poets-from-the-philippines

"There is no such thing as children’s literature."

"Literature is an affair of letters."

""We cannot lay the blame on our authors for our incompetence and negligence. Imagine, taking the creators of our culture to task because we are intellectually lazy and have abandoned something which is supposed to be an intrinsic part of us”"

"“Regional literature is not peripheral—it is central to understanding the diversity and richness of Philippine culture.”"

"“Poetry is a way of returning to the silence of the soul, but also a way of resisting oblivion.”"

"remember the past (so as not to be) condemned to repeat it,"

"“To write in Bikol is to insist that our language, our memory, and our identity matter.”"

"“The poet is both pilgrim and witness, carrying fragments of the sacred and the profane.”"

"“Translation is not betrayal; it is a bridge that allows us to inhabit another’s world while keeping our own.”"

"My first independent entry into the world of words, through reading, is associated inextricably with the cookies my mother used to bake when we were in Iowa. I acquired the written word more or less on my own; one might say I taught myself to read, although the groundwork was already laid for that grand activity upon which civilization is built. My earliest memories of toys are the alphabet blocks I played with. At the time when I discovered how to read, my parents – both writers five years out of the Iowa Writers Workshop – were finishing their Ph.D. in English in Denver, where, leery of babysitters, I tagged along to their classes under John Williams, Harold Priest, and Joe Billings."

"There can be no poetry without spirit."

"Is it true that automatically you can jump from capitalism to socialism? No. The ruling bourgeoisie will try to kill you first, suppress you. So when Marx says in the Communist Manifesto, you must win the battle for democracy, it means you must assert your democratic rights: the right to assemble and speak out, and all the other rights. And then, when your mass movement becomes big, then they will try to suppress you. They will come out with fascism. So before you can have socialism, the monopoly capitalist class will unleash fascism under various pretexts. They use chauvinism against immigrants, Sinophobia, Islamophobia and also many other tricks just to hide the roots of the crisis."

"The work involved in writing a novel is completely solitary, unlike playwriting. And the struggle is often painful. There is no one to turn to but yourself. You confront your own demons in order to dig deep and come up with something risky and powerful. Playwriting is the exact opposite process for me because it's so collaborative. If you're blessed with a terrific cast, a visionary director, an innovative sound and design team, then your play has a ninety-nine percent chance of being realized in the best possible way. I think people forget -- even some of my most aware graduate students! -- that writing is hard work. Period."

"you can never see any of your characters as monsters; I think then you'd write a really terrible book. Everyone is a complicated and flawed human being (Callaloo, Fall 2008)"

"I usually start with a character that interests me, or with some event that haunts me. I ask myself, "From whose point of view I am telling this story?" Some voice starts taking shape in my head, a certain way of talking, a tone. At its best the process is instinctive, organic, and musical. The story starts writing itself. (Callaloo, Fall 2008)"

"(KASJ: Could you have written this book in any other place? The whole thing is about the Philippines.) JH: Maybe the question is really: Why does a certain place have a pull on a writer? People probably do wonder that about me. I've lived in the US for over 30 years. Why do I keep writing stories that are largely set in the Philippines? C'mon! The culture is just so rich and has so much happening in it. To me it's a treasure trove. Lush, stark, abundant, untainted, polluted. The whole world has gone through there: Arabs, Chinese, Spanish, Portuguese, Dutch, Brits, Americans. The Philippines has everything. The supernatural, the superreal, and the surreal. It's about grim reality, too. It's about faith in a larger being, a deep, ingrained spiritual faith. It's about strength and courage, but also about corruption, humor and generosity. I mean, God! You almost don't have to make anything up...Everything there is rife with, you know, dramatic conflict, tension, and romance. It's an extravagant culture bursting with extravagant emotions. It also is the place where I grew up, so it will always have real and lasting meaning for me. (The Women's Review of Books, March 2004)"

"I don't write with "lessons" in mind. I just hope my readers are absorbed by the story, that they enjoy the read, and that the novel raises some provocative questions. (The Women's Review of Books, March 2004)"

"(KASJ: What kinds of real-life events are useful for fiction?) JH: All of it is useful. It's very personal what will move one artist and what will move another. I think you can find [art] in both the smallest thing and in the most horrific catastrophe. It could be something as simple as the mystery of seeing someone enter a room, down to a major historical event like the Tasaday controversy or the Vietnam War. Everything is fodder. (The Women's Review of Books, March 2004)"

"I always had dreamed of writing a novel set in the Philippines—what I knew of it. I struggled for years while I was writing poetry, thinking, one day I’m going to write this book. But in what voice? I read Malaysian writers and Chinese writers and Indian writers until I stumbled upon the Latin American writers and I realized that that was it: the humor, the fatalism, the passion and irony (1991)"

"Defiant, naive, and passionate, we are sprouting up all over the Bay Area-artists of color who write, perform, and collaborate with each other, borders be damned. We are muralistas, filmmakers, musicians, dancers, painters, printmakers, small press publishers, playwrights, poets, and more poets. . . . San Francisco seems to be more a city of poets and musicians than anything else. Rock 'n' roll, R&B, the funk mystique of Oakland, the abstract seduction of jazz, and the glorious rants and chants of loup garous, gypsies, sympathetic cowboys, and water buffalo shamans: Al Robles, Ishmael Reed, Norman Jayo, Ntozake Shange, Victor Hernandez Cruz, Janice Mirikitani, Thulani Davis, David Henderson, Alejandro Murguia, Ed Dom, Alta, Serafin and Lou Syquia, Kitty Tsui, and on and on.... They are my teachers and peers, kindred spirits, borders be damned. A movement is afoot to assert ourselves as artists and thinkers, to celebrate our individual histories, our rich and complicated ethnicities."

"It’s best if you go out in the world knowing more than one language, I don’t care what the language is. It’s good for your brain to dream in another language. It gives you a clue, another perspective, a way of understanding, some compassion for other people—even if it’s just because you know how to joke in another language. (1991)"

"I'm not a writer who works off an outline. I don't do file cards. Some writers know where they're going when they sit down to write a novel. I know there are certain things I want to include, but I'm character driven and if the characters keep moving and living and growing on me, the story unfolds. It's like a puzzle which starts falling into place. But I never know where I'm going when I start."

"If I were to write with that agenda in mind, then I'd destroy the writing. No, I write really because I have to and if the writing also destroys some of those myths and subverts forms and makes people question the very idea of the writer, the woman, the Filipino American, the whatever, great! (INTERVIEWER: Where does art have to come from to accomplish those kinds of ends? If you set out directly to accomplish them, you probably wouldn't have writing that is, in your opinion, worth reading? So, where does it have to come from?) JH: It has to come from the deepest, deepest, deepest insides of your soul. And it's got to be brutally honest. It's like pornography. You know it when you are doing it and you know when you're bullshitting. You know when you're being self-conscious and contrived and forcing something to be there because you want to make sure that people get the point. You know when that's happening. But if you just really listen to yourself and to your characters, you don't go for the easy stuff."

"A lot of novels about the Philippines or set in the Philippines don't cut it at all because they don't capture the crazy quilt atmosphere and the hybrid ambiance that occurs twenty-four hours a day. Things happening all the time, and noise and crowds and beautiful animals and amazing flora. At the same time, pollution and urbanization and sophistication and, you know, the jungle. How do you do all that? You can't tell it in a traditional way because the language dies. And also the music of the language itself, the music of the streets. How do convey that chaos? So, once I decided to go with it as I found it, I relaxed because at the risk of alienating some readers, this was the way the novel had to be presented."

"I have been definitely influenced more by Latin American writers than by any other type of writer. They are very close in terms of voice their humor, their fatalism, their... well, that overused term "magical realism." It's a wonderful term that's just been used so much we don't know what it means anymore. But the way they can use language and visions and surrealism without being corny, and the humor that's always there, is very close to a Filipino sensibility. More so than-now this is a completely personal perception-other writers from Southeast Asia."

"What made me want to write a novel was reading One Hundred Years of Solitude, by Garcia Marquez. I was turned on to that by a friend from Mexico who gave me the book. It was like Holy Communion or something. I said, "Yes!" Here is a novel that reads so lyrically and so poetically, and yet is a novel. It's a wonderful story. You want to know what happens to these people. And at the same time I saw the connection for me. It was like the Philippines was something I was carrying around and I didn't know what art form it would take to convey the story I wanted to tell, and I read that book and said, "That's it. One day I'm gonna do it.""

"For other people perhaps it was something else that brought them to certain conclusions about their lives and their identities. But, for me, film was truly one of the more powerful sources of entertainment, enlightenment, disillusionment. So, I use it a lot. In the writing of Dogeaters, especially, the movies were there because they were absolutely part of the fabric of my memory. Once I found that key, all the doors started swinging open in my imagination."

"if you get too specific the timelessness is lost. (1991)"

"It will never end, I hope-whatever "it" is. The gift, the quest, the visions, the dreams in secret languages. The songs and the storytelling. It will never end; it is still writing itself."

"We all need money to live and continue to make our art. And sometimes these prizes and awards can be a sort of validation. But money and prizes don’t mean that the work you produce is going to be any good. Sometimes those accolades actually get in the way. The lean times are often when the good stuff happens. So, let’s not get fixated on fame and money. Write like you’re on fire, be fearless, dream and explore. (2022)"

"(Is it important for Filipinx/Filpinx American storytellers to focus on Philippine culture and history in their work?) No. You should feel free to write whatever you want to write. We don’t make art to represent. That has to happen organically. Filipinos are not a monolith. Humans aren’t a monolith. We all have different experiences and need to write across the different identities we hold. As artists, we should be free to write about a wide range of complicated characters and subjects. Don’t limit yourself to only what you know. But definitely do your homework! Being a writer is hard work. (2022)"

"When I was a young activist writer in the Bay Area, I thought I had all the answers. Sometimes I was right, and a lot of times I was just plain ignorant and wrong. There were a few positive things that came from my impatience, energy and anger: I dared to do things with my artistic comrades that hadn’t been done before. We came together in writing collectives to make books because most writers of color were not being published at the time. We didn’t know how to publish, but we learned how to do it guerrilla-style. We organized readings, performances and concerts, made posters and came out to support each other big-time. We brought the noise. And got it done. It all boils down to that old cliche: believe in yourself. Trust in your creative vision and the power of your distinct writer’s voice. (2022)"

"My leaving was not of my doing; that was because of my parents’ breakup. But I was fortunate to be living in San Francisco. There was so much activity, so many activists, so many Filipinos fleeing, coming over. It was the perfect time for me to grow as an artist. I mean, we came in the ’60s—can you imagine? We hit the Summer of Love. There were all these political movements that opened my eyes. I met all these amazing young Filipino American poets who became my teachers. They were going to demonstrations, and I got involved. I was reading up on it, making connections. My God, my brain was vibrating! There was a coup d’état in Chile. There was war in El Salvador. People were making alliances, making connections, and I came to understand: It wasn’t just about us. It was about all these colonies—former colonies—that had the same people running shit, who were probably engineering all these coups. It was a harsh awakening for me and a lot of people like me. (2020)"

"Having access to all these languages and dialects enriched my already wild imagination and made me curious—about who I was, about the world, about the Philippines I knew and the many different ways I could tell a story. (2019)"

"Philippine literature—just like the Philippines itself—is complicated, and can’t be easily described or pinned down. Over 7000 islands make up the Philippines, and over a hundred languages and dialects are spoken!...(What common elements and themes do you see in Philippine writing? And what do you see in the pieces here?) JH: Yearning, and melancholy. Mordant humor, a certain kind of fatalism, love of the macabre and supernatural. A love of puns and a sense of irony. A reckoning with history and the colonial past. (2019)"

"What I try to share with younger artists, not just writers, is you have to not be afraid. You have to try it. It’s our job. And do your homework while you’re at it. But don’t squash your imagination. I mean, my imagination is all I have. I mean, it’s unique to me, unique to you, unique to my students. They have their own, and they have to learn to trust it. (2019)"

"…Research is always involved, to make sure details, language and atmosphere feel right. Then comes the hard work of a writer, which is the writing itself. One sentence leads to another and then another… You try to maintain focus and discipline, writing for as long as you can, everyday until you’re done with a draft. Then you go back and start revising and the mysterious creative process begins all over again. Each time you begin, you hopefully go deeper into your story and your characters and end up surprising yourself."

"By saying that all my characters have a little bit of me in them, I mean that I try to be invested and empathetic in all my characters—whether they are principal or secondary, deeply flawed and not very “nice.” If you’re in tune with your story then the characters do come at you organically. There isn’t an order to how they might appear."

"Filipino writers who write in English should be at an advantage in terms of connecting with international readers, but the irony is that their work isn't really known to the rest of the world. As for me, writing in Tagalog has never been a real option. It's too complex. Just because I can speak the language (somewhat) doesn't mean that I can write in Tagalog with any eloquence or authority."

"...as regards to teaching of languages, he (Rizal) advocated, among other things, the study of Tagalog. Since he was eight years of age, Rizal championed his native tongue as a language of its own pure type, noble and exalted""

"Today’s events are tomorrow’s history, yet events seen by the naked eye lack the depth and breadth of human struggles, triumphs and suffering. Writing history is writing the soul of the past... so that the present generation may learn from past mistakes, be inspired by their ancestor’s sacrifices, and take responsibility for the future."

"Before the conquest, the Filipinos had a literature written in characters of their own, and its manifestation in verse constituted of maxims, proverbs, boat-songs, nuptial-songs, war songs, love-songs, and the like."

"We Filipinos are the most promising people in the world. We have unheard-of-possibilities. There have never been a people similarly situated. Here we are in the Orient with our Oriental thoughts and sentiments, but living amid a civilization more Western than was ever known in The East. The Philippines is the only country where East meets West. The Filipino is a true cosmopolitan. From him the world may expect something new and distinctive."

"When I left the University of Santo Tomas, I had but a smattering of Spanish. My friends made sport of me. What keen mortification did I suffer at my ignorance! One day, no longer able to stand the jeerings of my friends, I made up my mind to learn Spanish. I purchased a dozen good novels and began to read. I did not spend hours over a grammar, but just kept on reading, taking care to remember the idioms. In the meantime my library grew. At the end of three years my knowledge of Spanish and of literature in general was far beyond that of my friends. It was then my turn to laugh!"

"Lazy geniuses! There are no such men. Laziness and genius never go hand in hand. Each excludes the other. Laziness is the best proof of the absence of genius."

"The time has come when we should have a critical, official, monumental edition of all of Rizal's works, with illustrations contributed by Luna about other artists of ours... When every Filipino home shall contain such a national work, stimulative of autonomous sentiments...then the Philippines will be spiritually and practically independent."

"If by sticking to the moral principles you have followed all your life, you jeopardize your happiness and that of others, throw over your principles. Principles for principles' sake -that is not wisdom; that is obstinacy. Principles should be fluid because life is fluid.""

"Religion is one thing, and science another. What if they conflict? Religion is a matter of faith. Faith always gives satisfaction, whereas the truth does not always do so. As for me, I follow Anatole France who enjoins us to keep religion in one compartment of our head and skepticism in another."

"What I want to impress on our youth is the necessity of thoroughly preparing themselves for their life's work. As a rule they bluff their way through life , pulling plums out of life's pudding by hook or by crook. They seem to hold the notion that knowledge is not essential to great achievements as courage. They overvalue courage forgetting that without knowledge it is only recklessness...Less bluff, more study."

"( ...philosophy is more often the systematization of the prejudices of philosophers than the systematization of nature.) Distrust all generalizations: stick to the concrete."