The annual UP Lantern Parade will take place on December 16, 2011 so to celebrate the occasion, all our University of the Philippines Press titles will be on sale! This offer is only good for that day (it starts on December 16, 12:01 am and ends at midnight) so mark the date!

The following books, originally priced at $3.99, will be discounted to $1.99 (or P125.00 at Flipreads).

The following books, originally priced at $4.99 and $5.99, will be discounted to $3.99 (or P200 at Flipreads).

UP PRESS LAUNCHES SECOND BATCH OF E-BOOKS

Committed to making Philippine books available around the world, the UP Press has launched its second batch of titles in e-book format. In cooperation with Flipside Digital Content Company, the Press proudly has gathered these exceptional titles in literature and scholarship. Among the authors are former UP Press director Cristina Pantoja Hidalgo and current director J. Neil Garcia.

Philippine Studies: Have We Gone Beyond St. Louis? Priscelina Patajo-Legasto, editor

13.

Mind Body Communication Technique: An Alternative Way of Learning and Teaching Confidence in Public Speaking: Carmencita Del Villar

UP PRESS TO LAUNCH FIFTEEN NEW TITLES THIS NOVEMBER 25

The University of the Philippines Press will be launching fifteen titles on November 25, 5 p.m., at the Balay Kalinaw, UP Diliman. The books represent the best of the best: writings from scholars here and abroad and literary work from the country’s up and coming writers. The public is cordially invited and buyers will enjoy 20 percent discounts at the Paglulungsad 2011: Ikalawang Yugto.

More information about the books follow:

In A Movement Divided, Ken Fuller continues the story until the fall of Ferdinand Marcos in 1986. Fuller traces the PKP’s painstaking attempts to rebuild, its conclusion of a political settlement with Marcos in 1974, and the development of the increasingly anti-imperialist stance which informed its approach to Marcos. The three congresses held by the PKP during this period are considered in detail, as are the two splits which occurred—that leading to the formation of the Communist Party of the Philippines (CPP) in 1968, and the “Marxist-Leninist Group” split in 1972.

Ang Almanak ng Isang Aktibista ay babasahin sa politika ng pang-araw-araw: pagbubukas ng klase, paglalakad sa kalsada na nahahanayan ng akasya, pagtatrabaho sa opisina, pagsama sa rali, pagdalaw sa mga kamag-anak sa probinsya, tag-ulan at bagyo, Todos los Santos at Pasko. Ito ay pagninilay sa posibilidad ng kondisyon ng kontemporaryong buhay: ang swabe at hayagang paniniil at panunupil ng negosyo, institusyon, at estado sa isang banda, at ang pagmamahal sa buhay at imperatibo ng pakikibaka sa kabilang banda.

Binibigyang-linaw ng Babae, Obrera, Unyonista: Ang Kababaihan sa Kilusang Paggawa sa Maynila (1901–1941) ang mahalagang papel ng kababaihan noong panahon ng mga Amerikano sa Pilipinas sa pagsusulong sa mga kahilingan ng manggagawa para sa mas mataas na sahod, karapatang mag-unyon, dagdag na benepisyo, at ang paghapag ng mga partikular na isyu ng kababaihang manggagawa tulad ng hiwalay na palikuran, maternity leave, pasilidad para sa day care, at paglaban sa seksuwal na pang-aabuso. Sa proseso ng partisipasyong ito, lumitaw ang mga lider na kababaihan tulad nina Pilar Lazaro at Narcisa Paguibitan na nagtaguyod ng mga kahilingan ng mga manggagawa at ng makabayang kilusan para sa kalayaan sa naturang panahon.

Galing ang salitang balagen sa balagen ha lintukan. Ito ang tawag ng katutubong Bukidnon sa “uway na makapangyarihan” na napagtitipon-tipon ang magkakaaway upang matukoy ang sanhi ng alitan at mapagkasunduan ang kapayapaan at pagkakaisa. Mag-ala-balagen sana ang Balagen sa pamamagitan ng paglaganap ng kamalayang nagpapahalaga sa kapayapaan sa hanay ng mga bata. Maging batis sana ang mga katutubong panitikan, ang mga orihinal na kuwentong pambatang isinulat ng mga manunulat na Filipino, at ang panitikang kinatha mismo ng mga bata, sa pag-unawa sa minimithing kultura ng kapayapaan para sa bansa.

Basics of Occupational Health and Safety outlines the basic elements of implementing occupational safety and health programs in various types of industries—manufacturing, service, agriculture, mining, construction, small enterprises, among others. The solutions offered to address hazard and safety issues are exhaustive, technical, and practical, as well as cost-effective for management, and beneficial for workers.

Sasagutin ng isang dosenang kuwentong nasa Bugtong ng Buwan ang mga tanong ukol sa mga batang iniwan sa kagubatan at ang mga makapangyarihang nilalang na nagmamasid sa kanila sa gitna ng dilim.

Dead Stars: American and Philippine Literary Perspectives on the American Colonization of the Philippines examines the American colonization of the Philippines from three distinct but related literary perspectives. The first is the reaction of anti-imperialist American writers Mark Twain, W. E. B. Du Bois, and William James to America’s first foray into the role of colonizer and how their varied essays, letters, and speeches provide an incisive delineation of fundamental conflicts in American identity at the turn of the twentieth century. The book then analyzes how these same conflicts surface in the colonial regime’s use of American literature as a tool to inculcate American values in the colonial educational system. Finally, Dead Stars considers the way three early and important Filipino writers—Paz Marquez Benitez, Maximo Kalaw, and Juan C. Laya—interpret and represent these same tensions in their fiction.

From Wilderness to Nation’s essays seek to explore various aspects of bayan and what it/she represents. This collection contains eight essays, four in English and four in Filipino; four are written by authors residing in the Philippines and four in the United States.

Ang Gramatikang Filipino ay isang “sariwang” pagsusuri ng balarila ng Filipino para mapayaman pa ang karanasan sa pag-aaral ng wika mula sa mga iskolar na sina Cena at Nolasco, mga guro sa UP Diliman.

Nasa Lagalag ng Paglaya ang kuwento ng isang environmentalist na may bulok na ngipin, aliping sinagip ng dunong sa tiyak na panganib, mga mandirigmang mailap, at batang manggagamot na nilason ng digmaan ang puso’t isip. May sumasayaw na anino ng mga poon, paglisan ng pag-ibig sa syudad, at paghanap sa kadugong nawalay sa kabundukan. May kuwento tungkol sa bawal at huwad na disiplina ng estado, pagbuo sa naputol na ugnayan, paglaro sa kulay ng imahinasyon, at pananatili sa kawalang-katiyakan. May salaysay para magsilbing bago ang kakaiba, lumikha ng tiwalag na tala, at humubog ng mamamatay-tao sa anyo ng mistulang pinuno ng isang bansa.

Ang Miss Dulce Extranjera ay isang dula base sa maraming dokumentong historikal. Ang mga pangunahing tauhan ay dalawang mandudula. Maaari silang usisain bilang "biktima" ng awtoridad at manipulasyon [halimbawa ay manipulasyong ideolohikal (ideological manipulation) at hegemony ng kasaysayan (historical hegemony)]. Kagaya ng patuloy na debate hinggil sa "text versus performance" ng diskurso sa teatro, ang dalawang mandudula ay isinakatawang-tao itong debate hinggil sa kung alin ang awtoridad sa teatro: teksto o pagtatanghal sa pamamagitan ng kanilang komprontasyon sa arkayb at ang komprontasyon ng mapaglarong dokumentong historikal. Gayumpaman, hindi ito isang bersiyon ng kasaysayan. Ang adhikain ng dula ay maipakita kung papaanong ang kasaysayan ay maaaring basahin bilang nagtatanghal na naratibo o nagtatanghal na paninindigan (ideology).

The Rhetorics of Sin focuses on Jaime Cardinal Sin, the Archbishop of Manila, who figured prominently in the political life of the Philippines. His position as a Roman Catholic cardinal from 1976 to 2005 enabled him to influence Philippine social and political affairs. This book analyzes selected rhetorical discourses of Sin within the period 1972 to 1992. It describes the identifiable forces in configured interplay and the exigential flows of antecedents-events-consequences. Cardinal Sin’s rhetoric was created and shaped by these forces leading to a rhetorical role and persona he played within the historical configuration period.

Ang Sawikaan: Mga Salita ng Taon ay isang masinsinang talakayan para piliin ang pinakanatatanging salitang namayani sa diskurso ng sambayanan ng nakalipas na taon. Itinataguyod ito ng Filipinas Institute of Translation (FIT), isang samahang non-stock, non-profit na itinatag noong Setyembre 3, 1997, ng ilang manunulat at tagasalin na naniniwalang kailangan na itampok ang pagsasalin bilang mahalagang bahagi ng kultura at gawaing pang-akademya.

In Things Fall Away: Philippine Historical Experience and the Makings of Globalization, Neferti X. M. Tadiar offers a new paradigm for understanding politics and globalization. Her analysis illuminates both the power of Filipino subaltern experience to shape social and economic realities and the critical role of the nation’s writers and poets in that process.

Welgang Bayan follows the trade union movement from 1972 to 1984 as it braves the martial law years; celebrates May 1 milestones; metamorphoses into the BMP, TUCP, and KMU, among others; and struggles for both workers’ rights and rewards—from the tiny shops along Avenida Rizal to the export processing zones, from the batilyos’ indignation Mass in Navotas to the legendary strike at La Tondena—and along the way, leaves lessons for all employees, employers, labor leaders, and legislators today.

UP PRESS E-BOOK TITLES ON SALE FOR TWO DAYS ONLY

UP PRESS E-BOOK TITLES NOW ON AMAZON

THINGS FALL AWAY BY NEFERTI X.M. TADIAR NOW AVAILABLE AT THE UP PRESS

Committed to bringing quality books to the Philippine academe, the UP Press proudly announces that the Philippine edition of Neferti X.M. Tadiar's Things Fall Away: Philippine Historical Experience and the Makings of Globalization is now available at our bookstore and website. Published by the Duke University Press in 2009, the book has been hailed as "a major theoretical statement" and "compelling ... (and) poetic."

In Things Fall Away, Neferti X.M. Tadiar offers a new paradigm for understanding politics and globalization. Her analysis illuminates both the power of the Filipino subaltern experience to shape social and economic realities and the critical role of the nation’s writers and poets in the process. Through close readings of poems, short stories, and novels brought into conversation with scholarship in anthropology, sociology, politics, and economics, Tadiar demonstrates how the devalued experiences of the Philippines’ vast subaltern populations—experiences that “fall away” from the attention of mainstream and progressive accounts of the global capitalist present—help to create the material conditions of social life that feminists, urban activists, and revolutionaries seek to transform. Reading these “fallout” experiences as vital yet overlooked forms of political agency, Tadiar offers a new and provocative analysis of the unrecognized forces at work in global trends such as the growth of migrant domestic labor, the emergence of postcolonial “civil society,” and the “democratization” of formerly authoritarian nations.

Filipino scholar Vicente Rafael calls it, "a remarkable achievement ... It brings to the surface an entire literary history that very few know about in the West: a literary history that speaks volumes about the conditions of modernity in various parts of the world." The title recalls Chinua Achebe's first novel, Things Fall Apart, a visceral depiction of colonial evil. Things Fall Away illuminates the machinations of global capitalism and focuses on the Philippines as a nation in crisis.

Tadiar is a professor of women's studies at Barnard College, Columbia University. She is the author of Fantasy-Production: Sexual Economies and Other Philippine Consequences for the New World Order and co-editor of Beyond the Frame: Women of Color and Visual Representations.

Click here to order online.

GRAMATIKANG FILIPINO: BALANGKASAN NOW AVAILABLE

UP PRESS TO LAUNCH E-BOOK TITLES

GIFT YOURSELF WITH A UP PRESS BOOK TITLE PROMO NOW ONGOING

Paglulunsad 2011: Unang Yugto; A NEW CHAPTER, A NEW DIRECTOR, AND NEW BOOKS

THE OPENING REMARKS OF NEW UP PRESS DIRECTOR J. NEIL GARCIA AT THE PAGLULUNSAD 2011: UNANG YUGTO

University Registrar Dr. Evangeline Amor, Vice Chancellor Dr. Ronald Banzon, university officials, members of the faculty, fellow workers in the smithy of the soul, students and guests, a pleasant afternoon to you all.

For a writer, the publication of his or her book is always the most blissful of affairs—the happy fruition of months or years of anticipatory and often tedious labor. And indeed, I have known this bliss courtesy of the University of the Philippines Press a number of times.

This time, I welcome you all to the mid-year launch of the latest titles from the UP Press, a prestigious institution which has been admirably led, over the years, by such directors as Dr. Maria Luisa Camagay and Dr. Cristina Pantoja Hidalgo, whose excellent examples I am only too humbly inspired to follow.

All I can say at this point is: I’ll do my best not to disappoint my predecessors, even as I must admit to being peculiarly excited (as well as daunted) by the new direction that the press, on this day, is officially tracking, with this joint project with Flipside Digital Content. I am referring, of course, to the general but increasingly likely future of electronic books, exemplified by Carljoe Javier’s “geeky” new collection of short stories, whose paper-and-ink incarnation we are launching here today, but whose digital avatar is hopefully being legally downloaded, even as I speak, through that biggest of virtual market places, amazon.com.

A university is only as good as the minds of its constituents. Among other things, a university press exists in order to provide bountiful printed evidence of this compelling and necessary fact. In our chosen profession, books, after all, are what it’s all about, inasmuch as books document the life of the mind—as well as bequeath it, in portable and hopefully enduring form, to others.

Books are also the condition and proof of literacy, and as we know only too painfully, in our country, the promotion of literacy is an unfinished and ever-challenging task.

I believe that the kind of literacy our country needs goes beyond the merely functional. What I’m thinking of is a kind of “archival consciousness,” a thoughtful and profound enlightenment of the mind, that understands and decides, precisely because it documents and remembers.

It is easy for us who love (and promote) literary and scholarly books to believe that one of the results of a sustained and stable literacy is the fostering of an ethical self—a subjectivity that decides on questions on the basis of an argued understanding of facts and perspectives.

In particular, we who teach and produce literature know, from experience, that a well-rooted literacy leads to the valuing of the “written word” as a source not only of knowledge but also of principles, as well as possible wisdom. Literacy encourages the reader to commit him- or herself to the unbreakable word, and to say no to personal opportunism and provisionality—exactly the contagions that afflict many Filipinos, perhaps never more harrowingly than during these crazy, hazy times.

It’s quite possible that many of the social ills, many of the political and economic problems that we seem to be perpetually facing as a nation, are the natural consequences of a persistent and profound illiteracy among the vast majority of our people—an illiteracy that is sadly exploited by those among us who really should know better, and thus should care more.

We have laws, but why is it so hard to implement or even just follow them? One possible answer is this: inasmuch as we, by and large, are not a reading culture, we easily change our minds about practically everything. Our primary mode of knowledge being oral, we find it difficult to keep faith with the relative permanence and “inflexibility” of written doctrine. Our national memory, adrift in an ocean of tsismis—and all its carelessly spoken words, as well as the personal, “clientelist” ties that they all too often broker—remains as fluid and “negotiable” as our people’s increasingly immiserated lives...

The typical explanation for our country’s sorry state of affairs points its finger at the usual suspects—moral torpitude, a culture “damaged” by colonialism, an inherent or acquired weakness in our personality as a people, etc. But it largely misses the point, which is, in fact, the bigger picture: our inability to engage in categorical thought simply derives from the largely “oral”—as opposed to “textual”—quality of our lives. And so, to restate things: orality is mutable, arguable, and indefinite, while textuality is more or less the opposite. It's clear and commonsensical enough: unlike, for example, hearsay, the written document or text stabilizes knowledge, instantiates as well as enforces consensus, forecloses negotiations, and provides a basis to decide and act with conviction.

Indeed, how interesting is that time-worn but still salient national metaphor of the bamboo, that supposedly represents the indefatigable “pliancy” of the Filipino character. And yet, on the “other” side of things, this very same trait is what arguably bedevils us—for pliancy and “bendingness” can prove undesirable as well, for they may also mean not so much flexible strength as its paucity, may signify a lack of enduring principle, a deplorable inability to think categorically.

An American sociologist is supposed to have made the remark that Filipinos were incapable of categorical thought, as she marveled at the way so many of them switched political loyalties (switched political parties, that is), from one election to the next, sometime during the American occupation.

I‘ve always believed this peculiarly Filipino “negotiability” in things--a red light can mean go if you want it to, the family of an ousted dictator can return to power in less than a decade’s time, known philanderers and corrupt personalities can welcome the pope at the airport and be the first to kiss his hand, politicians can change parties overnight, among a slew of other mind-boggling, everyday examples-- has something to do with the relative newness of textuality or writing (only, roughly, an uneven and tumultuous century), and the immemorial and enduring orality in the nature of social relations, which together constitute a unique kind of Filipino modernity.

A bit of trivia we who frequent the ill-lit and eternally damp Filipiniana section of the main library know quite well: practically all the books ever written by Filipinos will fit inside a not-so-large room. Clearly, unlike the modern and “rational/ized” societies of the First World, whose libraries are not just buildings but complexes of buildings, our country remains pretty much underwritten—undertheorized—this late in the neocolonial day. What this means is that the archives, as well as the consciousness that they are supposed to engender, aren’t really available or stable at all. To my mind, a very good indicator of a stable archive is that it yields as much evidence for a certain empirical claim as for its negation; this is clearly not the case with us, since most conclusions drawn by our historians from the typically scarce and tight-fisted sources are taken as valid, and we must remember, valid only by default. In fact, in our country, a historian is typically compelled to originate data at the same time that he or she is supposed to merely interpret them.

Let me conclude these “strange” opening remarks with the following intuition: of all Filipinos, it is those involved in the business of publishing—from writers to editors, from proofreaders to every member of the rank and file working tirelessly in the marketing departments of publishing houses—who are the foremost promoters of written memory, of principled thinking and categorical mentality, in our country. As such, they are the ones who will need to uniquely suffer, on one hand, from the disaffections and disenchantments of our hybrid oral/textual cultural situation; and on the other, they are the ones who should rightfully glory in the luminosity and hope that the birth of a Filipino book must occasion.

Let today’s publication of these finest works by some of our country’s finest writers and scholars, be yet another opportunity to insist on the power of the written word, on the power of memory and the imagination to commit themselves to principled action, to evoke and summon into being a more clear-eyed vision of a better and fairer Filipino nation, inextricably linked as it must be to the vision of a better and fairer world for all of humanity.

I salute Dr. Camagay, the staff and employees of the University of the Philippines Press, and the authors of this afternoon’s choice and bounteous harvest.

By Elizabeth Lolarga, VERA Files
Congratulations, and once again, a pleasant afternoon to everyone.

UP PRESS TO LAUNCH NINE TITLES THIS JULY 1 AT THE GT-TOYOTA HALL OF WISDOM

The University of the Philippines Press will be launching nine titles this July 1, 5 p.m., at the GT-Toyota Hall of Wisdom, UP Asian Center, UP Diliman. Entitled Paglulunsad 2011: Unang Yugto, the launch will offer 20 percent discounts to buyers of our newest titles. The books and their proud authors are:

1. An Isteytsayd Life	Lorenzo Paran III
2. The Other View Volume II	Elmer Ordoñez
3. Duguang Kamay sa Nilulumot na Pader	Jose Rey Munsayac
4-5. The Asian Religious Sensibility and Christian (Carmelite) Spirituality Volumes I and II	Sr. Teresa Joseph Patrick of Jesus and Mary OCD (Josefina Constantino)
6. Beautiful Accidents: Stories	Ian Rosales Casocot
7. Six Sketches of Filipino Women Writers	Cristina Pantoja Hidalgo
8. Geek Tragedies	Carljoe Javier
9. Tatlong Dula	Rody Vera

An Isteytsayd Life is a collection of personal essays by Paran, who was a UP Diliman English professor for ten years and is now living in America.

The Other View Volume Two is a compendium of the column UP intellectual Elmer Ordonez wrote for the Manila Times, praised by National Artist for Literature Bienvenido Lumbera as "superior specimens of opinion journalism."

The Asian Religious Sensibility ... is a gargantuan work on spirituality written by Josefina Constantino, also a former UP Diliman English professor and now a cloistered nun.

Beautiful Accidents gathers the award-winning stories of the Dumaguete-based writer Ian Rosales Casocot, whom Jose Y. Dalisay Jr. calls "one of our most promising young fictionists today."

Six Sketches ... is yet another insightful work from multiawarded writer and teacher Cristina Pantoja Hidalgo, this time focusing solely on women writers.

Geek Tragedies features short stories by Carljoe Javier: sharp, articulate, and emboldened.

Duguang Kamay ... is a novel which won for Jose Rey Munsayac the Gawad Likhaan: The University of the Philippines Centennial Literary Prize in 2008.

Finally, Tatlong Dula by Rody Vera features Kung Paano ko Pinatay si Diana Ross, Luna: Isang Romansang Aswang, and Ralph at Claudia, all in the noted playwright's inimitable style and humor.

BEAUTIFUL ACCIDENTS: STORIES BY IAN ROSALES CASOCOT NOW AVAILABLE

by Arvin Abejo Mangohig

In twelve stories collected from a decade of writing fiction, the much-awarded Dumaguete writer Ian Rosales Casocot attempts to rescue personal experience from the ephemera of travel and sexual limbo, and in the process makes his stories a fixative art, each one a grand evocation of style. In the small, weary world of university towns, Casocot’s characters glimmer: proud fathers become faded after the golden age of sugarcane in Negros; beloved mothers fossilized in the celluloid of old movies; and the young who hustle for sex, love, and attention, playing dangerous games, colliding in beautiful accidents.

In “Pete Sampras’s Neck,” the lead character hastens to an awakening but denies (or admits) he does not believe in accidents. In “Between the Here and the Now,” a son grapples with the holiday blues and realizes he cannot deny his own loneliness. He holds “a cold telephone” as cold as the world in the end. In “The Players,” Casocot plays with rapidfire dialogue, all unabashedly autobiographical, but feelingly fictive at the same time. The stories flit until they awaken into their own epiphanies: wives and husbands counting out the silence between them; gay men cruising through Internet handles and the provincial night; and old movies and Sinatra cameoing seamlessly throughout. Beautiful Accidents brims with self-honesty. Write about someone else, fictionist Timothy Montes once chided Casocot. But honesty is a strength; accidents are autobiographical. In the Casocotian microuniverse, denial propels plot but is ultimately snuffed out.

“Beautiful accidents litter his stories,” writes Montes, “like glass shards from a collision ... He uses language amorously, as a lover savors a kiss, so that passion becomes as real as the rhythm of his sentences.” Palanca Hall of Famer Jose Y. Dalisay Jr. describes Casocot as “one of our most promising young fictionists today.”

Ian Rosales Casocot was a fellow for fiction in the national writers’ workshops in Dumaguete, Baguio, Cebu, and Iligan, and was a writer-in-residence for the International Writing Program in the University of Iowa. He has won the Don Carlos Palanca Award, the NVM Gonzalez Prize, and the Fully-Booked/Neil Gaiman Philippine Graphic/Fiction Award for his fiction. His books include FutureShock Prose: An Anthology of Young Writers and New Literatures, which was nominated as Best Anthology in the National Book Awards given by the Manila Critics Circle; Old Movies and Other Stories; and Heartbreak & Magic: Stories of Fantasy and Horror. His novel Sugar Land was long-listed in the 2008 Man Asian Literary Prize. He lives in Dumaguete City.

UP PRESS REPRINTS COMMUNITY RESOURCE MANAGEMENT: LESSONS FROM THE ZANJERA BY ROBERT Y. SIY, JR.

The UP Press has reprinted Robert Y. Siy, Jr.’s Community Resource Management: Lessons from the Zanjera. The book is a noteworthy look into the Ilocano irrigation cooperatives which exist as both a social and hydraulic unit. The zanjera is a unique sociological phemomenon and Siy offers valuable historical and ethnographic data. The book was first printed in 1982.

E. Walter Coward, Jr., Cornell University writes, “Students of rural society will be interested in the book for its view of rural organization and the nature of social interaction and exchange that it details. Likewise, students of rural development will find much in it that is suggestive of present inadequacies in current rural development policies and possible solutions to those dilemmas.”

Elinor Ostrom, 2009 Nobel Laureate in Economic Sciences, also commends the book: “For scholars interested in a diversity of self-organized irrigation communities, as well as other resource communities including forests, pastures, and fisheries, Robert Siy’s book is one of the most important ones written in the last century ... For all students and researchers trying to understand factors that affect good performance of irrigation systems around the world, I strongly recommend a careful reading of this book.”

Community Resource Management is an invaluable book for scholars and students while offering a new look at the zanjera in particular and the province of Ilocos Norte in general.

DUGUANG KAMAY SA NILULUMOT NA PADER BY JOSE REY MUNSAYAC NOW AVAILABLE; GAWAD LIKHAAN WINNERS NOW COMPLETE

by Arvin Abejo Mangohig

Duguang Kamay sa Nilulumot na Pader by Jose Rey Munsayac completes the Gawad Likhaan: The UP Centennial Literary Prize Winners lineup published by the UP Press. All the titles are now available at the UP Press bookstore and through orders via uppress.com.ph.

The other winners were Jose Marte A. Abueg (poetry, for his collection “Bird Lands, River Nights and Other Melancholies”); Criselda D. Yabes (fiction and creative nonfiction, for her novel, “Below the Crying Mountain” and her nonfiction narrative, “Sarena’s Story: The Loss of a Kingdom”). In the Filipino division, Munsayac's co-winners were: Jerry B. Gracio (poetry, for his collection “Aves”) and Lualhati M. Abreu (creative nonfiction, for “Agaw Dilim, Agaw Liwanag”). The Gawad Likhaan was administered by the UP Institute of Creative Writing in celebration of the UP Centennial.

The board of judges praised Munsayac’s novel as valuable and historical: “Sa kanyang pagtatala sa mga hindi dapat makalimutan at sa pagbabalik sa mga binubura ng kapangyarihan, ang kanyang panulat ay nagiging hindi na sa kanya kundi sa sambayanan. Ganoon binubuo ang akda bilang bayan. Ganoon din natin tinatandaan ang halaga ng panulat at bayan.”

Rogelio L. Ordoñez also praised Munsayac: “Nakaugat ang Duguang Kamay sa Nilulumot na Pader sa kolonyal na kasaysayan ng bansa at sa mayamang alamat ng lahing Pilipino . . . Isang nobela itong tungkuling basahin ng sinumang makabayan upang higit na maunawaan ang puno't dulo ng pagrerebelde ng mulat at progresibong mga sektor ng lipunan.”

Munsayac is a “centennially” multi-awarded author. His novel Ang Aso, ang Pulgas, ang Bonsai, at ang Kolorum also won the Philippine Centennial Literary Prize in 1998. He is a journalist and politician, publishing the Dyaryong Pilipino Luzon Times. He lives in Bulacan with his family.

SIX SKETCHES OF FILIPINO WOMEN WRITERS BY CRISTINA PANTOJA HIDALGO NOW AVAILABLE

In this, her latest book, fictionist/essayist/scholar Cristina Pantoja Hidalgo focuses on the women writers of her own generation who are still writing today. She describes her plan as “modest,” and her project as “six sketches” or “cameos,” which she hopes will “also recreate, albeit in fragmentary fashion, the world in which we came of age as writers and continue to work in today.”

“We were postwar babies. We lived through the fairly stable, prim-and-proper ’50s, the rise of the militant student movement and the upheavals of the ’60s, martial law, the phenomenal technological developments including the communication revolution, the rise of international terrorism, and our own endless ‘conflict’ in Mindanao, the devastating natural disasters caused by climate change. And now we confront the possibility of the complete obliteration of the book.

“Many of the women with whom we started our careers have stopped writing. Many of those who are still writing have chosen to live elsewhere. In a sense, we are survivors. I wanted to write about us and what has made us what we are,” says Hidalgo.

The six women writers discussed are Merlie Alunan, Sylvia Mayuga, Marra PL. Lanot, Elsa Martinez Coscolluela, and Rosario Cruz Lucero.

Cristina Pantoja Hidalgo is an awardwinning writer and teacher. She has served as UP Press and UP ICW director and has also been UP Vice President for Public Affairs.

AN ISTEYTSAYD LIFE: NOT-SO-RANDOM THOUGHTS FROM A PINOY LIVING IN AMERICA BY LORENZO PARAN III NOW AVAILABLE

“When you’re in America, it often seems you are waiting for that day when you will be ‘back home,’” writes Lorenzo Paran III. “But when you get there, you feel restless because you know your life is waiting for you back in America. So where does that put you? Quite literally nowhere....”

So enthuses Paran in his book An Isteytsayd Life: Not-so-random thoughts from a Pinoy living in America (UP Press 2010) about the Filipino’s place in the world. The book is a collection of his musings as an immigrant, personal essays he promised to write to document his new life. He writes about everyday things like the weather in California during winter (refrigerator versus freezer weather) and reminisces about Baguio. He remembers Ariel Rivera and the Eraserheads, wonders and worries about LBC balikbayan boxes. Paran reminisces about his life as a professor in UP Diliman and bemusedly recounts the ways he commutes to and from: Maginhawa, Maalindog, Matahimik ... characteristics of his life in the Philippines? Perhaps... but are also the street names one must pass through to get home. He describes the immigrant’s life in America as a series of mini-crises to which the Pinoy in him reacts, “Eh ganoon eh.”

Isteytsayd Life is an interesting mix of the quotidian (adobo, jaywalking, heating problems) to the grand (career, love, life, heating problems). Award-winning fictionist Jose Y. Dalisay Jr. admires Paran’s “quiet, pensive prose” and how Paran shows his Pinoy-ness by adjusting, as all Filipinos will, to his new life in America. Dalisay underlines the book’s “wry and gentle humor,” one of the last weapons to hold on to when all the enormity of America is bearing down on the immigrant.

Par Patacsil, art critic and Palanca awardee, praised Paran for his “anecdotal and vernacular verve” and is sure Pinoys all over the world will see in the book’s “homey welter of vignettes and stocktakings,” brought about by displacement and diaspora, their own joys and struggle.

Lorenzo Paran III was born and raised in Albay and attended Catholic schools there. He taught English for ten years at the UP Diliman and now lives in Southern California as a copy editor. Paran continues to write about Pinoys in America in his blog: pinoyinamerica.blogspot.com. The book is available at the UP Press Bookstore and through ordering via uppress.com.ph.

THE ASIAN RELIGIOUS SENSIBILITY AND CHRISTIAN (CARMELITE) SPIRITUALITY BY SR. TERESA JOSEPH PATRICK OF JESUS AND MARY OCD (JOSEFINA D. CONSTANTINO) NOW AVAILABLE

Written by a Carmelite Filipino contemplative nun who was given a MISSIO grant for this study in 1976, the new edition includes a report based on a special permission granted her to visit and stay a month each in a Carmelite monastery in India, Thailand, and Indonesia. In the providence of God, she was able to have a three-day stay in Canton, China, as just one more aspect of reality in today’s Asia; a copy of this report is also included. A fascinating mosaic of varied forms of exposition, the book can be read in any part; actually it can be called a collection of nine paperbacks. Each chapter is a small book in itself.

Writing in alternatingly vigorous, charming, profound, and even poetic prose, the writer explores, gropingly and tentatively, the Asian subconscious in the light of Buddhist, Hindu, Taoist, and Moslem cultures. In varied ways, suitable to the literary forms she uses, the book renders itself invaluable for providing not only sharp, original, and perceptive insights, but also possible models for dialogues and exchanges.

This book is a stupendous spiritual magnum opus whose message rings true today as it did more than thirty years ago. It is a Filipino masterwork in religious philosophy, theology, narrative, and memoirs. Constantino, a former UP English professor, treads various fields with a mighty and complex pen, traversing and catapulting into spiritual and intellectual highs. The Asian Religious Sensibility . . . is a must have for the Filipino thinking man and woman who has grappled with a sense of God and the other world. Viewed this way, this book is as compelling as it is rewardingly complicated.

Volume Two will also soon be available.

Click here to order now.

UP PRESS FREE BOOKS ON FACEBOOK PROMO

1. Open to all University of the Philippines Press facebook fans 18 years old and above.

2. UP Press employees and their relatives up to second degree of consanguinity or affinity are disqualified from joining the promotion.

1. Must meet all requirements stated above and the specific requirements indicated in the post of the week.

3. UP Press reserves the right to disqualify any submission that it deems inappropriate and/or does not meet contest requirement.

3. UP Press reserves the right to not select a winner if none of the entries received are judged to meet the criteria.

3. Winners must claim the book on or before March 31, 2011 at the UP Press bookstore or at the UP Press Marketing Office and must present valid identification.

THE OTHER VIEW, VOLUMES ONE AND TWO, BY ELMER ORDONEZ NOW AVAILABLE

The Other View, a collection of articles written by legendary UP professor and former UP Press director Elmer Ordonez, is now available. The articles appeared in Ordonez’s column in the Manila Times. Volume One is subtitled Literature, Culture, and Society while Volume Two is subtitled The Academe, Politics, Memory.

The two volumes are overflowing with Ordonez’s literary insight into the current state of the Philippines and his scholarly opinions on everything from retirement, travel, politics, and even the perennial flooding in Metro Manila. Volume One is a must-have for any serious literary student who wishes to get a firsthand view of UP Diliman inhabited by National Artists, Veronicans, Ravens, and the various denizens who made UP what it is today. Volume Two will ring true to acute social observers as Ordonez discusses the various problems of our country’s past which still plague it today.

National Artist for Literature Bienvenido Lumbera provided the Foreword and praises the articles as “superior specimens of opinion journalism.” Epifanio San Juan Jr, literary and cultural critic, hails Ordonez’s writing as “powerful ... articulated ... progressive.”

Elmer Ordonez is a SEAWrite Awardee, a lifetime member of the UP Writers Club, and has worked with various organizations like the Philippine PEN and the NCCA Literary Arts Committee.

Alter/(N)ations

By 6 p.m., grab the chance to be with the incoming University of the Philippines president Alfredo Pascual and Quezon City Vice Mayor Joy Belmonte Alimurung in opening one of the major art exhibits in the country—Alter/(n)ations: The Art of Imelda Cajipe Endaya!

Well, if it will be your baptism of fire, and ICE or Imelda Cajipe Endaya, have no fear, Flaudette May Datuin will also be there.

To explain Endaya and everything, May decided to gather together all the aspects in understanding the said visual artist/curator/project organizer in a book of the same title.

Published by the UP press, the 2010 Publisher of the Year, it is a collection of essays written by scholars from different or differing perspectives.

May, a feminist art historian and critic from the UP Department of Art Studies, edits them excellently according to four categories.

Framework, the first level, presents the ICE as a storyteller who is also a part of the stories she is telling, as social subjects:

For Frame 1, or Cultural Identity: Women and Nation, Alice Guillermo—the UP Professor Emeritus who is the Philippines’ contributing editor to Asian Art News and World Sculpture—dissects ICE via her Sa Lupang Golgota (1984), oil on canvas and collage of lace and textile on sawali panel mounted on plywood: “Drawing inspiration from the fall of the Marcos dictatorship, this painting shows a group mostly of women in expressions of utter consternation and alarm at the bloodied figure of Benigno S. Aquino Jr., the opposition senator, who seems to have suddenly fallen from the skies (he was shot while going down on an airplane).” 

For Frame 2, or Displacement and Diaspora, Cherubim Quizon -- an Associate Professor at the Seton Hall University in New Jersey known for her Bagobo and B’laan textile researches—focuses on ICE’s Filipina:DH (1995), an installation of plasterbonded textile: “This work was widely exhibited in North America and Asia as part of the Asia Society’s groundbreaking exhibition entitled Traditions/Tensions:Contemporary Art of Asia,as well as in the Philippines through the National Commission for Culture and the Arts (NCCA) and the women artists’ collective Kasibulan.”

 For Frame 3, or Home, Indira Myra Endaya, one of the standouts during the 33rd UP National Writers Workshop where we had the opportunity to sit as panelist, looks at ICE as her mom, familiar and otherwise, in her My Mother and Me (2006), acrylic and collage on canvas: “This work is “so like and unlike her previous works.”

For Frame 4, or Sisterhood and Solidarity I, Brenda Fajardo, another UP Professor Emeritus who treats her fellow artist as a friend they co-exist in a Mutual Admiration Society through Juan’s Spoliarium and Brenda’s “Sagot ay Ako” (“The Answer Is Me”) (2004), oil, acrylic, and textiles on arches paper: “This series of exhibitions started with Imelda’s conversational collage with Juan Luna, the nineteenth century painter and revolutionary and eight other women artists. It was later followed by responses from the women artists, thus creating a multilayered tapestry, “a fitting send-off for a sister, all in the spirit of sisterhood and solidarity that continue to bind these women together.”

For Frame 5, or Sisterhood and Solidarity II, Eileen Legaspi Ramirez, a curatorial consultant of Lopez Museum who is more popularly known as an authority in Philippine performance art than as May’s roommate at the UP Faculty Center, takes off from where Dr. Fajardo’s ground care of ICE’s Solidary Sisters 2 (1999), acrylic on collage and sewn textiles on canvas scroll: “Here, the artist frontally presents two indexically female forms, semi-recognizable through anthropomorphic cues, with contours and compositional elements overlapping in their chumminess, further made integral through lines that literally weave in and out of one body to the adjacent other to create a whole, the opened up spaces within the ‘bodies’ rendered as crevices either wrenched or pried open to secrete fluid excess or bodily largesse.”

For Frame 6, or Women and Globalization, Neferti Tadiar, a professor at Barnard College, Columbia University in New York who recently launched last year her Duke University Press-published book Things Fall Away: Philippine Historical Experience and the Makings of Globalization, dissects ICE’s obra Anghel ng Teknolohiya (1997): “As the figuration and enactment of the tekhne of Filipina women’s everyday labor, the Angel of Technology is none other than the creative power or divine yet earthly potential of Filipina women themselves.” 

These framings initiate us, and all the Endaya-challenged, to her works—be it lifework, patchwork, artwork or worldwork. Such classification created by May, who was recently appointed as Visiting Research Fellow of the University of New South Wales (2010-2013), after she received a Visiting Fellowship at the Australian National University, research grants from the Asian Scholarship Foundation (ASF) and Asian Public Intellectual (API) fellowships that took her to China, Korea, Indonesia, Thailand, Malaysia, and Japan where she conducted pioneering research on contemporary women artists.

If Thelma Kintanar and Sylvia Mendez Ventura’s choice in Ateneo de Manila Press-published book, Self-Portraits, were a gospel truth in Philippine art, then Imelda Cajipe Endaya (ICE) could easily be beatified as one of our latter-day visual art saints.

Together with Ching Abad Santos, Agnes Arellano, Norma Belleza, Araceli Limcaco Dans, Brenda Fajardo, Anna Fer, Julie Lluch, Impy Pilapil, Sandra Torrijos, Arlene Villaver, and Phyllis Zaballero, ICE was chosen for being among the greatest Filipinas in the field of arts. In fact, a year before its publication in 1999, ICE was selected by the CCP as one of the Philippines’ 100 Culture Heroes with Dr. Fajardo and Dr. Guillermo, to name a few, during the celebration of Philippine Independence’s centenary. 

But, even before 1998, ICE was already making a name for herself when after a year graduating with a Bachelor of Fine Arts graduate from the University of the Philippines in 1970 she won first prize in the Philippine Association of Printmakers competition. After eight years, ICE bagged the Gold Medal in the Art Association of the Philippines’ contest, to be followed by the Critics’ Choice Award from Ma-yi Art Associates in 1980.

A decade after, ICE would become one of the winners in the 1st Gawad CCP para sa Sining Biswal in 1990. This new millennium failed to catch her rest on her laurels so far. ICE had been working and winning such awards as:Second and Third Prizes, Orange County Art Federation Annual Art Exhibitions, New York (2005-2006); Natividad Fajardo Galang ALIWW Honors for Women in the Arts ,Ateneo de Manila (2008); Irwin and Florence Zlowe Memorial Art Award, (ASCA) Annual, New York (2008); First Prize, Beautiful Aging Exhibition, United Hebrew-Lazarus Gallery, New Rochelle, New York (2009); Ani ng Dangal, NCCA, Manila (2009); Artwork selected as part of syllabus for Docent program in Public Middle School, Tic Toc Theatre and Art Program, Bergen County, New Jersey (2009); and Honorable Mention, American Society of Contemporary Artists (ASCA) Annual, New York (2009), among others.

Alter/(n)ations: The Art of Imelda Cajipe Endaya—both the exhibit and book—deserves a sibling, or an offspring, who will guide us further into the twists and turns of the ever-evolving, ever-revolving, or ever-revolting saga of Philippine art! Like in any other genre, there is great need for criticisms, for biographies, or for translators, to help us appreciate our arts and our artists more.

Again, why not a CCP, or an NCCA, Prize for Criticism, for Biography, or for Translation, and more? Anyway, there’s always a new year!

PINAY AUTHOR IN LONGLIST FOR MAN ASIAN LITERARY PRIZE

Filipina writer Criselda Yabes has made it to the longlist of the prestigious Man Asian Literary Prize 2010 for her first fiction novel Below the Crying Mountain.

She is the lone Filipino among the 10 contenders that include Nobel Prize for Literature winner Kenzaburo Oe, who wrote The Changeling. The other writers in the longlist are:

Three Sisters by Bi Feiyu

Now on its fourth year, the Man Asian Literary Prize is an annual award that recognizes the best novels by Asian writers and carries a cash prize of US$30,000.

In 2008, a Filipino author won the prize for the first time, helping make Miguel Syjuco's Illustrado a literary sensation beyond Asia. The Guardian called his novel "a dazzling and virtuosic adventure in reading."

A shortlist of five novels will be announced in February 2011 and the winner will be announced during awarding ceremonies on March 17. This year's judges are British writer Monica Ali, Harvard University professor Homi Bhabha, and Malaysian novelist Hsu-Ming Teo.

Yabes is a journalism graduate of the University of the Philippines (UP) in Diliman and has worked for several international news agencies. In 2008, Below the Crying Mountain won the UP Centennial Literary Prize for fiction in English.

The Man Asian Literary Prize website described her book as follows:

In Below the Crying Mountain the Moro rebellion that broke out in Sulu in the 1970s and that continues to wound the nation is seen vividly through the lives of the mestiza Rosy Wright, the Tausug girl Nahla, the rebel leader Prof. Hassan, the soldier Capt. Rodolfo as well as in the quest of the book’s narrator. The personal is political as war fuels the clash of emotions, histories, and cultures.

Among the five published books of Yabes is Sarena’s Story: The Loss of a Kingdom, which won the UP Centennial Literary Prize for Creative Non-Fiction.

Yabes lived in Paris for several years before returning to Manila in 2006. An excerpt from her latest book on Mindanao scheduled for publication next year was recently featured in the series of articles on the Ampatuan massacre anniversary on GMANews.TV, where she is an occasional contributor. - Jayme Gatbonton/YA/HS, GMANews.TV

BEST FIRST BOOK FOR 2010 NAMED

Agaw Dilim, Agaw Liwanag, a memoir by Lualhati M. Abreu, was named the winner of the 2010 Madrigal-Gonzalez Best First Book Award (MGBFBA). The announcement was made during the annual UP Writers Night held this year at the GT Toyota Hall of Wisdom at the UP Asian Center on December 10.

The memoir previously won in the Creative Nonfiction category of the Gawad Likhaan: UP Centennial Literary Awards in 2008. It was published by the UP Press in 2009.

In their citation, this year’s board of judges comprised of College of Mass Commmunications dean Rolando Tolentino, poet Genevieve Asenjo, and Prof. Luna Sicat Cleto, praised Abreu’s “sharp and artful rendering of life amidst crisis within the revolutionary movement.” The judges likewise took note of the important contribution Abreu has made to the development of the autobiographical narrative in Philippine literature.

Agaw Dilim, Agaw Liwanag, bested this year’s other nominees namely Batbat Ni Udan (The Story of Udan) by Telesforo Sungkit (Central Books), Kantilaho by Joseph de Luna Saguid (UST), Sayod Kong Tatara-mon (Tuwiran kong Sasabihin) by Carlos Arejola (NCCA) and Tugmaang Matatabil: Mga Akdang Sinulat sa Libingan ng mga Buhay by Axel Pinpin (Southern Voices).

Lualhati M. Abreu does research work and writing for non-government organizations in Metro Manila and Mindanao. She is currently taking up History at UP Diliman.

The MGBFBA is an annual award established by the U.P. Institute of Creative Writing (ICW), through the initiative and generosity of the Madrigal-Gonzalez family, to encourage writers who have published a first book to continue in the literary arts by providing a degree of relief from financial pressures so they might focus on their next literary project.

The UP Press has dominated the Best First Book Awards with books from Angelo Lacuesta, Ellen Sicat, Ma. Felisa Batacan, Luna Sicat-Cleto, and Zosimo Quibilan, Jr. winning since 2001.

THE OTHER VIEW, VOLUMES ONE AND TWO, BY ELMER ORDONEZ NOW AVAILABLE

Elmer Ordonez is a SEAWrite Awardee, a lifetime member of the UP Writers Club, and has worked with various organizations like the Philippine PEN and the NCCA Literary Arts Committee.

Alter/(N)ations

Well, if it will be your baptism of fire, and ICE or Imelda Cajipe Endaya, have no fear, Flaudette May Datuin will also be there.

To explain Endaya and everything, May decided to gather together all the aspects in understanding the said visual artist/curator/project organizer in a book of the same title.

Published by the UP press, the 2010 Publisher of the Year, it is a collection of essays written by scholars from different or differing perspectives.

May, a feminist art historian and critic from the UP Department of Art Studies, edits them excellently according to four categories.

Framework, the first level, presents the ICE as a storyteller who is also a part of the stories she is telling, as social subjects:

Again, why not a CCP, or an NCCA, Prize for Criticism, for Biography, or for Translation, and more? Anyway, there’s always a new year!

PINAY AUTHOR IN LONGLIST FOR MAN ASIAN LITERARY PRIZE

BEST FIRST BOOK FOR 2010 NAMED

The memoir previously won in the Creative Nonfiction category of the Gawad Likhaan: UP Centennial Literary Awards in 2008. It was published by the UP Press in 2009.

Lualhati M. Abreu does research work and writing for non-government organizations in Metro Manila and Mindanao. She is currently taking up History at UP Diliman.

The UP Press has dominated the Best First Book Awards with books from Angelo Lacuesta, Ellen Sicat, Ma. Felisa Batacan, Luna Sicat-Cleto, and Zosimo Quibilan, Jr. winning since 2001.

THE OTHER VIEW, VOLUMES ONE AND TWO, BY ELMER ORDONEZ NOW AVAILABLE

Elmer Ordonez is a SEAWrite Awardee, a lifetime member of the UP Writers Club, and has worked with various organizations like the Philippine PEN and the NCCA Literary Arts Committee.

Alter/(N)ations

Well, if it will be your baptism of fire, and ICE or Imelda Cajipe Endaya, have no fear, Flaudette May Datuin will also be there.

To explain Endaya and everything, May decided to gather together all the aspects in understanding the said visual artist/curator/project organizer in a book of the same title.

Published by the UP press, the 2010 Publisher of the Year, it is a collection of essays written by scholars from different or differing perspectives.

May, a feminist art historian and critic from the UP Department of Art Studies, edits them excellently according to four categories.

Framework, the first level, presents the ICE as a storyteller who is also a part of the stories she is telling, as social subjects:

Again, why not a CCP, or an NCCA, Prize for Criticism, for Biography, or for Translation, and more? Anyway, there’s always a new year!

PINAY AUTHOR IN LONGLIST FOR MAN ASIAN LITERARY PRIZE

BEST FIRST BOOK FOR 2010 NAMED

The memoir previously won in the Creative Nonfiction category of the Gawad Likhaan: UP Centennial Literary Awards in 2008. It was published by the UP Press in 2009.

Lualhati M. Abreu does research work and writing for non-government organizations in Metro Manila and Mindanao. She is currently taking up History at UP Diliman.

The UP Press has dominated the Best First Book Awards with books from Angelo Lacuesta, Ellen Sicat, Ma. Felisa Batacan, Luna Sicat-Cleto, and Zosimo Quibilan, Jr. winning since 2001.

THE OTHER VIEW, VOLUMES ONE AND TWO, BY ELMER ORDONEZ NOW AVAILABLE

Elmer Ordonez is a SEAWrite Awardee, a lifetime member of the UP Writers Club, and has worked with various organizations like the Philippine PEN and the NCCA Literary Arts Committee.

Alter/(N)ations

Well, if it will be your baptism of fire, and ICE or Imelda Cajipe Endaya, have no fear, Flaudette May Datuin will also be there.

To explain Endaya and everything, May decided to gather together all the aspects in understanding the said visual artist/curator/project organizer in a book of the same title.

Published by the UP press, the 2010 Publisher of the Year, it is a collection of essays written by scholars from different or differing perspectives.

May, a feminist art historian and critic from the UP Department of Art Studies, edits them excellently according to four categories.

Framework, the first level, presents the ICE as a storyteller who is also a part of the stories she is telling, as social subjects:

Again, why not a CCP, or an NCCA, Prize for Criticism, for Biography, or for Translation, and more? Anyway, there’s always a new year!

PINAY AUTHOR IN LONGLIST FOR MAN ASIAN LITERARY PRIZE

BEST FIRST BOOK FOR 2010 NAMED

The memoir previously won in the Creative Nonfiction category of the Gawad Likhaan: UP Centennial Literary Awards in 2008. It was published by the UP Press in 2009.

Lualhati M. Abreu does research work and writing for non-government organizations in Metro Manila and Mindanao. She is currently taking up History at UP Diliman.

The UP Press has dominated the Best First Book Awards with books from Angelo Lacuesta, Ellen Sicat, Ma. Felisa Batacan, Luna Sicat-Cleto, and Zosimo Quibilan, Jr. winning since 2001.

THE OTHER VIEW, VOLUMES ONE AND TWO, BY ELMER ORDONEZ NOW AVAILABLE

Elmer Ordonez is a SEAWrite Awardee, a lifetime member of the UP Writers Club, and has worked with various organizations like the Philippine PEN and the NCCA Literary Arts Committee.

Alter/(N)ations

Well, if it will be your baptism of fire, and ICE or Imelda Cajipe Endaya, have no fear, Flaudette May Datuin will also be there.

To explain Endaya and everything, May decided to gather together all the aspects in understanding the said visual artist/curator/project organizer in a book of the same title.

Published by the UP press, the 2010 Publisher of the Year, it is a collection of essays written by scholars from different or differing perspectives.

May, a feminist art historian and critic from the UP Department of Art Studies, edits them excellently according to four categories.

Framework, the first level, presents the ICE as a storyteller who is also a part of the stories she is telling, as social subjects:

Again, why not a CCP, or an NCCA, Prize for Criticism, for Biography, or for Translation, and more? Anyway, there’s always a new year!

PINAY AUTHOR IN LONGLIST FOR MAN ASIAN LITERARY PRIZE

BEST FIRST BOOK FOR 2010 NAMED

The memoir previously won in the Creative Nonfiction category of the Gawad Likhaan: UP Centennial Literary Awards in 2008. It was published by the UP Press in 2009.

Lualhati M. Abreu does research work and writing for non-government organizations in Metro Manila and Mindanao. She is currently taking up History at UP Diliman.

The UP Press has dominated the Best First Book Awards with books from Angelo Lacuesta, Ellen Sicat, Ma. Felisa Batacan, Luna Sicat-Cleto, and Zosimo Quibilan, Jr. winning since 2001.

THE OTHER VIEW, VOLUMES ONE AND TWO, BY ELMER ORDONEZ NOW AVAILABLE

Elmer Ordonez is a SEAWrite Awardee, a lifetime member of the UP Writers Club, and has worked with various organizations like the Philippine PEN and the NCCA Literary Arts Committee.

Alter/(N)ations

Well, if it will be your baptism of fire, and ICE or Imelda Cajipe Endaya, have no fear, Flaudette May Datuin will also be there.

To explain Endaya and everything, May decided to gather together all the aspects in understanding the said visual artist/curator/project organizer in a book of the same title.

Published by the UP press, the 2010 Publisher of the Year, it is a collection of essays written by scholars from different or differing perspectives.

May, a feminist art historian and critic from the UP Department of Art Studies, edits them excellently according to four categories.

Framework, the first level, presents the ICE as a storyteller who is also a part of the stories she is telling, as social subjects:

Again, why not a CCP, or an NCCA, Prize for Criticism, for Biography, or for Translation, and more? Anyway, there’s always a new year!

PINAY AUTHOR IN LONGLIST FOR MAN ASIAN LITERARY PRIZE

BEST FIRST BOOK FOR 2010 NAMED

The memoir previously won in the Creative Nonfiction category of the Gawad Likhaan: UP Centennial Literary Awards in 2008. It was published by the UP Press in 2009.

Lualhati M. Abreu does research work and writing for non-government organizations in Metro Manila and Mindanao. She is currently taking up History at UP Diliman.

The UP Press has dominated the Best First Book Awards with books from Angelo Lacuesta, Ellen Sicat, Ma. Felisa Batacan, Luna Sicat-Cleto, and Zosimo Quibilan, Jr. winning since 2001.

THE OTHER VIEW, VOLUMES ONE AND TWO, BY ELMER ORDONEZ NOW AVAILABLE

Elmer Ordonez is a SEAWrite Awardee, a lifetime member of the UP Writers Club, and has worked with various organizations like the Philippine PEN and the NCCA Literary Arts Committee.

Alter/(N)ations

Well, if it will be your baptism of fire, and ICE or Imelda Cajipe Endaya, have no fear, Flaudette May Datuin will also be there.

To explain Endaya and everything, May decided to gather together all the aspects in understanding the said visual artist/curator/project organizer in a book of the same title.

Published by the UP press, the 2010 Publisher of the Year, it is a collection of essays written by scholars from different or differing perspectives.

May, a feminist art historian and critic from the UP Department of Art Studies, edits them excellently according to four categories.

Framework, the first level, presents the ICE as a storyteller who is also a part of the stories she is telling, as social subjects:

Again, why not a CCP, or an NCCA, Prize for Criticism, for Biography, or for Translation, and more? Anyway, there’s always a new year!

PINAY AUTHOR IN LONGLIST FOR MAN ASIAN LITERARY PRIZE

BEST FIRST BOOK FOR 2010 NAMED

The memoir previously won in the Creative Nonfiction category of the Gawad Likhaan: UP Centennial Literary Awards in 2008. It was published by the UP Press in 2009.

Lualhati M. Abreu does research work and writing for non-government organizations in Metro Manila and Mindanao. She is currently taking up History at UP Diliman.

The UP Press has dominated the Best First Book Awards with books from Angelo Lacuesta, Ellen Sicat, Ma. Felisa Batacan, Luna Sicat-Cleto, and Zosimo Quibilan, Jr. winning since 2001.

THE OTHER VIEW, VOLUMES ONE AND TWO, BY ELMER ORDONEZ NOW AVAILABLE

Elmer Ordonez is a SEAWrite Awardee, a lifetime member of the UP Writers Club, and has worked with various organizations like the Philippine PEN and the NCCA Literary Arts Committee.

Alter/(N)ations

Well, if it will be your baptism of fire, and ICE or Imelda Cajipe Endaya, have no fear, Flaudette May Datuin will also be there.

To explain Endaya and everything, May decided to gather together all the aspects in understanding the said visual artist/curator/project organizer in a book of the same title.

Published by the UP press, the 2010 Publisher of the Year, it is a collection of essays written by scholars from different or differing perspectives.

May, a feminist art historian and critic from the UP Department of Art Studies, edits them excellently according to four categories.

Framework, the first level, presents the ICE as a storyteller who is also a part of the stories she is telling, as social subjects:

Again, why not a CCP, or an NCCA, Prize for Criticism, for Biography, or for Translation, and more? Anyway, there’s always a new year!

PINAY AUTHOR IN LONGLIST FOR MAN ASIAN LITERARY PRIZE

BEST FIRST BOOK FOR 2010 NAMED

The memoir previously won in the Creative Nonfiction category of the Gawad Likhaan: UP Centennial Literary Awards in 2008. It was published by the UP Press in 2009.

Lualhati M. Abreu does research work and writing for non-government organizations in Metro Manila and Mindanao. She is currently taking up History at UP Diliman.

The UP Press has dominated the Best First Book Awards with books from Angelo Lacuesta, Ellen Sicat, Ma. Felisa Batacan, Luna Sicat-Cleto, and Zosimo Quibilan, Jr. winning since 2001.

FLIPSIDE HOLDS E-BOOK SALE ON UP LANTERN PARADE DAY

UP PRESS LAUNCHES SECOND BATCH OF E-BOOKS

UP PRESS TO LAUNCH FIFTEEN NEW TITLES THIS NOVEMBER 25

UP PRESS E-BOOK TITLES ON SALE FOR TWO DAYS ONLY

UP PRESS E-BOOK TITLES NOW ON AMAZON

THINGS FALL AWAY BY NEFERTI X.M. TADIAR NOW AVAILABLE AT THE UP PRESS

GRAMATIKANG FILIPINO: BALANGKASAN NOW AVAILABLE

UP PRESS TO LAUNCH E-BOOK TITLES

GIFT YOURSELF WITH A UP PRESS BOOK TITLE PROMO NOW ONGOING

Paglulunsad 2011: Unang Yugto; A NEW CHAPTER, A NEW DIRECTOR, AND NEW BOOKS

THE OPENING REMARKS OF NEW UP PRESS DIRECTOR J. NEIL GARCIA AT THE PAGLULUNSAD 2011: UNANG YUGTO

UP PRESS TO LAUNCH NINE TITLES THIS JULY 1 AT THE GT-TOYOTA HALL OF WISDOM

BEAUTIFUL ACCIDENTS: STORIES BY IAN ROSALES CASOCOT NOW AVAILABLE

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