56th UP National Writers Workshop Now Accepting Applications

 

LIKHAAN: The University of the Philippines Institute of Creative Writing (UP ICW) is now accepting applications for the 56th UP National Writers Workshop to be held in Los Baños, Laguna from March 12 to 19, 2017.

To qualify, applicants must (1) be writers in English or Filipino or other Philippine languages (in translation); (2) must have attended at least one creative writing workshop (national/regional, including the UP National Writers Workshops), earned a degree in Creative Writing/Malikhaing Pagsulat or related fields, or won at least one national/international literary award; (3) must have published at least one book of poetry, fiction, nonfiction, or drama, or have had a full-length play or film produced. 

Writers who have been fellows at any of the UP National Writers Workshops are eligible. 

This year, the workshop will also be open to unpublished authors, as long as their works have already been accepted for publication, or are book-length/graduate-thesis projects which have already been successfully defended. These qualifications may be waived in exceptionally meritorious cases, with the unanimous concurrence of the UP ICW Fellows, Associates, and Advisers.

Applicants must submit a digital file (Times New Roman 12 points, MS Word format, double-spaced) of one original unpublished manuscript of no more than 6,000 words (short story, poem, creative nonfiction, play, or novel excerpt) to be discussed during the workshop. (“Unpublished” includes online publication and electronic media.) This must be accompanied by a digital file (same format as above) of an essay on “What I Write, How, and Why?” in relation to the work-in-progress, of no more than 2,500 words. This essay will be the basis for a 20-minute oral presentation that the fellow is expected to do during the workshop; (3) PDF or e-book copies of the applicant’s published work, including publication details; and (4) an accomplished application form (download link). 

Only writers who go through the complete application process will be considered for a fellowship. The chosen fellows must be present for the full duration of the week-long workshop. All fellows are entitled to a modest stipend, free hotel accommodation, and free transportation from UP Diliman to Los Baños and back.

The deadline for submission is December 15, 2016. All applications must be emailed by then to uplikhaan@gmail.com. An acknowledgment message will be sent for all applications received.

The Advisers, Fellows, and Associates of the UP ICW will comprise the workshop panel. They are National Artist for Literature Virgilio S. Almario, National Artist for Literature Bienvenido Lumbera, Gémino H. Abad, Jose Y. Dalisay Jr., Charlson Ong, Cristina Pantoja Hidalgo, J. Neil Garcia, Jun Cruz Reyes, Victor Emmanuel Carmelo Nadera Jr., Luna Sicat Cleto, Isabelita O. Reyes, Eugene Y. Evasco, and Vladimeir B. Gonzales. Vladimeir B. Gonzales will be the director of the 2017 workshop. 

Complementing the Amelia Lapeña-Bonifacio Writers Workshop (ALBWW) which focuses on helping up-and-coming writers, the U.P. National Writers Workshop was designed for mentoring writers in mid-career.

For inquiries, email uplikhaan@gmail.com. For more news about the latest UP ICW activities, follow www.panitikan.com.ph.

 

56th UP National Writers Workshop Now Accepting Applications

 

LIKHAAN: The University of the Philippines Institute of Creative Writing (UP ICW) is now accepting applications for the 56th UP National Writers Workshop to be held in Los Baños, Laguna from March 12 to 19, 2017.

To qualify, applicants must (1) be writers in English or Filipino or other Philippine languages (in translation); (2) must have attended at least one creative writing workshop (national/regional, including the UP National Writers Workshops), earned a degree in Creative Writing/Malikhaing Pagsulat or related fields, or won at least one national/international literary award; (3) must have published at least one book of poetry, fiction, nonfiction, or drama, or have had a full-length play or film produced. 

Writers who have been fellows at any of the UP National Writers Workshops are eligible. 

This year, the workshop will also be open to unpublished authors, as long as their works have already been accepted for publication, or are book-length/graduate-thesis projects which have already been successfully defended. These qualifications may be waived in exceptionally meritorious cases, with the unanimous concurrence of the UP ICW Fellows, Associates, and Advisers.

Applicants must submit a digital file (Times New Roman 12 points, MS Word format, double-spaced) of one original unpublished manuscript of no more than 6,000 words (short story, poem, creative nonfiction, play, or novel excerpt) to be discussed during the workshop. (“Unpublished” includes online publication and electronic media.) This must be accompanied by a digital file (same format as above) of an essay on “What I Write, How, and Why?” in relation to the work-in-progress, of no more than 2,500 words. This essay will be the basis for a 20-minute oral presentation that the fellow is expected to do during the workshop; (3) PDF or e-book copies of the applicant’s published work, including publication details; and (4) an accomplished application form (download link). 

Only writers who go through the complete application process will be considered for a fellowship. The chosen fellows must be present for the full duration of the week-long workshop. All fellows are entitled to a modest stipend, free hotel accommodation, and free transportation from UP Diliman to Los Baños and back.

The deadline for submission is December 15, 2016. All applications must be emailed by then to uplikhaan@gmail.com. An acknowledgment message will be sent for all applications received.

The Advisers, Fellows, and Associates of the UP ICW will comprise the workshop panel. They are National Artist for Literature Virgilio S. Almario, National Artist for Literature Bienvenido Lumbera, Gémino H. Abad, Jose Y. Dalisay Jr., Charlson Ong, Cristina Pantoja Hidalgo, J. Neil Garcia, Jun Cruz Reyes, Victor Emmanuel Carmelo Nadera Jr., Luna Sicat Cleto, Isabelita O. Reyes, Eugene Y. Evasco, and Vladimeir B. Gonzales. Vladimeir B. Gonzales will be the director of the 2017 workshop. 

Complementing the Amelia Lapeña-Bonifacio Writers Workshop (ALBWW) which focuses on helping up-and-coming writers, the U.P. National Writers Workshop was designed for mentoring writers in mid-career.

For inquiries, email uplikhaan@gmail.com. For more news about the latest UP ICW activities, follow www.panitikan.com.ph.

 

Free Additional National Lecture on Social History in PUP

Free Additional National Lecture on Social History in PUP

In celebration of the 30th year of Social History in PUP, the PUP Center for Social History (PUP-CSH) under the PUP Institute for Cultural Studies (PUP-ICS), PUP Office of the Vice President for Research, Extension, Planning and Development (PUP-OVPREPD) in cooperation with the PUP Office of International Affairs (PUP-OIA) will be holding a “National Lecture on Social History,” on November 11, 2016 at the PUP Main Building Accenture Room, 4th Floor, East Wing, Main Campus, Sta. Mesa, Manila. The lecture is FREE but OPEN TO TERTIARY TEACHERS ONLY.

The lecturer is Dr. Satoru Nishimura from Kagoshima University, Japan. He will discuss the “History of a Japanese Emigrant in the Philippines and His Descendants”.

Seats are available on a first-come, first-served basis and there in no pre-registration. The actual registration starts at 12:00 noon and the lecture proper will start at 1:00 in the afternoon. Certificate of Attendance will be given to the participants after the lecture.

For more information, kindly contact Prof. Romeo Peña, Chief of PUP Center for Social History at 335.1787 or 335.1777 local 177 or email at csh@pup.edu.ph.

Ateneo Press to launch 21 new titles in Harvest 2016

The Ateneo de Manila University Press, in cooperation with the Rizal Library, will unveil a total of 21 new books next month, a haul that includes titles on theology, history, media studies, science, and anthropology, among others, in addition to literary titles and even an illustrated guide to birdwatching.

Harvest 2016: The Ateneo de Manila University Press Grand Launch will be held on November 8, Tuesday, 4 PM, at the Rizal Library (5/F).

University President Fr. Jett Villarin, SJ, and University Press Director Karina Bolasco will lead in the ceremonial presentation of first copies to the authors, many of whom will be on hand to receive the copies. A book signing session will end the program.

The 21 titles, which will be available at 10-percent off during the launch, are:

  • Imagining the Creator God by George de Schrijver, SJ
  • Lilok ng Lilo: Mga Tula by Lamberto Antonio
  • The Second Plenary Council of the Philippines: Quo Vadis?, edited by Eric Marcelo Genilo, Agnes Brazal, and Daniel Franklin Pilario
  • Kritikal na Espasyo ng Kulturang Popular, edited by Gary Devilles and Rolando Tolentino
  • Motherless Tongues: The Insurgency of Language amid Wars of Translation by Vicente Rafael
  • The Philippines: A Natural History by Colin Rees
  • Susumaton: Oral Narratives of Leyte, edited by Merlie Alunan
  • For the Chosen Few: A Guide to Classroom Supervision by James O’Donnell, SJ
  • Batang Rizal at iba pang dula by Christine Bellen
  • Sibod: Ideology and Expressivity in Binanog Dance, Music, and Folkways of the Panay Bukidnon by Maria Christine Muyco
  • Central Banking as State Building: Policymakers and Their Nationalism in the Philippines, 1933–1964 by Yusuke Takagi
  • Sulyap sa aking pinanggalingan (Glimpses into my beginnings) by Roque Ferriols, SJ; edited by Leovino Ma. Garcia and translated into English by Soledad Reyes
  • Sangkatauhan, Sangkahayupan: Mga Kuwento by Alvin Yapan
  • Out of the Shadows: Violent Conflict and the Real Economy of Mindanao, edited by Francisco Lara and Steven Schoofs
  • The Politics of Clan Reunions: Ritual, Kinship, and Cultural Transformation among Kankanaeys of Northern Luzon by Gaston Kibiten
  • Colonial Manila, 1909-1912: Three Dutch Travel Accounts, edited and translated by Otto Van den Muijzenberg
  • A Visit to Manila and Its Environs by J.A.B Wiselius, translated by Geert Van Der Linden, with an introduction by Otto Van den Muijzenberg
  • Outsourceable Selves: An Ethnography of Call Center Work in a Global Economy of Signs and Selves, by Alinaya Fabros
  • A Field Guide to Flight: Identifying Birds on Three School Grounds by Amado Bajarias
  • Keywords: Essays in Philippine Media Cultures and Neocolonialisms by Rolando Tolentino
  • Friend Zones: An Anthology of Short Stories for Young Adults, edited by Cyan Abad-Jugo

The event is open to the public. Those interested may RSVP to Gemma Roces at (+63) 426 6001 loc 4613 or groces@ateneo.edu.

 

Workshop as Alternate Reality: Notes from the Inaugural Amelia Lapeña-Bonifacio Writers Workshop

The real world, in general, does not treasure writers.

Or, rather: the things writers treasure—silence, daydreams, a rich inner life, the music of language, solitude—are the things that the real world may not consider important. People working outside the academe—people like me—feel this acutely. Who would pay me to critique a literary work? Who would pay me for every hour I spend untangling a story’s plot? Who would give me a comfortable room in order to read?

Joining a workshop, in many ways, is like stepping into an alternate reality. It’s like accompanying Einstein’s twin who travels near the speed of light and experiences time slowing down. It’s like carving a space where you and your strange thoughts are welcome.

When I was invited as Panelist for the inaugural Amelia Lapeña-Bonifacio Writers Workshop (ALBWW), which was also the first national-level workshop focused on speculative fiction or sapantaha, I immediately said yes. How can you say no to history? This was also a chance for me to listen to celebrated author and playwright Prof. Lapeña-Bonifacio, who, together with the late fictionist Francisco Arcellana and the poet Alejandrino G. Hufana, created and established the UP Creative Writing Center, which she headed as Director from 1986 to 1995. As a sophomore I watched her “Ang Paglalakbay ni Sisa: Isang Noh sa Laguna” at the University Theater, and as a junior I won a prize in the Amelia Lapeña-Bonifacio Literary Awards for “Sugar Pi”. It was like coming full circle. A homecoming of sorts.

Amelia Lapeña-Bonifacio

 

A total of 58 writers sent entries to the workshop, with 42 submitting entries in English and 16 in Filipino. With two entries per applicant, we received 84 stories in English and 32 in Filipino.

The Panelists (myself, Nikki Alfar, Vladimier Gonzales, and Will Ortiz) whittled them down to seven Fellows for English and five Fellows for Filipino.

The 2016 ALBWW fellows for English were Paul Cyrian Baltazar, Rachel Castañares, John Leir Castro, Vida Cruz, Arby Medina, Arianne Patricia Onte, and Rosemarie Urquico.

The fellows for Filipino were Mary Gigi Constantino, Joel Donato Ching Jacob, Christian Ray Pilares, Isaac Ali Tapar, and Kristoffer Aaron Tiña.

They come from as near as Malate and as far as Naga. We have an illustrator, an HIV counselor, several teachers, a slam poet, a Submissions Editor for a US-based fantasy magazine, and one who described his life as “pretty uneventful”. (Well, not anymore!)

The stories they submitted were as varied as their backgrounds: we discussed a strange spirit disrupting a marriage, a murderous Sto. Niño, a queer character who derives her power from traumatic experiences, a woman piecing her life together in a city where it always rains, a toy shop that appears in the middle of a cemetery, a boy being usurped by a wooden doll.

We asked, “What if the Earth was created by a song?” or “What if we entered a dark dimension while stuck in a traffic jam on Skyway?” or “What if you die and the person who will take you to Paradise is not San Pedro or your dearly departed relatives, but rock star Pepe Smith?”

We talked about the coming of the Second Great Flood and psychic creatures living in ice on Pluto. We tried to figure out—and are still trying to figure out—the varying states of travelling songs. (We’re looking at you, Arby!)

The ALBWW Fellows at Distrito De MoloI was also glad we were able to take the 12 Fellows to watch Distrito De Molo (directed by Tony Mabesa, written by Iloilo-born playwright Leoncio P. Deriada with a Filipino translation by Allan Palileo) at the Wilfrido Ma. Guerrero Theater at UP Diliman. Distrito felt like an extension of our ALBWW discussions, with its three one-act plays concerned with issues such as identity, faith, family, secrets, memory, power in all of its forms.

I don’t know if the planets aligned, or if someone made a sacrifice somewhere, but this group had great chemistry. The discussions were lighthearted but focused, collegial but constructive. This group embraced the best advice one can give to a writer, beginner or otherwise: Do not take yourself too seriously, but always, always, in your life and in your art, aim for illumination.

And in the spirit of not taking ourselves too seriously, the Cosplay Graduation was a blast.

At the close of the Workshop, Prof. Lapeña-Bonifacio sang “Blowin in the Wind” by Bob Dylan, recipient of this year’s Nobel Prize for Literature, and reminded the Fellows about the questions she asked during her opening speech:
  1. Will you stay in the form you are writing (novel, short story, poetry), or will you experiment?
  2. Will you remain in the language you are writing (English, Filipino, other languages)?
  3. What are your current subject matters? Will you continue to write about them?
  4. What is your vision?

She collected the Fellows’ answers and sealed them, promising them that the answers will only be opened ten years from now.

The workshop ended, and we’re back in the real world. We can only speculate on what will happen within those ten years, but I do hope these Fellows will continue to write—will continue to create their own alternate realities for the things they treasure the most—as I myself plan to.

Eliza Victoria is the author of several books, including the Philippine National Book Award-winning Dwellers (2014) and the novel Wounded Little Gods (2016). Visit her at http://elizavictoria.com.

CFP Special Issue: Climates of Disaster and Performance

What are the conditions in which performance happen or is made, in the wake of or in response to a disaster? But we can be more expansive and ask how performance can be linked to disaster, if performance perchance may be thought in the terms of a disastrous event, how such thinking takes on board the implications of linking these two terms: disaster and performance and what possibilities are opened for a politics and ethics of performance.

Being the journal’s first issue dedicated to performance, we wish to show the rich interdisciplinary character of the ‘field’ or the wide expanse of practices that claim or profess ‘performance’ as their generic field. So all submissions are welcome. This special issue will be co-edited by Dr. Jazmin Llana (De La Salle University, Manila) and Dr. Theron Schmidt (University of New South Wales, Sydney).

Deadline for submission for this issue is on October 31, 2016. Email your submissions to akda.submissions@gmail.com

For inquiries, email: jazmin.llana@dlsu.edu.ph

Visit us on Facebook: https://www.facebook.com/akdajournal/?fref=ts

Akda: The Asian Journal of Literature, Culture, Performance is an international peer-reviewed journal that seeks to publish cutting-edge articles in the areas and intersections of Literary, Cultural, and Performance Studies. We especially welcome articles that will inaugurate new and dynamic directions for scholarly inquiry on the literary and cultural production of the Asian region. Further, in our commitment to diversity and to multicultural dialogue, we welcome contributions that may potentially be relevant to the concerns of the region from various national and cultural backgrounds. The journal is supported by a distinguished editorial board that represents the journal’s scholarly depth and geographic scope.

Akda is published biannually, in March and September, but will accept submissions year round. Submissions, which are assumed to be original, unpublished work, should range from 5,000 – 8,000 words (inclusive of notes) and should follow the MLA parenthetical documentation style. Authors should also include a title page with keywords, 200-word abstract, and a short bio note with their submission. The October issue is an open issue with no thematic preferences; the April issue will be thematically organized and will be edited by a recognized scholar in the field. The April 2017 issue will be co-edited by Jazmin Llana (De La Salle University) and Theron Schmidt (University of New South Wales).

Akda also accepts submissions of fiction, poetry, plays, screenplays, and the essay, creative writing that bends or crosses generic boundaries, as well as literary book reviews. Submissions must be in, or translated into, English. Translated work must be submitted with the consent of both author and translator.

Akda also published shorter articles, notes, essays in a section called Perspectives. Articles/essays may range from 3,000 to 4,000 words; short research papers and notes, 2,000 to 2,500 words. These submissions must be accompanied by a 200-word abstract and a short bio-note.  Citations must be done using the MLA documentation style and the articles/essays must have a works cited page. Artist/scholars are responsible for seeking permission to publish copyrighted materials and other texts relevant to their essays/articles. Submissions must be in, or translated into, English. Translated work must be submitted with the consent of both author and translator. Deadline for submission for this issue is on October 31, 2016. Email your submissions to akda.submissions@gmail.com

For inquiries on Perspectives, email: jeremy.dechavez@dlsu.edu.ph

 

Kritika Kultura Lecture Series presents Maria Luisa Torres Reyes

Kritika Kultura, the international refereed journal of language, literary, and cultural studies of the Department of English, Ateneo de Manila University, in partnership with the Ateneo Korean Studies Program, the National Library of Korea and the Korean Cultural Center in the Philippines, will host a lecture by Maria Luisa Torres Reyes titled “Refunctioning a Classical Genre: Han in Punch.” The lecture is part of the Window on Korea Cultural Event on Oct. 13, 2016. Dr. Reyes’s lecture is from 1:15 p.m. to 1:40 p.m., at Leong Hall Auditorium, Ateneo de Manila University. The lecture is open to the public.

Reyes’s abstract reads: “The topic of the lecture is the first part of a larger project which suggests that in the process of refunctioning, non-Western texts like Punch (a Korean sleeper hit in 2011) disrupts the developmental and integrative logic of the Bildungsroman (novel of formation, novel of education, or coming-of-age story) which resonates with the trajectory of the multicultural project of monocultural South Korea today. In particular, the lecture focuses on how forms, even those traditionally called ‘universal’ and ‘generic’ in the West like the Bildungsroman are at once ‘local,’ and ‘specific’—that is to say, culturally, socially, and historically situated, of which the ‘form’ or ‘genre’ itself is a material inscription and iteration. In Punch, Bildungsroman becomes a site of negotiation between ‘universal’ genre and ‘local’ affect in which the structure, as a function of the film’s narrative economy, is underpinned by the Korean han—a kind of ethos which is historically associated with a gamut of ‘emotions’ including a deep and dark sorrow, spite rancor, regret, resentment, grief, utmost suffering, injustice or persecution that quietly longs for affection, harmony or resolution (jeong). While the classical Western Bildungsroman generally follows a ‘classical’ plot tracing the formation of the individual ‘realistically’ through the protagonist’s journey, Punch follows an ‘affective’ logic in what may be referred to as a ‘han narrative’ which is neither pure form nor pure content—an episodic sequence of scenes which dramatize individual and collective hans within the han structure. As in the case of Punch, a classical genre from the West is reworked and transformed through a dynamic tension of complex fields of forces in the process of refunctioning through generic transcoding of porous translocalities, which the next part of the project hopes to establish.”

Maria Luisa Torres Reyes is Full Professor at the Ateneo de Manila University where she is currently Research Fellow. She is a scholar, critic, translator, creative writer, founding editor and Editor Emeritus of Kritika Kultura. She is the author of the book of literary criticism on the first socialist novel in Asia, Banaag at Sikat by Lope K. Santos which traces 100 years of its reception, which won the best in literary criticism awarded by the National Book Award in 2011. She is also the author of other books, among which are her collection of published poems, Sipat Salin, which were translated in various foreign and local languages (2012), and a translation of The February Revolution by Letizia R. Constantino/Renato Constantino, which won the Manila Critics Circle Award in 1987. Her scholarly interests include the dynamics of engagement and development of critical categories from the West and their deployment in non-Western contexts, especially in Asia. In this regard, she has been published internationally for her exploration of the ways the theories of Bertolt Brecht, a major theatre theoretician and practitioner, have been refunctioned in the Philippines.

Kritika Kultura is acknowledged by a host of Asian and Asian American Studies libraries and scholars networks, and indexed in the MLA International Bibliography, Thomson Reuters (ISI), Scopus, EBSCO, and the Directory of Open Access Journals. For inquiries about submission guidelines and future events, visit http://journals.ateneo.edu/ojs/kk/ or email kk.soh@ateneo.edu.

Kritika Kultura, the international refereed journal of language, literary, and cultural studies of the Department of English, Ateneo de Manila University, in partnership with the Ateneo Korean Studies Program, the National Library of Korea and the Korean Cultural Center in the Philippines, will host a lecture by Maria Luisa Torres Reyes titled “Refunctioning a Classical Genre: Han in Punch.” The lecture is part of the Window on Korea Cultural Event on Oct. 13, 2016. Dr. Reyes’s lecture is from 1:15 p.m. to 1:40 p.m., at Leong Hall Auditorium, Ateneo de Manila University. The lecture is open to the public.

Reyes’s abstract reads: “The topic of the lecture is the first part of a larger project which suggests that in the process of refunctioning, non-Western texts like Punch (a Korean sleeper hit in 2011) disrupts the developmental and integrative logic of the Bildungsroman (novel of formation, novel of education, or coming-of-age story) which resonates with the trajectory of the multicultural project of monocultural South Korea today. In particular, the lecture focuses on how forms, even those traditionally called ‘universal’ and ‘generic’ in the West like the Bildungsroman are at once ‘local,’ and ‘specific’—that is to say, culturally, socially, and historically situated, of which the ‘form’ or ‘genre’ itself is a material inscription and iteration. In Punch, Bildungsroman becomes a site of negotiation between ‘universal’ genre and ‘local’ affect in which the structure, as a function of the film’s narrative economy, is underpinned by the Korean han—a kind of ethos which is historically associated with a gamut of ‘emotions’ including a deep and dark sorrow, spite rancor, regret, resentment, grief, utmost suffering, injustice or persecution that quietly longs for affection, harmony or resolution (jeong). While the classical Western Bildungsroman generally follows a ‘classical’ plot tracing the formation of the individual ‘realistically’ through the protagonist’s journey, Punch follows an ‘affective’ logic in what may be referred to as a ‘han narrative’ which is neither pure form nor pure content—an episodic sequence of scenes which dramatize individual and collective hans within the han structure. As in the case of Punch, a classical genre from the West is reworked and transformed through a dynamic tension of complex fields of forces in the process of refunctioning through generic transcoding of porous translocalities, which the next part of the project hopes to establish.”

Maria Luisa Torres Reyes is Full Professor at the Ateneo de Manila University where she is currently Research Fellow. She is a scholar, critic, translator, creative writer, founding editor and Editor Emeritus of Kritika Kultura. She is the author of the book of literary criticism on the first socialist novel in Asia, Banaag at Sikat by Lope K. Santos which traces 100 years of its reception, which won the best in literary criticism awarded by the National Book Award in 2011. She is also the author of other books, among which are her collection of published poems, Sipat Salin, which were translated in various foreign and local languages (2012), and a translation of The February Revolution by Letizia R. Constantino/Renato Constantino, which won the Manila Critics Circle Award in 1987. Her scholarly interests include the dynamics of engagement and development of critical categories from the West and their deployment in non-Western contexts, especially in Asia. In this regard, she has been published internationally for her exploration of the ways the theories of Bertolt Brecht, a major theatre theoretician and practitioner, have been refunctioned in the Philippines.

Kritika Kultura is acknowledged by a host of Asian and Asian American Studies libraries and scholars networks, and indexed in the MLA International Bibliography, Thomson Reuters (ISI), Scopus, EBSCO, and the Directory of Open Access Journals. For inquiries about submission guidelines and future events, visit http://journals.ateneo.edu/ojs/kk/ or email kk.soh@ateneo.edu.

Kataga, maglulunsad ng ikalawang antolohiya

Inaanyayahan ng Kataga, Samahan ng mga Manunulat sa Pilipinas, ang lahat na dumalo sa lunsad-aklat ng “Kataga II: Antolohiya ng Malikhaing Akda”. Gaganapin ang paglulunsad sa Oktubre 15, 2016, Sabado, ika-apat ng hapon sa College of Fine Arts Auditorium, University of the Philippines – Diliman, Lunsod Quezon. 

Ang Kataga II ay binubuo ng 70 mga tula, maikling kwento, dagli, sanaysay at dula mula sa mga kasapi ng Kataga sa iba’t ibang sangay (Online, Quezon City, Manila, Manila – South, Lucena – Panitik, Lucena – Tanghal at Zambales).

Sina Dr. Reuel Molina-Aguila, Mark Angeles at Fedinand Pesigan-Jarin ang mga editor ng pinakabagong antolohiya mula sa Kataga.

Para sa mga katanungan tungkol sa lunsad-aklat o detalye ng pag-order ng libro, i-like o magpadala ng mensahe sa https://www.facebook.com/kataga.lit/

Paglulunsad sa nobelang “Toto O” ni Charmaine Lasar

Inaanyayahan ang lahat sa lunsad-aklat ng “Toto O.” na isinulat ni Charmaine Lasar. Ang nobela ay nagwagi ng unang gantimpala sa nagdaang ika-65 Gawad Palanca. Ang 21 taon gulang na si Lasar ay popular na kilala bilang si “Justmainey” sa Wattpad, kung saan niya nahasa ang kanyang talento sa pagsulat. 

“Pag pinagsama-sama at pinagtahi-tahi ang maliliit na sirkulo ng totoong ito, susurpresahin tayo ng bisa ng mga monumental na pagtingin sa pagmalas sa buhay at pagku-kwento”, sabi ni Eros Atalia sa kanyang introduksiyon sa nobela.

Gaganapin ang paglulunsad sa Oktubre 22, 5:30 p.m., Fully Booked, Bonifacio High Street, Taguig. Ang aklat ay inilimbag ng PageJump Folio.

Call for Submissions: Under the Southern Skies: Northern Mindanao Literary Anthology

ABOUT THE PROJECT
• The editors are interested in pieces that evoke a strong sense of place, its landscapes, history, and diversity of cultures in Northern Mindanao—Misamis Oriental, Misamis Occidental, Bukidnon, Camiguin, and Lanao del Norte.
• The anthology is open to both established and emerging writers (1) who live in Northern Mindanao, (2) who live elsewhere but grew up in Northern Mindanao, OR (3) have spent a good period of time in Northern Mindanao enough to inspire memories and feelings.
• The project is spearheaded by the Department of English of Xavier University-Ateneo de Cagayan, Cagayan de Oro City.

GUIDELINES
• Please send up to three (3) pieces of either fiction/flash fiction, poetry, or creative nonfiction. The word limit for flash fiction is 1000, for short story and CNF 7500 words, and for poetry 60 lines.
• Simultaneous submissions may be considered. Please let the editors know if the work has been accepted elsewhere. Previously published pieces are considered as long as the copyright stays with or has been reverted back to the author. The anthology will, of course, cite where it was first published.
• Submissions may be in English, in Tagalog, or in Cebuano Bisaya.
• Submission period is from 01 October 2016 to 18 January 2017.
• Expected publication is December 2017.
• Send all submissions to northminanthology@gmail.com. These should be in plain text in the email’s body or attached as a docx, doc, or pdf file. Subject line is “Submission-Author’s Name-City or Province-Genre (e.g. Submission-JoyDiaz-Camiguin-Poetry). Contributors are requested to provide a short bionote where previous publications may be indicated. Use standard manuscript format for fiction and CNF (double spaced; Times New Roman font).
• Contributors will get a copy of the anthology and a discount on additional copies. Should there be queries, please direct them to the project coordinator, Professor Arlene J Yandug through ayandug@xu.edu.ph with the subject “Query-NorthMin.”