of tragic events.
2.5 Crisis or climax. This is the turning
point in the plot which occurs when the characters
have to make a critical decision.
2.6 Foreshadowing. This refers to the lines
or events that give a clue to future events.
2.7 Nemesis. He is the agent of retribution
or the person who punishes.
2.8 Tragedy. A serious play with an
unhappy ending.
3. Types of Stage
3.1 Proscenium stage. In this stage, the
wings are spaces on either side, extending off stage.
The scenery surrounds the acting area on all sides
except towards the audience, who watches the play
through a frame opening.
3.2. Thrust theatre. This is a type of stage
where the audience are on three sides while the
fourth side serves as the background.
3.3 Arena Theatre. A central stage
surrounded by the audience on all sides. The stage
area is often raised to improve sightlines.
Wilfrido Ma. Guerrero (January 22, 1911 – April
28, 1995) was a Filipino playwright, director,
teacher and theater artist.
 Guerrero wrote well over 100 plays, 41 of
which have been published. His
unpublished plays have either been
broadcast over the radio or staged in
various parts of the Philippines.
 His plays can be found in various
anthologies: 13 Plays (first published in
1947), 8 Other Plays (1952), 7 More Plays
(1962), 12 New Plays (1975), My Favorite
11 Plays (1976), 4 Latest Plays (1980), and
Retribution and eight other selected plays
(1990).
 Guerrero also published a family memoir,
The Guerreros of Ermita (1988).
Guerrero taught and trained many notable
figures in the Philippine Performing Arts:
Behn Cervantes, Celia Diaz-Laurel, Joy
Virata, and Joonee Gamboa.
 Wanted: A Chaperon were played by
Filipino Players, under the author’s
direction, at St. Cecilia’s Hall, November
21, 1940.
AUTHORS WORKS
Fernando Ma. Where is my May?
 PHILIPPINE LITERATURE REVIEWER

Guerrero
Fernando Maramag, The Rural Maid
Jose Garcia Villa Sonnet 1
Paz Marquez Benitez Dead Stars
Francisco Benitez What is an Educated
Filipino?
Wilfrido Ma. Guerrero Wanted: A Chaperone

MODULE - The Middle Period
Early period of Philippine Literature in English
was a time of learning by trial and error.
1925- the extent and quality of writing had greatly
improved.
Leopoldo Yabes has called the years
1930 to 1944 “. . . the most productive of distinctive
work in the half century of Filipino writing in
English.”
“The Veronicans.” Led by Francisco Arcellana
and inspired by Jose Garcia Villa, a group formed
“the writers” chose this name because they wanted
their work to bear the imprint of Christ’s face.
“The Bachelorettes.” Around the same time, some
women writers formed Among their number were
Teresa Arzaga, Luisa Barrera, Sally Barrera, Nelly
X. Burgos, Olivia Calumpang, Corazon Juliano,
Carmen Perez, and Trinidad L. Tarrosa.
Both groups explored new dimensions in literary
forms. Some of their works appeared in the
quarterly Expression and in The Leader, which was
edited by Federico Mangahas.
Graphic Weekly- Another outlet for writers in the
39s.
Alfredo Efren Litiatico - as literary editor, new
writers such as Estrella Alfon, Nick Joaquin, and
Ligaya Victorio Reyes were discovered and
encouraged.
July 4, 1935 - The Philippine Commonwealth
Government was established and encouraged
writers to freely search for a national identity.
PHILIPPINE LITERATURE REVIEWER
October 28, 1936- Philippine Book Guild was
organized.
 Its early leaders included Manuel E.
Arguilla, Carlos Quirino, and Arturo B.
Rotor.
 Their purpose was to create a wider reading
public for Filipino writers by printing low-
cost books.
 Among other projects they published
Rotor’s the Wound and the Scar.
1937- a Brief History of the Philippine Literature
was published by Teofilo del Castillo.
 This book was of special importance since
it was one of the first authoritative and
objective studies of Philippine Literature.
February 26, 1939 - the Philippine Writers
League was formed.
 This was a highly influential organization
during its brief existence.
 Its first president was Federico Mangahas,
while Salvador P. Lopez, Jose A.
Lansang, and I. P. Gaballero served as
Vice-Presidents.
 Its aims were to provide a center for the
cultural activities of Filipino writers, to
uplift cultural standards to stimulate the
social consciousness of the writer, to
arrange for lectures and conferences, to
establish friendly relations with writers for
other countries, and to defend freedom of
thought and expression.
 Salvador P. Lopez- one of the outstanding
spokesman for more social consciousness in
literature was. He defined proletarian
literature as “The interpretation of the
experience of the working class in a world
that has been rendered doubly dynamic by
its struggles.”
1940- the first Commonwealth Literary Awards
were granted by President Quezon.
In the English division the winners were: essay –
Salvador P. Lopez for Literature and Society; short
story – Manuel E. Arguilla for How My Brother
Leon Brought Home a Wife and Other Stories;
poetry – R. Zulueta da Costa for Like the Molave;
and novel – Juan C. Laya for His Native Soil.
December 7, 1941- when Japan bombed Pearl
Harbor and war began in the Pacific. A period of
uncertainty and fear began as the Japanese entered
Manila on January 3, 1942.
 Among the promising writers who died
during the war years were Manuel E.
Arguilla, A. G. Dayrit, A. E. Litiaco, and
Francisco B. Icasiano. Victoria Abelardo
has described Filipino writing during the
Japanese occupation as being pessimistic
and bitter.
 Because of strict censorship, few literary
works were printed during the war years.
However, some publications were allowed
such as The Tribune, Philippine Review,
Free Philippines, and Filipina.
February 28, 1945 - the long-exiled
Commonwealth Government was reestablished
in Malacanang.
 There was a sudden growth of periodicals
such as The Manila Post, The Evening
News, The Philippine-American, The
Manila Times, and The Manila Chronicle.
 PHILIPPINE LITERATURE REVIEWER

At the same time Philippines Free Press and  Nick Joaquin for his “Guardia de During the middle period of Philippine
the Philippines Herald resumed publication. Honor.” literature in English, the essayists tried to
Once again various college journals capture Filipino life and culture.
appeared such as Literary Apprentice 1950- the Carlos Palanca Memorial Awards for
(University of the Philippines), Varsitarian Literature were created. In the 1930s Salvador P. Lopez expressed his
(University of Santo Tomas), National views Literature and Society. Under the
 Juan T. Gatbonton’s “Clay” won first pseudonym “Mang Kiko,” Francisco B.
(National University), and Advocate (Far prize in the English Short Story division.
Eastern University). Among the new Icasiano wrote, 1941, Horizons from My Nipa
journals were Crossroads (Far Eastern The early 1950s were a time of political unrest and Hut.
University), Sands and Coral (Silliman even warfare as the government struggled with the  This book included humorous essays which
University), Standard (Arellano Hukbalahap guerrillas. revealed a deep sympathy for the common
University), and Dawn (University of the tao.
East).  N. V. M. Gonzalez explored his Mindoro
land, while Important essayist:
Philippine Independence on July 4, 1946, most  Nick Joaquin wrote old Manila legend in
writers felt a new sense of responsibility and modern form.  F. M. Africa
freedom. The writers seemed more perceptive of  Francisco Arcellaba
their country and world around them. At first, a 1955- Signatures, the first Philippine poetry  Solomon V. Arnaldo
number of guerrilla and liberation stories appeared. magazine in English, began publishing in 1955.  Jorge Bocobo, Marcelo de Gracia
Concepcion
Stevan Javellana’s Without Seeing the Dawn was  It was founded by Clemente Cancio, poet
 Pura Santillan-Castrence
the first postwar Filipino novel published in the and neurosurgeon.
 E. Aguilar Cruz
United States.  The first editors were A. G. Hufana and R.  A. T. Daguio
V. Diaz.  Amando G. Dayrit
1946 - the Barangay Writers Project was  In that same year, a new Philippine
organized to publish books by Filipino writers in  Eugenio Ealdama
Writers Association was organized with N.  Antonio Estrada
English. N. V. M. Gonzalez served as first V. M. Gonzalez as its first president.
president. Within a few years, they published Heart  Ariston Estrada
of the Island (1947) by Manuel A. Viray, Philippine 1958, - In Baguio an important national writer’s  Josefa Gonzalez-Estrada
Cross Section (1950) by Maximo Ramos and conference was held to discuss the role of the  Antonio S. Gabila
Florentino B. Valeros, and Philippine Poetry Filipino writer in society.  Alfredo Q. Gonzalez
Annual (1950) by Manuel A. Viray.  Leon Ma. Guerrero, Jr.
 Also, in 1958, a chapter of International  J. M. Hernandez
Delfin Fresnosa and Manuel A. Viray began in Pen was inaugurated in the Philippines with  V. M. Hilario
1947 to publish annual honor roles for the best short Alfredo T. Morales as its first president.  F. B. Icasinao
stories and poems.  Maria Kalaw-Katigbak
During the years 1930 to 1960 Philippine  J. A. Lansang
1949- The Free Press resumed its annual short literature in English rapidly improved,  Jose P. Laurel
story awards with first place going to especially in the areas of the essay, the short  A. E. Litiatco
story, and poetry. Essays:  T. M. Locsin
 PHILIPPINE LITERATURE REVIEWER

 Salvador P. Lopez  After Villa came several significant writers.  Mario P. Chanco
 Maria Luna-Lopez Manuel E. Arguilla wrote excellent stories  Amador T. Daguio
 A. J. Malay about the people of Nagrebcan in How My  Amando G. Dayrit
 I. V. Mallari Brother Leon Brought Home a Wife and  Morli Dharam
 Federico Mangahas Other Stories.  Delfin Fresnosa
 Ignacio Manlapaz  Delfin Fresnosca vividly depicted the  Ligaya Victorio-Fruto
 Camilo Osias hardships of the poor.  Antonio S. Gabila
 Vicente Albano Pacis  In his short stories Nick Joaquin included  Claro C. Gloria
 Carlos Quirino allegories of cultural and moral situations in  N. V. M. Gonzales
 Godofredo Rivera Philippine history.  Sinai C. Hamada
 Eulogio B. Rodriguez  Joaquin’s book Prose and Poetry (1952)  Jose M. Hernandez
 Carlos P. Romulo was voted by a panel of critics led by  Francisco B. Icasiano
 A. B. Rotor Leonard Casper as the most distinguished  Nick Joaquin
 Leon O. Ty book in fifty years of Philippine Literature  F. Sionil Jose
 Jose Garcia Villa in English.  Jose A. Lansang
 Manuel A. Viray  Paz Latorena
 Leopoldo Y. Yabes. In 1950s another important writer was Nestor  A. E. Litiatco
Vidali Mendoza Gonzales. In Children of the  Alvaro L. Martinez
 Short Stories: The form of Philippine Ash-Covered Loam and Other Stories (1954)  A. G. Ner
Literature which showed the most rapid and A Season of Grace (1956), Gonzales dealt  Jose Villa Panganiban
development seemed to be the short story. with such basic themes as loneliness, self-  Benjamin M. Pascual
The early didactic stories and romantic tales discovery, and hope amidst suffering.  Mariano C. Pascual
quickly gave way to stories about farm life  C. V. Pedroche
The quality and depth of short story writing
and city life, the problems of society, and  Isidro L. Retizos
developed rapidly during the Middle Period.
human hardships.  Narcsio G. Reyes
 Vicente Rivera, Jr.
Local color was well used. Jose Garcia Villa was  Alejandro R. Roces
among the first Filipino artist to receive Writers who contributed to this growth are:  Arturo B. Rotor
international recognition.  Clemente M. Roxas
 T. D. Agcaoili
 In 1932 Villa’s “Untitled Story” was  Manuel E. Arguilla  Bienvenido N. Santos
selected by Edward L. O’Brien in New  G. D. Sicam
 Estrella D. Alfon
York for inclusion in the Best Short Stories  Francisco Arcellana  Loreto Paras-Sulit
of 1932.  Silvestre I. Tagarao
 Amante E. Bigornia
 Consorcio Borje  Edilberto K. Tiempo
1933, Scribner’s published Villa’s Footnote to  Edith L. Tiempo
 Carlos Bulosan
Youth and Other Tales. “The Fence,” also by  Casiano. T. Calalang  Arturo M. Tolentino
Villa, was included in O’Brien’s Best Short  J. Capiendo Tuvera
 Fidel de Castro
Stories of 1933.  Augusto C. Catanjal  Kerima Polotan Tuvera
 PHILIPPINE LITERATURE REVIEWER

 Nita H. Umali Poets who contributed to the Middle Period of  Abelardo Subido
 Jose Garcia Villa Philippine Literature in English:  Trinidad L. Tarrosa
 Manuel A. Viray.  Edith L. Tiempo
 T. D. Agcaoili  Francisco G. Tonogbanu
Poems:  Aureliano Alvero  Amado L. Unite
 Carlos A. Angeles  Celestino M. Vega
 The poetry of the Middle Period  R. Vinzozns Asis
developed slowly.  H. C. Veloso
 Jorge Bacobo  Jose Garcia Villa
 In the 1930s most poetry was still  G. Burce Bunao
romantic in character. Under the  Manuel A. Viray
 Reuben R. Canoy  Amado Yuson
influence of Salvador P. Lopez, some  Guillermo Castillo
poets like R. Zulueta da Costa became  Oscar de Zunig.
 Jose del Castillo
more conscious of the environment and  Fidel de Castro
dealt with themes of injustice and  Rafael Zulueta da Costa
oppression.  Amador T. Daguio Amador T. Daguio
 Jose Garcia Villa continued to lead the  Luis Dato  He was a Filipino writer and poet during
way for all poets with his creative  Ricardo Demetillo pre-war Philippines.
innovations.  Ramon Echevarria  He published two books in his lifetime, and
 In the late 1930s Angela Manalang  Gregorio Estonanto three more posthumously. He was a
Gloria emerged as a promising poet.  Cornelio C. Faigao Republic Cultural Heritage awardee for his
 Rodrigo T. Feria works.
 She published her works in  Vergilio Floresca
 Bataan Harvest
Poems just before World War  Vicente L. del Fiero
II. From 1942 to 1945, few  Angela Manalang Gloria Nick Joaquin
poems were written because of  N. V. M. Gonzales
the war conditions and  J. M. Hernandez  Nicomedes "Nick" Marquez Joaquin was a
censorship.  Alejandrino J. Hufana Filipino writer and journalist best known
 These poems were later  Dominador. I. Ilio for his short stories and novels in the
published in 1946 by Juan L.  Nick Joaquin English language.
Raso in Guerilla Flower.  A. E. Litiatco, Toribia Mano  He also wrote using the pen name Quijano
 In 1951 Jose Del Castillo’s  Felizardo Martelino de Manila.
Antiphonal Earth: Coins of  Hernando R. Ocampo  Joaquin was conferred the rank and title of
Song was published in London.  Conrado V. Pedroche National Artist of the Philippines for
Dominidor I. Ilio published  Maximo D. Ramos Literature.
Diplomat and Other Poems in  N. G. Reyes  Summer’s Solstice a short story
1955. Ricaredo Demetillo  Conrado B. Rigor  “Heritage of Smallness” by Quijano de
published No Certain Weather  Alfonso P. Santos Manila. An essay
in 1956 and La Via in 1959.  Bienvenido N. Santos
 Guillermo V. Sison Alberto S. Florentino

 (Bert) was born in Nueva Ecija, Philippines
on July 28, 1931, the second of seven
children of Alberto San Buenaventura
Florentino and Maria Rivera Sanqueza.
 His father was a teacher who always
organized drama and choral groups.
 The young Bert used to type multiple
copies of his father’s plays, an activity that
helped usher Bert into playwriting.
 Later, as a 23-year-old accounting student
at the University of the East, Bert wrote the
one-act play, The World Is an Apple,
which won the Carlos Palanca Award.
 He dropped out of accounting and went on
to write plays, four more of which won
Palanca Awards: The Cadaver; The
Dancers; Cavort with Angels; and Oli
Impan.
 Bert wrote 100 plays for TV and cinema.
He was the main scriptwriter of the award-
winning TV drama series “Balintataw” in
the early ‘70s.
 He also wrote nine other drama anthologies.
His movie scriptwriting credits include:
Maskikip, Masaki, Mahapdi; Bulaklakan
Man Ay Lupa Rin; Babae: Ngayon at
Kaimlanman; and Ang Daigig ay Isang
Patak na Luha.
AUTHORS WORKS
Amador T. Daguio Bataan Harvest
Maximo D. Ramos The Cobra
Nick Joaquin Summer Solstice
Aida Rivera Ford Love in the Cornhusks
Nick Joaquin Heritage of Smallness
Alberto S. Florentino The world is an Apple
PHILIPPINE LITERATURE REVIEWER
MODULE 3- THE MODERN PERIOD
TIMELINE
By 1960 - Philippine Literature in English had
finished its period of tutelage and imitation.
 This new period of development was
characterized by a growing sense of
nationalism and by a deeper search of
identity.
 In 1960, the Republic Cultural Heritage
Award for Literature were started. The
purpose of these annual awards was “To
initiate a movement for greater and more
dedicated efforts in cultural advancement to
complement the country’s program of
economic development.”
 The first winner was N.VM. Gonzales, for
his book, The Bamboo Dancers (1959),
since translated into Russian. In some ways
The Cultural Heritage Awards were the
Republic’s counterpart of the pre-war
Commonwealth Literary Awards of 1940.
1961- The first Pro Patria Awards for literature was
presented in 1961.
 The winners that year were Jose Garcia
Villa, N.V.M. Gonzales, and Wilfredo Ma.
Guerrero.
1962, the first Asian writers’ conference was held in
Baguio under the auspices of the Philippine center
of International P.E.N.
1966 - United Poets International was established
in Quezon City and Amado M. Yuzon became its
first president.
W. H. Auden, in 1948, wrote a long philosophical
poem entitled, “The Age of Anxiety.”
 In this title Auden sounded the dominant
tone of much literature in the 1960s.
 Leonard Casper described this period when
he wrote, “In the wary twentieth century, a
story is often the experiencing and of one’s
inexperience.”
 The simple romantic themes of the early
period, and even the middle period, gave
way to themes of confusions and violence
in the late 1960s and early 1970s.
 Among the modern writers to be detected
different schools of thought. One group
stressed the proletarian form of literature
which had been introduced by Salvador P.
Lopez in the 1930s and 1940s. Among this
group were included: Efren Reyes Abueg,
Rio Alma, Jose Lacaba, Ricardo Lee,
Bienvenido Lumbera, Rogelio Mangahas,
Ninotchka Rosca, and Rogelio Sikat.
 These writers aimed at social reform and
revolution through their literature. Their

motto might be summed up as “Literature
from the Masses, for the Masses.”
 A second group of writers was interested in
the art of literature itself. Unconstrained
by political considerations, they freely
experimented with literary forms and
themes. These writers reflected the ideas of
Jose Garcia Villa who in the 1920s
stressed the need of “Art for Art’s sake.”
Among the followers of Villa’s theory
might be mentioned Tita Lacambra Ayala
and Kerima Polotan Tuvera.
1970 Graphic Magazine launched a literary contest
as an incentive for young writers. The aim of these
awards was to contribute to the development of a
significant national literature.
 The first prizes were given to Resil B.
Mojares for “A Sickness in the Town,”
to Luis V. Teodoro for “The Distant
City,” and to Ricardo I. Patalinjug for
“The Exile.”
 1971 Graphic widened this contest to
include Filipino fiction and poetry. It
became the first English language
magazine to provide such a contest.
September 21, 1972, when President Ferdinand E.
Marcos declared Martial Law.
Daily Express was the only newspaper allowed to
continue publication.
Later the Bulletin Today and Times Journal
appeared. With Kerima Polotan Tuvera as editor,
Focus Philippines published its first issue on
November 18, 1972.
PHILIPPINE LITERATURE REVIEWER
 This magazine has become one of the main
outlets for new writers. But so far, the
results have not been impressive.
 Among the modern essayists are: Francisco
Arcellana, Miguel A. Bernad, S.J., Renato
Constantino, Horatio dela Costa, S.J., J. V.
Cruz, Amelita Reysio-Cruz, Jose L.
Guevara, Ray Hulog, Jose Lansang,
Teodoro M. Locsin, Nancy T. Lu, Cris
Magdiwang, Raul Manglapus, Cesar Adib
Majul, I. V. Mallari, Nestor Mata, Sylvia
Mayuga, Carmen Guerrero-Nakpil,
Benjamin M. Pascual, Jose A. Quirino,
Francisco A. Robles, Alejandro A. Roces,
In the late 1960s the national crisis of social and
Alfredo R. Roces, George Sison, Maximo
political unrest was reflected in several works.
V. Soliven, Doris Trinidad, Kerima Polotan
Tuvera, Teodoro F. Valencia, Benjamin
Villalva, and Leopoldo Y. Yabes.
Short Stories:
Themes gradually shifted from themes of private
problems and rural life to themes of national
problems and city life.
 Gregorio C. Brillantes portrayed
individual anxieties in The Distance to
Andromeda and Other Stories (1960).
 Gilda Cordero-Fernando also centered on
the individual in The Butcher, the Baker,
the Candlestick Maker (1962).
 Kerima Polotan Tuvera covered several
different themes. She treated people,
politics, rural and city life, love and
fashions in her works which appeared in
Stories (1968), Author’s Choice (1971),
and Adventures in a Forgotten Country
(1975).
 The problems of city life were depicted by
Andres Cristobal Cruz in White Wall,
Selected Tondo Stories (1964).
 Perhaps the most prolific writer of this
period was Jose A. Quirino.
 Aside from his numerous
newspaper articles and essays, he
published Loneliness is a Volcano
and New Stories (1966), Nocturne
for Piano and Heartsrings and
More New Stories (1967), and
The Three Faces of the Hero and
Other Stories (1969).
 Bienvenido N. Santos vividly portrayed a
man’s search for his national identity in
The Day the Dancers Came (1967).
 The realities and hardships of life were
themes for the stories of Federico Licsi
Espino, Jr., in The Country of Sleep
(1969).
 Among the talented young writers was
Ninotchka Rosca who published Bitter
Country and Other Stories (1970).
 Another promising young writer of today is
Amadis Ma. Gurrero who published
Children of the City and Other Stories in
1974.
 Among the short story writers of the
Modern Period are: Cirilo F. Bautista,
Gregorio G. Brillantes, Ines, T. Camayo,
Linda T. Casper, Isabelo T. Crisostomo,
Andres Cristobal Cruz, Morli Dharam,
Antonio Enriquez, Federico L. Espino, Jr.,
Gilda Cordero-Fernando, Delfin Fresnosa,
N. V. M. Gonzales, Amadis Ma. Guerrero,

Nick Joaquin, F. Sionil Jose, Emmanuel
Lacaba, Jaime A. Lim, Renato E. Madrid,
Resil B. Mojares, Elsa Victoria Martinez,
Wilfredo D. Nolledo, Ricardo I. Patalinjug,
C. V. Pedroche, Jose A. Quirino, Ninotchka
Rosca, Bienvenido N. Santos, Luis V.
Teodoro Jr., Edilberto K. Tiempo, Edith L.
Tiempo, Kerima Polotan Tuvera, Romeo P.
Virtusio, and Alfredo A. Yuson.
Poems:
1960s the growing sense of nationalism made
people conscious of using their national language.
“Bagay Poems.” These poems were experimental
in that they used a language which Blas F. Ople
coined as “Taglish” or “Enggalog.”
 Among the contributors to this movement
were Rolando Tinio, Jose Lansang, Jr.,
Emmanuel Torres, and Cirilo F. Bautista.
The satirical mood of the 1960s was
captured by such poets as Florentino Dauz,
Alfredo O. Cuenca, and especially
Alejandrino G. Hufana.
 These poets turned away from the influence
of Jose Garcia Villa and expressed their
own view of the modern world. Hufana’s
Poro Point (1961) presents an interesting
anthology of lives.
 One poet and literary critic whose works
span both the middle and modern periods is
Ricaredo Demetillo. His poems have been
published in numerous magazines and in his
collections Daedalus and Other Poems
(1961), Masks and Signatures (1968), and
Scarecrow Christ (1973).
PHILIPPINE LITERATURE REVIEWER
 Another poet who has written during both
periods is G. Burce Bunao. His clear,
forceful verse has been published in The
Quiver and the Fear (1968).
 Among the more talented poets of this
period was Emmanuel Torres. He won
the Palanca Poetry Award for his
collection Angels and Fugitives (1966). His
more recent poems have been published in
Shapes of Silence (1972).
 A later Palanca Award winner was Federico
Licsi Espino, Jr., who published A
Rapture Distress (1968), Dark Sutra
(1969), and Counterclockwise:
Poems 1965-69 (1969).
Cirilo F. Bautista.
 He has published some excellent verse in
the Summer Suns (1963), The Cave and
Other Poems (1968), and The
Archipelago (1970).
In the 1970s, many poets have contributed fine
collections of verse.
 Mauro R. Avena has revealed his personal
insights in Rain and Other Poems (1970)
and Evening Poems (1971).
 Perhaps the most interesting among the
modern poets is Hilario Francia, Jr., who
won the Palanca poetry Award for his
Selected Poems (1970).
 Among the modern poets are included:
Celedonio G. Aguilar, Carlos A. Angeles,
Mauro R. Avena, Tita Lacambra-Ayala,
Cirilo F. Bautista, Godofredo Burce Bunao,
Rolando A. Carbonnell, Erwin E. Castillo,
Albert B. Casuga, Alfredo O. Cuenca,
Florentino Dauz, Ricaredo Demetillo,
Federico Licsi Espino, Jr., Hilario Francia,
Jr., Rita B. Gadi, Edel E. Garcellano, Gloria
Garchitorena Goloy, Alejandrino G.
Hufana, Nick Joaquin, Marra Lanot-
Lacaba, Jose M. Lansang, Jr., Virginia
Lichauco de Leon, Ofelia Fernandez
Limcazo, Virginia R. Moreno, Valdemar O.
Olaguer, Donel B. Pacis, Wilfredo Pascua
Sanchez, Epifanio San Juan, Jr., Artemio
Tadena, Edith L. Tiempo, Rolando Tinio,
Emmanuel Torres, Jose Garcia Villa, and
Manuel A. Viray.
Rolando Tinio was born in Gagalangin, Tondo
Msnila on March 5, 1937.
 He was a Filipino poet, dramatist, director,
actor, critic, essayist and educator.
 He graduated magna cum laude with a
degree in Philosophy at the University of
Sto. Tomas in 1955 and an M.F.A degree in
Creative Writing Poetry from the State
University of Iowa.
 In the mid-1960s, Tinio decided to try
writing in Tagalog and the product of this
trial was the collection of poems now called
Bagay. He was the sole inventor of
“Taglish” in Philippine poetry.
 Valediction sa Hillcrest
Rene Estella Amper was born on October 18, 1940
in Boljoon, Cebu.
 As physician he has served as head of the
Boljoon rural health unit; as poet, he has
participated as an Asia Foundation Writing
Fellow at the Silliman U. Summer Writers’
Workshop in 1968 and 1969.

 He has also shared the 2nd Palanca prize
in poetry in 1989 with Fatima Lim for a
collection called All Else Is Grass.
 His works have been published in 12
Poems (1969) and Collected Poems
(1990). He has been mayor of Boljoon, and
is incumbent vice-president.
 Letter To Pedro, U.S. Citizen, Also
Called Pete
Gilda Cordero Fernando was born in Manila on
June 4, 1930, and graduated from St. Theresa’s
College in 1951 with a BA and BS in education; she
gained a master’s degree in English literature from
Ateneo de Manila University.
 She first gained acclaim in the late 1950s as
a short story writer in English, inspired by
her father Narciso Cordero who gave her
P30 for every short story she published,
leading to a body of work that remains
critically acclaimed, and winning Carlos
Palanca Memorial Awards for Literature
and Philippines Free Press literary awards.
 National Artist for Literature Nick Joaquin
was an admirer of her prose style and once
said of her: “We have no other writer
capable of such sublime nonsense.”
 Gilda wrote about the lives of the Filipino
urban middle class with a wit and insight
not seen before in Philippine literature.
 Her early fiction is collected in books such
as “The Butcher, The Baker, The
Candlestick Maker” (1962), “A Wilderness
of Sweets” (1973), and her “Story
Collection” (1994).
 Close friend and writer Mariel Francisco
called her a “national cultural visionary…
PHILIPPINE LITERATURE REVIEWER
an outstanding voice in the expression of
the evolving Filipino world view.”
 Among the landmark titles that came out
under her imprimatur are “The Streets of
Manila” (1977), “Turn of the Century”
(1978), “Philippine Ancestral Houses”
(1980), “Being Filipino” (1981), “The
History of the Burgis” (1987), “Folk
Architecture” (1989) and “The Soul Book”
(1991).
 The Visitation of Gods
Carmen Guerrero Nakpil, journalist, author and
public servant was born in Ermita, Manila into the
Guerrero clan of that town.
 She studied at St. Theresa's College,
Manila, and graduated with a Bachelor of
Arts degree in 1942.
 Between 1946 and 2006, she worked either
as staff member, editor, or editorial
columnist at the Evening News, the
Philippines Herald, the Manila Chronicle
(where she had a daily column for 12
years), the Manila Times, Asia Magazine
and Malaya, in addition to contributing
lectures, essays, short stories to other
publications in the Philippines and the rest
of the world.
 She has published ten books: Woman
Enough; A Question of Identity; History
Today; The Philippines and the Filipinos;
The Rice Conspiracy (a novel), the
Centennial Reader, Whatever and the
autobiographical trilogy, Myself,
Elsewhere; Legends & Adventures; and
Exeunt.
 In the 1960's, she served as Chairman of
the Philippine National Historical
Commission and in the 1990's, the Manila
Historical Commission, and director-
general of the Technological Resource
Center from 1975 to 1985.
 She was elected to the Executive Board of
the UNESCO, Paris in 1983. She died on
July 30, 2018.
 Where’s the Patis
Marcelino Agana Jr. was a playwright in 1958
who wrote one of the more popular Filipino
comedies that have been produced many times
through the years.
 New Yorker in Tondo is one of his most
well-known comedy plays. Its humor and
irony are shown to present a realistic
picture of Filipino life.
Jose Quirino he was born in Bayombong, Nueva
Vizcaya, on April 27, 1930.
 He finishes his law degree at Far Eastern
University.
 He has won three Stanvac awards for
journalism in feature writing. He was
also named Most Prolific and Most
Valuable Contributor of the Philippines
Free Press for nine consecutive years.
 Life is a Three-ring Circus
Emmanuel S. Torres Torres was graduated from
the Ateneo de Manila in 1954.
 As a student he contributed poems and
essays to the Ateneo Quarterly. It was
Torres who renamed the journal Heights
when the campus moved from Padre Faura
 PHILIPPINE LITERATURE REVIEWER

to Loyola Heights, and he was the co-editor that runs north to south from Caloocan to have established themselves in eminent
of its first issue in October 1952. Heights is Baclaran) positions in newspapers and creative
still the student literary journal of the  February 24, 1986- The dictator and his writing circles; and last but not the least,
university. family to Hawaii, U.S.A. on. San Carlos University in Cebu City, where
 Upon graduating, Torres received the  The revolt established the presidency of the Cebuano Studies Center has served as a
Mulry Award in Literary Excellence. Corazon Aquino which was marked by the focal point for bilingual creative writers.
 As a poet, Torres has three collections: “restoration” of pre-Martial Law society.  The second group consists of writers’
Angels and Fugitives (1966), Shapes of  The years that followed “EDSA” saw organizations that periodically sponsor
Silence (1972), and The Smile on Smokey several attempts at a coup d’etat that caused symposia on writing and/or set up
Mountain and Other Poems (1991). considerable turbulence and instability. workshops for it members and other
 Writing under the Martial Law regime was interested parties.
AUTHORS WORKS  UMPIL (Unyon ng mga Manunulat
characterized by militancy and belligerence,
Rolando Tinio Valediction sa Hillcrest even when it showed up in the legal press. na Pilipino)
Especially after the assassination of  PANULAT (Pambansang Unyon
Emmanuel S. Torres Another Invitation to Benigno Aquino Jr. in 1983, the temper of ng mga Manunulat) Panday-Lipi,
Visit Tondo poetry and theater derived much of its heat  GAT (Galian sa Arte at Tula),
Gilda Cordero The Visitation of the and direction from the political culture of  KATHA, LIRA (Linangan sa
Fernando Gods the underground national democratic Imahen, Retorika at Anyo)
Jose Quirino Life is a Three-ring movement.  GUMIL (Gunglo Dagiti Mannurat
Circus
nga Ilokano),
Carmen Guerrero Where’s the Patis by The post-EDSA centers for creative writing may be
 LUDABI (Lubas sa Dagang
Nakpil grouped into two.
Binisaya) and P.E.N.
Marcelino Agana Jr. New Yorker in Tondo
 To the first group belong the academic
institutions where Creative Writing is part
The two “unyon” function as umbrellas under
MODULE 3- THE CONTEMPORARY of the curricular offerings.
which writers belonging to a diversity of
PERIOD  Creative Writing Center giving writing organizations socialize with fellow writers.
grants to selected literary figures and runs
The Year 1986 demarcates the beginning of a new workshops in three regions where the  UMPIL began as Writers’ Union of the
scene in the unfolding narrative of contemporary University has campuses; the Ateneo de Philippines under the Marcos dictatorship
Philippine Literature. Manila University, which has a post for a and has since 1986 moved away from its
 It saw the fall of the dictatorship that writer-in-residence in its Department of image as a favored coterie enjoying
President Ferdinand Marcos set up on English, who is asked to run a workshop for government patronage, to become an
September 21, 1972. Ateneo students; De La Salle University, organization working with educators and
which also has a post for a writer-in- giving recognition to vernacular writers
 Communist Party of the Philippines were
residence and employs established writers who have yet to receive national exposure.
waging a protracted people’s war. “EDSA”
and critics as faculty; the University of  PANULAT, on the other hand, is a post-
(the name of the highway in Metro Manila
Santo Tomas, which offers a journalism EDSA organization aiming to bring under
program that has graduated writers who

its aegis writers politicized by the 1986
uprising, which has since oriented itself to
the development of grassroots writing
among peasants, workers and the urban
poor.
 GAT started during the Martial Law period
as a workshop for young poets, but has
since evolved into a club that cultivates
both fiction and drama as well.
 LIRA is a post-EDSA group offering
poetry workshops to its members.
 KATHA is also composed of young
writers, interested in the writing of fiction
with social consciousness.
 GAT, LIRA and KATHA each have a
membership writing mainly in Filipino,
although some of their members write also
in English or any of the vernaculars.
 GUMIL and LUDABI are made up of
regional writers, the first, of writers in
Ilocano, the other, writers in Cebuano.
PLAC draws its membership from the ranks
of established writers in English, who
sometimes also write in Filipino or any of
the regional languages.
 La Todeña, sponsors of the venerable
Carlos Palanca Memorial Awards in
Literature, has made the name “Palanca” a
synonym for quality literary works in bothe
English and Filipino. When Komisyon ng
Wikang Pambansa was still “Surian,” it was
already awarding recognition to poets and
essayists who compete annually for the title
Makata ng Taon (for poetry) and cash
awards of the Gawad Collantes (for the
essay).
PHILIPPINE LITERATURE REVIEWER
 Under the Marcos dictatorship, the Cultural
Center of the Philippines held literary
competitions and awarding grants.
 National Commision on Culture and the
Arts (NCAA) was created by law in 1992,
superseding the Presidential Commission
on Culture and the Arts which was
established in 1987.
 The NCAA has a committee on
Literary Arts which funds
workshops, conferences,
publications, and a variety of
projects geared towards the
production of a “national
literature.” The said committee has
institutionalized the presence of
regional representatives in the
composition of its executive board,
a promise of things to come in the
development of writing that is
multi-lingual, multi-cultural and
truly national. Joining institutions
in giving recognition to writers
from specific sectors in society are
non-government orgnizations.
The Amado V. hernandez Foundation sponsors
an annual writing contest for workers and their
advocates.
GAPAS Foundation has a similar contest open to
peasants and writers sympathetic to their cause.
KAIBIGAN, a support group for overseas workers,
in 1989, opened a writing contest for OCW’s.
Publications that regularly put out creative works
are of two categories depending on their base or
audience reach.
 The national magazines that publish
literary contributions during the post-
EDSA period have been Midweek
(poetry and fiction in either English or
Filipino, but are now defunct),
Philippine Graphic Weekly Magazine
(poetry and fiction in either English or
Filipino), Philippines Free press (poetry
and fiction only in English),
 The Sunday Inquirer Magazine (poetry
and fiction in either English or
Filipino), Liwayway (poetry and fiction
only in Filipino) and its counterpart’s in
Iloko and Cebuano, Banawag and
Bisaya, and Filmag (poetry and fiction
only in Filipino).
The Solidaridad Publishing House puts out the
quarterly Solidarity which publishes discussion
articles in addition to poems and fiction in English.
The other group of outlets is of importance as a
source of non-traditional, experimental writing.
These are campus publications that may either be
weekly student newspapers, quarterly magazines, or
annual literary journals. UP has the Collegian which
occasionally comes out with a literary folio in
addition to pages devoted to student poems, stories,
and essays:
The Diliman Review, an opinion magazine which
is open both to students and faculty: and The
Literary Apprentice, which has enjoyed the status
of a landmark in the literary scene since 1920s.
Silliman University’s Sands and Coral has also
had a long history as a key literary organ associated
with the celebrated writers’ workshop in
Dumaguete City.

Ateneo de Manila University issues Heights, which
is open to both students and faculty, and Pantas, a
discussion magazine for the faculty, which prints
poems occasionally, Philippine Studies, a learned
journal based in the Ateneo de Manila University is
open to literary studies and book reviews and
occasionally puts out a literary issue.
De La Salle University has a literary magazine
named Malate and a journal devoted to articles on
literature and general culture named Likha. In
addition, De la Salle publishes Malay, a journal of
ideas that also includes literary studies.
The University of Santo Tomas publishes The
Varsitarian, which has a regular literary section.
The
Polytechnic University of the Philippines (PUP) is
the home of Bisig which is devoted to both creative
writing and literary comment.
Character of the Philippine literary scene after
“EDSA”
1. There is in the academe an emerging critical
orientation that draws its concerns and insights from
literary theorizing current in England and the
United States.
 The new theories have allowed critical
discourse to move away from the previous
veneration of students of literature for “high
art,” and rendered it more open to hitherto
marginalized forms and subject matter.
 Gelacio Guillermo (Ang Panitikan ng
Pambansang Demokrasya, 1990), Alice
Guillermo (Images of Change, 1988),
Elmer Ordoñez (The Other View) and Edel
Garcellano (First Person, Plural, 1987)
PHILIPPINE LITERATURE REVIEWER
represent criticism that focuses on writing
as social practice in a semi-feudal, semi-
colonial setting. Isagani R. Cruz (Beyont
Futility, 1984), Soledad R. Reyes
(Kritisismo, 1992), Virgilio S. Almario
(Kung Sino ang Kumatha Kina
Bagongbanta, Ossorio, Herrera, Aquino de
Belen, Balagtas, atbp, 1992)
2. Post-EDSA publishing has been marked by
adventurousness, a willingness to gamble gamble
on “non-traditional” projects.
 Panitikan Series a perceived lack in the
academe of literary texts in the vernacular.
A list of works to be reprinted was initially
agreed upon, and then each university press
was assigned works to put out according to
a set timetable. So far the consortium has
made available an epic, several novels,
short story collections, poetry and drama
anthologies, all of them finding their
audiences in college classes on Philippine
literature.
New Day Publishers and Solidaridad Publishing
House have been in the business of literary
publishing long before the EDSA revolt.
Solidaridad entered a new phase in its publishing
services when it began, with assistance from the
Toyota Foundation of Japan, to commission and
publish translations into Filipino of Japanese and
Southeast Asian writing.
 Contributing to the vigor of the publishing
scene is Anvil Publishing, Inc. which has so
far racked up a distinguished line-up of
well-known authors, both old and new, with
works that project an interesting profile of
contemporary Philippine writing.
Kalikasan Press, a considerably more modest firm
than Anvil, after a very brief sally into publishing,
has been able to contribute books of poems, fiction,
essays, and plays that otherwise would have been
shelved by more politically cautious editors.
Creative writing from the underground Left has
taken advantage of the "democratic space" brought
about by the downfall of the Marcos dictatorship to
put in an appearance at some Manila bookshops.
 LINANG (Kilusan sa Paglilinang ng
Rebolusyonaryong Panitikan at Sining sa
Kanayunan)
 and MAINSTREAM (People's Art,
Literature and Education Resource Center)
are collaborating entities that have come up
with two novels (Sebyo, 1990, by Carlos
Umberto and Gera, 1991, by Ruth
Firmeza) about the revolution in the
countryside, and a collection of short fiction
(Bukal ng Tubig at Apoy, 1989, by Levy
Balgos de la Cruz). Clearing (1987), a book
of English poems by Jason Montana,
appeared under the imprint of
 ARMAS (Artista at Manunulat ng
Sambayanan). Kung Saan Ako Pupunta
(1993) by Zelda Soriano is a thin volume of
stories and poems that does not carry a
publisher's imprint at all. 3.
 Initially, anthologies of women writing
(Filipina I, 1984; Filipina II, 1985, and Ani,
March 1988 issue) signalled an intensified
campaign to claim attention for literary
output that anthologists and critics have
ignored. This was followed up by feminist

criticism on the creative works of women
writers and on writings about women by
male writers (e.g., Feminist Readings of
Philippine Fiction, 1994, by Sylvia
Mendez Ventura
 LINANG and MAINSTREAM have
anthologized poem narratives and forms of
reportage from the countryside, and it is
only now that it has become possible to
validate them without any touch of
condescension.
 GAPAS has held a consultative gathering
of writers, critics and teachers to evaluate
winning pieces in its annual Gantimpalang
Ani contests, so the effort has begun to do
justice to writing from the grassroots.
 Filipino migrant workers had appeared
before in the writings of Carlos Bulosan,
Bienvenido N. Santos and other “overseas”
Filipino authors.
 Gay and lesbian writings are also beginning
to merit serious comment as a result of the
emergence of literary criticism willing to
reframe traditional assumptions about art
and non-conventional sexuality as content.
Gay writers and the theme of
homosexuality have been around since the
1960s, but politicized analysis of gay
writing is a recent phenomenon in
Philippine criticism.
 Ladlad, An Anthology of Philippine Gay
Writing (1994) is a bilingual collection of
fiction, poetry, essays, and plays, and most
of them authored by very new names in the
literary scene.
4. The fourth and final characteristic of post-
EDSA writing is the developing of thrust
towards the retrieval and the recuperation of
PHILIPPINE LITERATURE REVIEWER
writing in Philippine languages other than
Tagalog.
There is a growing sense in the academe that the
three literatures (Tagalog, English, and Spanish)
from which the usual anthology of Philippine
Literature has been drawing in selections have
never been an accurate representation of the writing
Filipinos all over the country and throughout the
history have produced. Since 1986, much progress
has been achieved in integrating writing from the
regions in to the national literature of the Filipinos.
In this, the chief motivating centers have been the
graduate program in the various universities all over
the country. M.A theses and Ph. D dissertations on
regional authors and their works have amassed a
great amount of formation and cultural
documentation that provide the foundation for
future regional literary histories.
Textula/text tula?
A short poetry in a form of tanaga, dalit, and diona
that is sent through SMS on mobile phone with your
friends, families, loved ones, and through netizens.
 Textula/Text tula employs communication
technology in the sharing of poem. Entire
poems are written and read on mobile
phones. Who started mobile phone textula?
 Also known as “makata ng cellphone”
with his popular “textula” series, Rivera
has, to date, authored 21 books of plays for
stage, radio, TV and film. He has received
four National Book Awards while his
poems and “textula” are read in political
rallies, passed around as text messages, read
on radio, posted on social media, printed in
tabloid and newspaper columns, recited in
school programs and utilized as material in
oratorical and declamation contests.
How it started? It all started in the year 2005.
Every day, Frank G. Rivera sends poems about
his opinions, criticisms, economy, politics and
happenings in the society to his close friends via
text.
 He inspired some of the Filipino poet
writers to do the same thing and it was later
on called as Mobile Phone Textula.
 It spread throughout the Philippines and
organizations such as Linangan sa Imahen,
Retorika, at Anyo (LIRA) and Filipinas
Translation Institute sponsored contests of
textula.
How did it become a genre?
 US-based technology and social media
news blog Mashable.com released an
infographic detailing text messaging trends
in the US and around the world.
Surprisingly, the Philippines continues to be
the text messaging capital of the world. It is
visible that almost 95% of Filipino citizens
use text messaging and by this medium
Mobile Phone Textula became a hit for
Filipino poet writers and even for average
people.
What is tanaga?
Tanaga is an indigenous type of Filipino
poem composed of four lines with each line
having seven syllables written in aaaa, aabb,
abba, abab rhyming pattern.
What is dalit?
 PHILIPPINE LITERATURE REVIEWER

Dalit is a type of short Filipino poem,

composed of four lines with eight syllables in
each line. It was very popular during the
Spanish period, and the friars used dalit to
promote Catholicism.
What is diona?
Diona is a pre-Hispanic rhyming poem of
three lines with seven syllables in each line
expressing a complete thought.
Sinaktang walang sugat, ‘Di ko alam ang ugat.
Ako ay mapag-panggap, Bakit ‘di ako tanggap.
- Mace Tupas

AUTHORS WORKS
Ruth Elynia Mabanglo Mga Liham ni Pinay
Mula sa Brunie
Emmanuel S. Torres Textula 1
Amadis Guerrero Children of the City
Kerima Polotan Tuvera The Virgin
Dr. Ronnie E. How a Brain Surgeon
Baticulon Learned to Ride a
Bike?

Nestor Torre Jr So You Want to be

Medianic?
Paul A. Dumo Ang Paglilitis ni Mang
Serapio
Felisa Batacan Novel: Smaller and
Smaller Circles