Call for contributions to UP ICW’s special commemorative anthology, 40@40

The University of the Philippines Institute of Creative Writing (ICW) is issuing a special call for submissions to 40@40, a commemorative issue of Likhaan: The Journal of Contemporary Philippine Literature. The anthology will be released in time for the Institute’s ruby anniversary in December 2018.

The ICW began in 1978 as the UP Creative Writing Center, and will be celebrating a 40-year legacy of excellence and leadership in creative writing and national cultural development. 40@40 will showcase 40 new, unpublished works from a roster of writers closely affiliated with the institution, namely the ICW’s fellows, associates, advisers, awardees, and the alumni of the UP National Writers’ Workshops.

UP Vice President for Public Affairs and former ICW Director Jose Y. Dalisay Jr. will serve as the anthology’s editor. ICW Fellows Professor Emeritus Cristina Pantoja-Hidalgo and Jun Cruz Reyes will serve as co-editors for English and Filipino, respectively.

The guidelines for submission are as follows:

  1. 40@40will accept submissions of no more than 10,000 words in the following genres, in both English and Filipino:

1 short story or novel excerpt;
1-3 poems;
1 literary or personal essay (memoirs, profiles, etc.)
1 short play or play excerpt.

  1. All submissions must be encoded in 12 points Times Roman, New York, Palatino, Book Antiqua, Cambria or similar fonts.
  2. All submissions must be original and previously unpublished (not even online). Contributors should submit work in the genre and language that have been best known for. Only one submission may be made per person.
  3. All submissions must be accompanied by a biographical sketch of no more than 200 words. Please indicate your present or previous affiliation with the ICW—fellow, associate, adviser, workshop fellow, or awardee.
  4. Submissions must be sent exclusively via email to likhaan.40on40@gmail.com.
  5. Please use the following subject line and filename format in the email: [Language], [Genre], [Title], [Author’s Last Name]. For example: English, Fiction, “The Life,” Aquino. The attachment should either be a .DOC, .DOCX or .RTF file.
  6. All submissions should be received by email no later than July 31, 2018, 5:00 pm. No late submissions will be entertained, except for extraordinary reasons.
  7. The editors will select the best 40 submissions which, in their opinion, best reflect the growth and the achievements of Philippine literature over the past 40 years.
  8. Writers whose work will be accepted for publication will receive an honorarium and a copy of the anthology.
  9. The editors reserve the right to edit any and all materials accepted for publication.

 

Previous issues of the Likhaan Journal are available for download as PDF files at http://journals.upd.edu.ph and http://panitikan.ph. Please direct any and all inquiries to the managing editor, Pipay Warren, at likhaan.40on40@gmail.com.

Lumikha, Lumaya! Lunsad Aklat ng Susmatanon at Tuligsa

Ilulunsad sa Hunyo 8, 2018 4:00nh-6:00nh sa SIKAT Events Venue (likod ng Popular Bookstore), Tomas Morato ang mga aklat nina Ka Edong Sarmiento na Susmatanon: Mga Kuwentong Pambata na inilathala ng UP Sentro ng Wikang Filipino at Tuligsa at iba pang Tula ni Rene Boy Abiva na inilathala naman ng PANTAS Publishing.

Si Ka Edong Sarmiento ay isang bilanggong politikal na kasalukuyang nakakulong sa Maximum Security Unit ng New Bilibid Prisons sa Muntinlupa. Siya ay NDFP consultant ng Eastern Visayas na sinampahan ng mga gawa-gawang kasong kriminal at hinuli noong Pebrero 24, 2009. Ang Susmatanon ang una niyang aklat pambata na isinulat niya habang nakabilanggo.

Si Rene Boy Abiva ay dating bilanggong politikal sa Ifugao District Jail. Kinasuhan siya ng gawa-gawang krimen ng pamamaslang. Ang libro niyang Tuligsa at Iba pang mga Tula ay koleksyon ng kanyang mga tula na naisulat niya habang nasa loob ng kulungan. Napawalang sala siya at tuluyang lumaya noong Agosto 1, 2017.
Ang paglulunsad na ito ay sama-samang sinusuportahan at itinataguyod ng UP Diliman Sentro ng Wikang Filipino, Samahan ng mga Ex-detainees Laban sa Detensyon at Aresto (SELDA), HUSTISYA, Concerned Artist of the Philippines (CAP) at First Quarter Storm Movement.

Bukod sa paglulunsad ng dalawang akda, ipapalabas din ang dokumentaryong “Project Poldet” ng Task Force Free the Artist na tungkol sa buhay at pakikibaka ng mga bilanggong politikal sa Ifugao District Jail.

Para sa iba pang detalye at impormasyon, maaaring makipag-ugnayan kay Cristina Guevarra sa cristina.giba@gmail.com o sa telepono bilang 0999-3933100.

UP ICW Issues Call for Submissions for the Gémino H. Abad Seminar-Workshop on Teaching Literature

DEADLINE OF APPLICATION EXTENDED TO AUGUST 15, 2018

On the occasion of its 40th anniversary, LIKHAAN: The UP Institute of Creative Writing will be holding the Gémino H. Abad Seminar-Workshop on Teaching Literature on September 20-22 at the University of the Philippines Hotel, UP Diliman, Quezon City. This ICW project will accommodate a total of fifty (50) junior and senior high school teachers in the K-12 curriculum from all over the country.

Interested participants are enjoined to carefully read the rules for application, which are as follows:

 Who may apply:

  1. The Gémino H. Abad Seminar-Workshop on Teaching Literature will be open to teachers in junior and senior high school. Priority will be given to those teaching literature and related humanities subjects.2. From a total of fifty accepted participants, 12 to 13 slots will be allotted to each of the four genres (poetry, fiction, creative non-fiction, and drama). Participants should state two genres in the application letter (one priority and the other as alternate) so that if the slots for one genre get filled up quickly, there would be a second option available. 

How to apply:

  1. Applicants must submit: a) a letter of intent which should include a pledge that the applicant is willing to participate in a workshop session of a literary text based on the genre he or she gets accepted for; b) the title and author of two (2) literary texts used in class, in two of his or her preferred genre (poetry, fiction, creative non-fiction, or drama) as well as the title of the textbook the selections were taken from; c) a recommendation letter from one’s school principal; and d) a brief, one- to two-paragraph bio-note.
  2. Submissions should be sent via email to uplikhaan@gmail.com with the subject “Gémino H. Abad Seminar-Workshop 2018 Application.” Incomplete submissions will not be accepted.

The workshop’s resource persons will recommend the qualified participants, and the UP ICW will approve the final list. The three-day Gémino H. Abad Seminar-Workshop is free of admission, and the ICW will provide lunch as well as mid-morning and mid-afternoon merienda for the participants. However, the workshop will not cover participants’ transportation and lodging.  The deadline for submission of applications is on August 31, 2018. The final participants list will be released by August 2018.

The Gémino H. Abad Seminar-Workshop will feature an honorary lecture by Dr. Gémino H. Abad. Resource persons, discussants, and workshoppers for this seminar-workshop are Mr. Alfred Yuson for fiction, Ms. Mookie Katigbak-Lacuesta for poetry, Ms. Susan Lara for creative non-fiction, and Mr. Floy Quintos for drama.

The rationale behind this seminar-workshop is the training of teachers in junior and high school in discussing literary texts that are now being used in textbooks for our classrooms. This is crucial in light of developments brought about by the K-12 curriculum. The project already has the endorsement of the Commission on Higher Education (CHED). The ICW is just waiting for the advisory from the Department of Education (DepEd), which should also come out soon.

The Gémino H. Abad Seminar-Workshop on Teaching Literature aims to help establish a more standardized basis for literary discussion and analysis, as well as in choosing which works in both English and Filipino are most appropriate for inclusion in our school textbooks. In a bigger sense, the seminar-workshop aims to aid our teachers in better educating our K-12 junior and senior high school students.

For inquiries, you may call the UP ICW at 981-8500 local 2117 or email uplikhaan@gmail.com.

Siklo Si Siglo

  ni Vim Nadera

            Rara avis si Rom.

            Bihira, di kaya’y pambihira, ang isang Romeo Palustre Peña.

            Kung tutuusin, siya lamang yata ang masigasig na malikhaing manunulat mulang Bondoc Peninsula.

            Kinamulatan niya ang tinatawag na “hacienda belt.

            Kinagisnan na niya ang ekta-ektaryang sakahan nakapaligid sa kaniya.

            Hinubog siya ng hamog mulang Catanauan magpahanggang maging habagat ito sa San Francisco, San Andres, San Narciso at Mulanay na nababanggit  lagi, mas madalas kaysa hindi, kapag ay pinag-uusapan ay karalitaan.

            Pinamugaran niya ang pinamugaran din daw ng mga “taong labas” galing sa Tagkawayan, Buenavista at San Andres na, kung tutuusin, ay minahan ng ginto at iba pang mamamahaling mineral.

            Dinadaan-daanan niya ang pabrika’t planta sa Gumaca, Pagbilao,  Atimonan, at Macalelon.

            Totoo, mayaman ang pinanggalingan ni Rom.

            Sa kasamaang-palad, ang mga yamang ito ay hindi kaniya.

            Kundi pag-aari ng iilan lamang.

            Ang minoryang ito ang puno’t dulo ng tunggalian.

            Mula noon hanggang ngayon.

            Kung baga, isinilang siya sa lunang kakambal ng mga kuwento.

            Kung hindi man, ng mga kasaysayan.

            Mga kasaysayan ito ng pagkawala, ng pagpapahirap, ng pag-aresto, ng detensiyon, ng paghahalughog, ng panghihimasok, ng pangangamkam, ng pamimilit, ng pagbabanta, at ng iba’t ibang uri ng paglabag sa karapatang-pantao.

            Iyan ang kaniyang Lalawigan ng Quezon.

            Iyan ang aming Lalawigan ng Quezon.

            Sa kasalukuyan, ang mga alagad ng panitikan doon ay mas kilala sa pananaludtod tulad ng inyong abang lingkod.

            Mananalinghaga rin, halimbawa, ang kaniyang ka-kontemporanyo roon.

            Nariyan ang taga-Sampaloc na si Vijae Orquia Alquisola na naging presidente ng College Editors Guild of the Philippines bago siya nakilala bilang premyadong makata sa Don Carlos Palanca Memorial Awards for Literature at iginagalang na guro ng Literatura sa Unibersidad ng Santo Tomas na siya ring naglathala ng kaniyang aklat ng mga tula.  Gayundin ang Lucenahing si Alvin Capili Ursua ng Calayan Educational Foundation, Inc. na isa mga manunulat at dating punong tagapag-ugnay ng Kataga na hinirang na Makata ng Taon sa Talaang Ginto 2012 bago pa man siya magwagi ang kanyang kalipunan ng mga tula (Kumpuni, 2012) at tulang pambata (Sisid, 2013) sa Palanca.

            Sadyang mabibilang sa daliri ang mga nobelista o nasa kalibre niya pagdating sa pagsusulat ng tuluyan.

            Maaaring busisiin ang kaniyang pinagmulan.

            Dahil ba siya ay isang Peña?

            Lolo niya, diumano, si Valeriano Hernandez Peña.

            Bulakenyo, kung tutuusin, ang mga Hernandez pero ang mga Peña, na apelyido ng kaniyang nanay, ang taga-Quezon.

            Kung baga, nananalaytay sa mga ugat ni Rom ang dugo ng Ama ng Nobelang Tagalog” na pinatanyag ng mga obrang Kasaysayan ng Magkaibigang si Nena at si Neneng(1905), Pagluha ng Matuid (1899), Mag-inang Mahirap (dalawang bahagi – 1905 at 1906), Hatol ng Panahon (1909), Pahimakas ng Isang Ina (1914), Unang Pag-ibig (1915),Dangal ng Magulang (1920), at iba pa.

            Subalit, ang siste, hindi nagkasya si Rom sa kaniyang pamana.

            Nagkusang-palo pa rin siya.

            Una, nagtapos siya ng M.A.F. Malikhaing Pagsulat sa Unibersidad ng Pilipinas sa Diliman, Lungsod Quezon.

            Ikalawa, kumuha pa siya ng AB Filipinolohiya sa Politeknikong Unibersidad ng Pilipinas.

            Ikatlo, nag-aral siya muli sa UP para sa kaniyang masterado.

            Minsan ko pa siyang nakilala noon.

            Bagamat magkababayan kami.

            Bilang Tayabasin, ako rin ay limitado sa aking kinalakhang bayan at lungsod sa Quezon.

            Bunga ng bunganga, kung baga, ang kaalamang ko mula sa nanay kong doktora na na-destino  kina Ron.

            Panay tandang-pananong pa rin sa akin kung bakit mula noong bata pa ako ay pinag-iingat kami ng mga kalaro ko, kung hindi man pinagbabawalan, na maligaw sa dakong iyon ng aming lalawigan.

            Sa ganang-akin, buhày na misteryo ang teritoryo ni Rom.

            Kaya, nang lumapit siya sa akin para sa mga panukala, agad kong iminungkahi ang pagkukuwento.

            Siya ang inatasan kong boses ng Bondoc Peninsula.

            Nang ginawa niyang opisyal ang aking pagiging tagapayo, ang una’t huli kong kahingaan ay hindi maikli kundi mahaba dapat ang kaniyang kuwento.

            Kung kaya, ginawa kong nobelista si Rom!

            Malay man o hindi, parang pinapuno ko sa kaniya ang mga pagkukulang sa mga palaisipang aking kinalakhan.

            Siya lamang ang makagagawa nito.

            Naniwala ako sa kaniya.

            Nagtiwala ako sa kaniya.

            Naniwala naman siya sa kaniya.

            Nagtiwala naman siya sa kaniya.

            Sarili niya at wala nang iba pa.

            Hayun, malayo ang kaniyang nahayon!

 

            Bago niya matapos ang proyektong ito, pinalawak ang daigdig niya ng National Writers Workshop sa Unibersidad ng Santo Tomas (2008), UP-DFPP Palihang Rogelio Sicat sa Malikhaing Pagsulat (2009), Iligan Writers Workshop (2010), at Iyas Writing Workshop (2011).

            Pinalakas pa ang loob niya nang siya ay pinuri’t pinarangalan: Filipino Migration to Hawaii Centennial Literary Prize (2006), National Book Store Writing Contest (2006), International Writing Contest for Young People ng UNESCO at Goi Peace Foundation (2007), at Gawad Komisyon sa Wikang Filipino sa Pagsulat ng Sanaysay (2010 at 2012).

            Ngayon, pagkaraan ng ilang rebisyon, isang nobelista na si Rom.

            Maililista na ang Siglo B. Peninsula na isa mga makabagong klasiko.

            Kronika ito ng kuwaderno niyang may nakaipit.

            Sa halip na coconut, nangangamoy ito ng Chocnut.

            Subalit sa kaniyang akda, masasamyo pa rin ang kopra sa kaniyang wika.

            Tulad ng niyog, bilog na bilog ang disenyo nito bago pa man ito lukarin.

            Sa ilalim ng lilim ng palapa ng mga salita o parirala o talata, mababanaag at mauulinigan ang nangaghahabulang tandang, inahin, at sisiw hanggang sa sukal.

            O hanggang sa suka na naging tuba sa bibig ng kababaihang daig pa ang kalakihan sa pagbarik: “Hindi baleng magtagal sa suso, huwag na huwag lamang sa baso.”          

            Upang mahulasan sa pagkalango ng anyo sa nilalaman, o ng nilalaman sa anyo, ipinahahanap, o ipinahaharap, sa mga mambabasa ang magkahalong tuwa at takot ang dulot ng lamig ng ilog ng mga maligno.

            Ilusyon ba ito ng agos sa disyerto?

            O alusyon sa buwan ng tagsibol?

            Ito ba ang panahon ng mga binhi?

            O germen kaya Germinal ang lahat?

            Bagong buto ang bukang-liwayway.

            Mistulang ginigising sila ng ingay ng kapitbahay na pinaghihinalaang lumang-lupa.

            Kaya, mulat man o hindi, nasasaksihan nila ang nasa gitna ang naiipit na mga tauhan.

            O sila ay siya.

            Bilang may-akda?

            Sa pagitan ng paglabas-pasok sa kanayunan at/o kalungsuran, matatagpuan ang sarili.

            Isinilang si Rom noong 8 Hulyo 1987.

            Gen Y siyang maituturing dahil nandoon siya kalagitnaan mulang 1977~1982 hanggang 1995~2001.

            Ilan sa mga katangian niya, ayon sa mga banyagang pagsasaliksik, ay ang pagiging alipin ng teknolohiya, ambisyoso, mahilig sa kolaborasyon at komunikasyon, gustong laging minamahal.

            At, higit sa lahat, maki-pamilya.

            Pilit niyang binabalanse ang trabaho-tahanan.

            Bakit?

            Sapagkat pinalaki siya sa mga magulang na masisipag.

            Naaalala ba ninyo si Siglo?

            Sa kaniya?

            Pagitan ng mga linya, nakikita ko rin ang bida sa mga nobelang Rosales ni F. Sionil Jose: binatang nagpapakatatag sa hamon ng Maynilang malayo sa probinsiya at  pamilya, walang iniwan sa dagang bukid na naghahanap ng lungga sa lungsod, magpahanggang maging hasà o dalubhasa sa basâ at bahâ.

            Tubig ang isa pang talinghagang mahal ng may-akda.

            Pinagtatampisawan kaya niya ang kahulugan nito bilang simbolo ng pagiging dalisay ng mga protagonista.

            O ng lahat ng probinsiyano’t probinsiyana.

            Sa kabilang banda, ito rin kaya ang pagtukoy niya sa pagiging mabunga nila?

Na sila ang kadluang-buhay? Na kung wala sila ay wala ring siyudad? Na kung ganoon ay wala ring pag-usad? Na wala ring pag-unlad?

            Sirkulasyon din ang isa pang isinasagisag nito.

            Siklo si Siglo.

            Maaari rin namang pagsalungguhit ito sa daloy — mula kuna hanggang kabaong — kaya masasabi rito na ang tubig ay dugo!

            Para sa matatanda, ang ibig sabihin nito ay kaalaman

.           O, kung mas paiigtingin ang pagtingin, ito ay ang katalinuhan.

            Sa kabuuan, ang nobela ay pagdakila sa dunong!

            Ito ang pampuksa, halimbawa, sa apoy!

            O hangin bilang historya ng pagiging matalino?

            Pero ang ihip sa nobela ay marumi.

            Posible bang patungkol ito sa polusyon bilang isang tipo ng talinong nakapanghihinayang dahil ginamit sa katiwalian?

            Isa pang elementong pinili ng awtor dito ay ang sunog.

            Pahiwatig ba ito na, ano man ang mangyari, lagi’t laging may luwalhati ng Diyos?

            Kahit pa parating dito ay may alikabok.

            Dito ba maalabok?

            Dito ba maabo?

            O kahit saan?

            O kahit sa anomang lugar na pinaghaharian ang masamang espiritu at mababangis na hayop?

            Ito ba ang mundong ito?

            Ito ba ang mundong ito ni Don Cuvenar?

            Ito rin ba ang mundo ni Lolo Valer?

            Nina Rick, Cristoph, at Mar?

            At ni Siglo?

            Hati-hati sila.

            Halo-halo sila.

            Labo-labo sila.

            Lahok-lahok sila.

            Walang ipinagkaiba sa panahon.

            Sa noon.

            Sa ngayon.

            Sa nasa dako pa roon.

            Paulit-ulit.

            Pabalik-balik.

            Kahit pabago-bago.

            Kaya inuulit?

            Kaya binabalik-balikan?

            Kasi pabago-bago.

            Ganito.

            Ganito nang ganito.

            Ganito ang gunita.

            Ito ang trabaho ng memorya.

            Binigyan tayo ng kapangyarihan.

            Kakayahang makalingon.

            Makaalala.

            Gahum ito ni Rom.

            Gamay niya ang kaniyang nakaraan.

            Malinaw at maliwanag na natatandaan pa niya ang kaniyang paglulukad, ang pagniniyog ni Lolo, ang Brgy, Tagabas Ibaba, ang pagluwas mulang Catanauan, ang pag-aaral sa Maynila, ang pag-uwi tuwing tagbanas, ang pagpapasalubong hindi ng pampabusog ng tiyan kundi ng pampabusog ng diwa sa tiyahin, ang pagtuklas at pagpunang itinuro ng pamantasan, ang pagbabasa, ang pagsusulat.

            At, sa wakas, ang paglilimbag!

            Nang matuldukan na niya ang nobela noong 2013, sunod-sunod na, wika nga, ang biyaya.

            O laya.

            O lipad.

            Daig na niya ang pinakawalang ibon sa hawla nang mailathala na siya sa Like/Unlike: Kuwentong Facebook Status at Politika ng Agam-agam (Flipside Publishing, 2014),Pylon: Isangdaa’t Labing Isang mga Tula ng mga Makata ng PUP (PUP Press, 2015), Sagupa (2016, PUP Press), Liwayway Magazine, Espasyo, FATAQ Journal sa Australia, at Lotus Journal sa Egypt.

            Lalong pumailanlang ang kaniyang pakpak kahit sa ibang daigdig para katawanin ang Filipinas sa Writers Union of Africa, Asia and Latin America na nasa Cairo, Egypt.

            Bukod sa pagtuturo ng panitikan at malikhaing pagsulat sa PUP, siya rin ay aktibo bilang bagong Direktor ng PUP Center for Social History.

            Sa kabilang banda, tinatapos din niya ang PhD sa Philippine Studies sa UP Diliman.

            At sa tulong ng UP National Writers Workshop, manganganak nang manganganak pa siya ng sanlaksang nobela.

*Si Romeo Palustre Peña ay naging fellow ng 57th UP National Writers Worskshop. 

Call for Submissions to the Philippines’ First National LGBTQ Poetry Workshop

The first national creative writing workshop devoted to Philippine LGBTQ poetry is being jointly sponsored this July by the University of the Philippines and Goldsmiths University of London, as part of the international research and arts consortium called GlobalGRACE: Global Gender and Cultures of Equality. GlobalGRACE is funded by the Research Council UK’s Global Challenges Research Fund.

The workshop will take place on July 23-27, 2018 at the University Hotel in UP Diliman, and will be facilitated by a panel of established LGBTQ poets, led by Professor Romulo Baquiran, Jr. of UP Diliman and Prof. Nerisa del Carmen Guevara of the University of Santo Tomas. Prof. J. Neil C. Garcia, the project coordinator of the Philippine component of GlobalGrace, will also be in the panel.

The workshop is open to all Filipino LGBTQ poets, from 18 to 40 years old, writing in any Philippine language. Submissions that are not originally written in English or Filipino will need to be accompanied by a translation into either language. Each submission should consist of a suite of 6 to 8 poems. There are no thematic requirements.

The ten fellows who will be accepted to the workshop will be billeted at the workshop venue, and will receive a daily stipend.  A modest travel allowance may also be available for those who will be coming from the regions. There will be germane socials incorporated into the workshop schedule, to complement and enrich the fellows’ holistic experience.

This poetry workshop will be the first in an annual series of LGBTQ creative writing workshops. Succeeding workshops will be devoted to the writing of LGBTQ fiction, creative nonfiction, and drama.

The overarching goal of the Philippine component of the GlobalGRACE Project is to help  realize and enact the ideal of cultures of gender and sexual equality through the nurturing and promotion of Philippine LGBTQ literature.

Moreover, this component seeks to provide institutional and pedagogical support to help discover and enable nonheteronormative voices and hone the creative writing skills of aspiring Filipino LGBTQ writers. These poems, stories, essays, and plays will hopefully not only express and disseminate but also enact, deepen, and expand the consciousness and identity of these writers, empowering and assisting them in their overall wellbeing.

The resultant texts and works of all the GlobalGRACE projects—across six countries—will be archived, published, and curated in the Global Museum of Equalities, to be housed in both the UK and South Africa.

These workshops are an affiliate activity of the Likhaan: UP Institute of Creative Writing.

The deadline for submissions is May 15, 2018.

Please email submissions, accompanied by a cover letter (that also attests to the works’ originality), to Prof. Francis Paolo Quina at philippinelgbtqworkshop@gmail.com

Repost: LIKHAAN 12 Now Accepting Submissions

The UP Institute of Creative Writing (ICW) is now accepting submissions for the twelfth issue of Likhaan: The Journal of Contemporary Philippine Literature. The deadline for submission to Likhaan 12 is April 30.

The Philippines’ leading literary peer-reviewed journal, the Likhaan Journal is published annually with funding from the University of the Philippines. It features the best of new and unpublished Philippine writing in English and Filipino. Submissions to the journal undergo a strict pre-screening and double-blind refereeing process by both the editors and a panel of referees composed of eminent writers and critics from within and outside UP.

Award-winning writer Eugene Y. Evasco will be the issue editor. The associate editors are Cyan Abad-Jugo and Chuckberry J. Pascual.

The guidelines are as follows:

  1. For its twelfth issue, Likhaan: The Journal of Contemporary Philippine Literaturewill accept submissions in the following genres, in both English and Filipino:
  • Short stories ranging from about 12 to 30 pages double-spaced, in 12 points Times Roman, New York, Palatino, Book Antique, Arial or similar fonts. A suite of short prose pieces will be considered.
  • A suite of four to seven poems, out of which the editors might choose three to five. Long poems will be considered in lieu of a suite.
  • Literary and personal essays, including memoirs, profiles, etc., subject to the same length limitations as short stories (see above).
  • Critical/scholarly essays, subject to the same length limitations as short stories (see above).
  • Excerpts from graphic novels, or full, short graphic stories, for reproduction in black and white on no more than 10 printed pages, 6” x 9.” Excerpts should be accompanied by a synopsis of the full narrative.
  1. All submissions must be original and previously unpublished.
  2. All submissions must be accompanied by a cover letter (including the author’s contact information) and a biographical sketch of no more than one or two short paragraphs.
  3. Submissions may be e-mailed to likhaan.journal12@gmail.com, or posted to The Editors, Likhaan Journal 12, Room 3200, Pavillion 3, Palma Hall, UP Diliman.
  4. For submissions sent via e-mail, please use the following subject line and filename format: [Language], [Genre], [Title], [Author’s Last Name]. For example: English, Fiction, “The Life,” Aquino. The attachment should either be a .DOC, .DOCX or .RTF file.
  5. All submissions should be received (whether by e-mail or post) no later than April 30, 2018. 
  6. All submissions will undergo a strict pre-screening and blind refereeing process by the editors, and a panel of referees composed of eminent writers and critics from within and outside the University of the Philippines.
  7. Writers whose work will be accepted for publication will receive a substantial cash payment and a copy of the published journal.
  8. The editors reserve the right to edit any and all materials accepted for publication.
  9. The editors may also solicit or commission special, non-refereed articles for publication outside of the aforementioned genres and categories to enhance the editorial content and balance of the journal.

Previous issues of the Likhaan Journal are available for download as PDF file at http://journals.upd.edu.ph. Please direct any and all inquiries to the managing editor, Isa Lorenzo at likhaan.journal12@gmail.com.

57th UPNWW Lectures: Staying Lit and Legit in the Era of Fake News and Mistranslations of Mythology in Philippine Popular Culture

What is the role of writers in a fake news and post-truth era? How is mythology seen in Philippine pop culture today?

These intriguing questions will be discussed by poet and critic Dr. J. Neil Garcia and playwright Eljay Castro Deldoc at the Abraham Sarmiento Hall, UP Baguio, at 1:30 – 4:30 pm on April 4, 2018. The lectures are free of charge and open to the public.

Dr. Garcia will speak on “Mythopoeia and Communal Subjectivity: Mistranslations of Mythology in Philippine Popular Culture.” Deldoc will tell us how to “Be Lit and Legit sa Mundong Full of Clickbait and Shi*t”.

J. Neil C. Garcia teaches creative writing and comparative literature at the University of the Philippines, Diliman, where he serves as Director of the university press and a Fellow for Poetry in the Institute of Creative Writing. He is the author of numerous poetry collections and works in literary and cultural criticism. His most recent books are The Postcolonial Perverse: Critiques of Contemporary Philippine Culture, Homeless in Unhomeliness: Postcolonial Critiques of Philippine Literature, and Myth and Writing: Occasional Prose. Dr. Garcia coedited the famous Ladlad series of Philippine gay writing and  Aura: the Gay Theme in Philippine Fiction in English. His poems, essays, and books have received a variety of recognitions and prizes, including the Carlos Palanca Memorial Awards, the Philippines Free Press Literary Prize, and the National Book Award. He regularly contributes film and theater reviews to GMA News Online. He is the director for the Philippines of Project GlobalGRACE: Global Gender and Cultures of Equality, a world-wide research and arts consortium sponsored by the Research Councils of the United Kingdom and Goldsmiths, University of London. He is currently at work on “Likha,” his seventh poetry book.

Eljay Castro Deldoc, a native of Hagonoy, Bulacan, earned his degree in Communication Arts from the University of the Philippines Los Baños. His most notable original plays are “Ang Goldfish ni Prof. Dimaandal”, “Si Maria Isabella at ang Guryon ng mga Tala”, “Ganito ang Pinangarap Kong Kasal”, “Kasaray Duma: Mga Supling ng Sigwa”, and “Pilipinas Kong Mahal With All the Overcoat”. He also penned stage adaptations of Filipino novels, namely “Para Kay B”, “Ang Favorite Book ni Jude”, and “Ligo na U, Lapit na Me The Musical”.  He has been a fellow of Cordillera Creative Writing Workshop, the 14th Iyas National Writers Workshop, and the 15th Ricky Lee Scriptwriting Workshop. Eljay is a member of the Writers Bloc and The Quiapo Collective. He is also the artistic director of Tabsing Kolektib, a Manila- and UPLB-based theater company. Read some of his works at https://deldoctrines.wordpress.com/.

Garcia and Deldoc’s lectures are part of the 57th UP National Writers Workshop  (UPNWW), which has been reformatted to mentoring writers in mid-career. The workshop aims to help writers who have already published (or are on the verge of publishing) a book, or have won major literary awards, further hone their craft.

Likhaan: The UP Institute of Creative Writing  will be celebrating its 40th anniversary this year. It is an institute and hub of creative writing and research dissemination in the University of the Philippines system. It has lived up to its role and mandate, and has become known for its major programs, which include the UP National Writers Workshop.

Ang Tagasálin Bílang Tuláy ng Karanasan at Kaisipan

Noong Pebrero 8-10, 2018, mapalad akóng nakalahok sa únang Saling Panitik: Palihang Bienvenido Lumbera ng UP Institute of Creative Writing (LIKHAAN) sa University Hotel, UP Diliman, Quezon City. Bílang isáng bágong manunulat sa Filipino at nagsisimulang guro ng malikháing pagsúlat at panitikan, mahalagang matutuhan ko ang pagsasálin sa personál at propesyonal na antas. Bagaman kakauntî pa lámang ang nalikom kong danas sa loob ng silíd-aralán, kapansin-pansin ang pagkawálay ng mga tinúturúan kong mag-aarál sa haráp ng mga pampanitikang teksto. Nása Ingles o Filipino man ang babasahín, ang madalás niláng bukambibig, “Ang lalim.” Úpang mapatatág ng (nais na maging) tagasálin ang pagtatangkang makalikhâ ng tuláy sa pagitan ng teksto at mámbabasá, maínam na masaálang-álang ang umiiral na alyenasyon ng nakararami sa wika─na marahil ay ikinadúlot ng mga panlipunan, politikál, pang-ekonomiya, at pangkalinangang kadahilanan.

Sa pagbubukás ng únang Saling Panitik, idiniin ni Dr. Bienvenido Lumbera, Pambansang Alagád ng Sining sa Panitikan, ang madamdámin at teknikal na aspekto ng pagsasálin sa lektura niyáng “Translation and Culture.” Dahil sa dinamikong lagay ng wika sa lipunan, ipinaliwanag niya ang pangangailangan ng mga panibágong sálin ng mga lumàng akda. Bukod sa pagiging maálam sa wika, itinampok niya ang halaga ng pagkakaroon ng malalim na pag-unáwa sa kultura at kamalayán ng mga magiging mámbabasá. Idinagdag niyáng hindî lámang pagtutumbas ng pangangahulugan ng orihinal na teksto patúngo sa katutubong wika ang tungkulin ng tagasálin, dapat ding malimitahan ang pagkakalayô ng magkakaibáng kaisipán at kalinangan sa proseso ng pagsasálin. Sa lekturang “My Practice of Translation: The Vanishing, Relocation, and Transfiguration,” tinalakay ni G. Marne Kilates ang kinauukulan niyáng espasyo bílang tagasálin ng katutubong panitikan patúngo sa Ingles. Nilinaw niyáng may bukód-tangìng paggámit ang Filipinas sa Ingles; inihalintulad niya itó sa sámot-sarìng pag-angkop ng nasábing wika sa ibá’t ibáng panig ng daigdig (hal. Britanya, Amerika, Awstralya, at ibá pa). Dito niya isinakonteksto ang tatlong dekada niyáng karanasan sa pagsasálin. Inilarawan niyáng ‘hindî perpektong sining’ ang pagsasálin dahil kaagad na may nawawalâ sa akto ng pag-alpas ng tagasálin sa orihinal na wika ng akda: ang dapat na tanggapin ng tagasálin bágo pa man siyá tumáhak sa napilì niyáng proyekto. Sa lekturang “Ang Pampanitikan sa Pagsasalin,” tinuunán ng pansin ni Dr. Michael Coroza ang ‘pagsasáling pampanitikan’ (lában sa ‘pragmatikong pagsasálin’) kung saan kinakailangang magkaroon ng kritikal na matá at kabihasnang makapagsulát ang tagasálin. ‘Matálik na pagbása’ ang naging sentro ng diskusyon niya sa pag-unáwa ng ‘simuláing wika’ ng orihinal na teksto at pagbigay kahulugan ng ‘tunguhing wika’ sa isinasáling gawâ; masinop na makahahábi ang tagasálin ng ‘kabilâng búhay’ ng isáng akda sa ganitong paraan. Matimbáng niya ring pinuna ang pagkasalimuot ng pagsasálin ng tulâ dahil sa pagkasiksík ng estruktura ng anyông itó. Tugma, súkat, himig, at tayutay ang ilan sa napakaraming elementong kailangang alalahanin sa pagsasálin ng tulâ.

Pagkatápos ng únang bahagi ng Saling Panitik, hinatì ang mga kalahok ayon sa mga sumusunod na wika: Bikol, Filipino, Iloko, at Pangasinense. Hábang nagkaroon ng kaniya-kaniyang lektura ang ibá’t ibáng pangkat─ang “Pagsasalin ng Tula/Prosa sa Bikol” ni G. Niles Jordan Breis, ang “Mga Suliranin sa Pagsasalin sa Iloco” ni G. Junley Lazaga, at ang “Idioma at Estilo sa Pagsasalin ng Zarzuelang Pangasinense,” ni Dr. Ma. Crisanta Flores─naging bahagi akó ng lektura pára sa Filipinong “Ang Kinomisyong Salin bilang Pagtatanghal” ni G. Vladimeir Gonzales. Malíban sa teorya ng ‘refraction/rewriting’ (ang pagsasálin ng esensya ng gawâ), naging dagdag na pagsúbok ang realidad ng ‘kinomisyong sálin’ sa paglatag ni G. Gonzales ng teorya ng ‘skopos’ (ang layunin ng sálin sa propesyonal na antas). Naatásan ang mga kalahok sa Filipinong magsálin ng isáng bahagi ng dulâng The Seven Deadly Sins of the Petty Bourgeoisie ni Bertolt Brecht nang may mga nakalakip na isá hanggáng tatlong kahingian sa loob ng isáng ‘kinomisyong sálin.’ Dalawang restriksiyon ang pumaloob sa isinagawâ kong pagsasálin ng pangatlong eksena sa dulâ ni Brecht na “Wrath,” ang paggámit sa Maynila bílang lunan sa halip na Los Angeles at paglalagay ng tugma at súkat. Nang pinamagatang “Poot,” sipì ng nagawâ kong sálin ang sumusunod:

 

ANNIE I:

Nakauusad kamí sa bukás at maunlad na lungsod ng Maynila;

Malugod ang pagkupkop sa áming mga ekstra sa siyudad na itó.

Ano ang aantala sa ámin úpang maging marangal at dakila

Kung matutuhan náming maiwasan ang malî, salà, at pagkalitó?

 

PAMILYA:

O áming Panginoon, lubos Ninyong gabayán ang mahal náming anák.

Wagás Ninyong ilantád ang landas na patúngo sa ginhawa at galák.

 

ANNIE I:

Kung higit mong dadamhin ang bagsik ng desisyon at iláp ng hustisya,

Dî mag-aalinlangang magpamalas ng lagim ang Buông Kaharian;

Kung magpápadalá ka, mulî kang ibabalik sa bigô mong pamilya,

Ganap na tatanggalin ang saysáy at dangal mo, at dî ka pagbibigyan.

 

Ang sumusunod naman ang katumbas na sipì ng naging batayang teskto sa Ingles:

 

ANNIE I:

We’re making progress. We have come to Los Angeles

And every door is open here to welcome extras.

We only need a bit of practice avoiding possible faux pas

And what can stop us going straight to the top then?

 

FAMILY:

O Lord, look down upon our daughter

Show her the way that leads the Good to Thy reward.

 

ANNIE I:

If you take offence at Injustice

Mister Big will show he’s offended;

If a curse or a blow can enrage you so

Your usefulness here is ended.

 

Bágo ko subúking maging kritiko ng sarili kong gawâ, gusto ko munang balikán ang lektura ni G. Kilates kung saan iniláhad niya ang pananaw ni Lawrence Venuti hinggil sa pagsasálin, “[T]he translator negotiates linguistic and cultural differences…by reducing them and supplying another set of differences.” Higit na mahabà ang kinalabasán ng mga taludtod sa Filipino dahil nakapaloob ang mga itó sa súkat na may dalawmpu’t isáng pantig at may sesurang 7/7/7. Marami ring nagbágo sa mga imahen, konsepto, at paglalarô ng salitâ─halimbawa, imbes na isinálin ko ang “Mister Big will show he’s offended” bílang “Ipakikíta ni Mamâng Malaki na nainsulto siyá,” naisip kong mas maitatawíd ng linyang “Dî mag-aalinlangang magpamalas ng lagim ang Buông Kaharian” ang diwà ng teksto sa mga mámbabasáng Filipino.

Sa hulíng bahagi ng palíhan, mulîng nagtipon ang mga kalahok; nagpresenta ang bawat pangkat ng mga naging resulta ng kaniya-kaniyang proyekto ng pagsasálin. Sa kabila ng ibá’t ibáng kinamihasnan, umáwit at nagtanghal ang mga kalahok nang taglay ang makukulay at buháy na himig ng apat na rehiyon sa pagtatapós ng únang Saling Panitik. Sa mga ganitong urì ng programa, káyang mapatibay at mapag-isá ang nag-uumápaw na pagkakaiba ng mga katutubong wika sa Filipinas: ang pagtanggap at pagyákap sa kaibahan at ang pag-igpaw dito sa pamamagitan ng pagpapatingkad sa sarì-sarìng kultura ng bansa. Sa muntîng danas na itó at mulâ na rin sa mapagpantasya kong haraya, tinatáhak ng isáng (nais na maging) tagasálin ang puwáng ng alyenasyon úpang magsilbing tuláy ng karanasan at kaisipan sa hangáring mapagtagpo ang daigdig ng liwanag at dilim.

 

Si Mia Jalandoni Sumulong ay ipinanganak sa Jaro, Iloilo at lumaki sa Antipolo, Rizal.

 

Sanggunian

Brecht, Bertolt. The Seven Deadly Sins of the Petty Bourgeoisie. PDF, RevSocialist, 1933.

Coroza, Michael M. “Ang Pampanitikan sa Pagsasalin.” 8 Feb. 2018, Pamantasang Ateneo de Manila. Reading.

Gonzales, Vladimeir B. “Ang Kinomisyong Salin bilang Pagtatanghal: Mga Tala at Paghihimay.” 8 Feb. 2018, Unibersidad ng Pilipinas. Reading.

Kilates, Marne. “My Practice of Translation: The Vanishing, Relocation, and Transfiguration.” 8 Feb. 2018, Reading.

LIKHAAN. “Saling Panitik: Palihang Bienvenido Lumbera Translators Seminar.” 8 Feb. 2018, UP Institute of Creative Writing. Quezon City. Lecture.

First Likhaan Foundation Creative Writing Scholarships Awarded

Melissa G. Cabral and Maria Amparo N. Warren were awarded the inaugural Likhaan Foundation Creative Writing Scholarships

Melissa “Mel” Cabral is a freelance writer, editor, illustrator, graphic designer, and content strategist. She has also worked as an art teacher for students of all ages, as an editorial assistant at the Ateneo de Manila University Press, and as a Creative Writing Manager for a presentation design agency.

Mel has a BFA in Visual Communication from the UP Diliman College of Fine Arts and is currently completing a YA novel on cyberbullying for her MA Creative Writing degree at the UP Diliman College of Arts and Letters. She is also an advocate for mental health awareness, fair pay for creative professionals, and self-care.

Mel Cabral and Pipay Warren (center), the first recipients of the Likhaan Foundation Creative Writing Scholarship, pose with ICW fellows and and Likhaan officers and trustees (L-R) Prof. Anna Felicia Sanchez, Dr. Pedro Jun Cruz Reyes, Dr. Gemino Abad, Dr. Bienvenido Lumbera, Erlinda Panlilio, Rhona Lopa-Macasaet, Prof. Amelia Lapeña Bonifacio, Dr. Roland Tolentino, Dr. Cristina Pantoja Hidalgo, Dr. J. Neil Garcia, Dr. Romulo P. Baquiran, Charlson Ong, Dr. Eugene Y. Evasco, and Dr. Victor Emmanuel Carmelo Nadera, Jr.

Maria Amparo “Pipay” Warren has worked as a teacher, freelance writer, copyeditor at the University of the Philippines Press, and government worker at agencies such as the Department of the Interior and Local Goverment (DILG). She is assembling a collection of eight short stories, entitled Wayfinder, for her MA Creative Writing degree.

Pipay was a fellow for fiction at the 12th Iyas National Writers’ Workshop and in the 2nd IWP Alumni Writers’ Workshop, and a fellow for playwriting at the 13th Virgin Labfest Writing Fellowship Program. For her works, she has won prizes at UP’s Amelia Lapeña-Bonifacio Literary Contest, the Nick Joaquin Literary Awards, and the Don Carlos Palanca Memorial Awards.

“I’m pleasantly surprised. I wasn’t sure that I would get it since I’ve struggled so much with [writing my thesis],” Mel said. “This is both validation and encouragement.”

Mel Cabral (center) is awarded a Likhaan Foundation Creative Writing Scholarship. The award was presented by (L-R) ICW fellows Dr. Bienvenido Lumbera, Dr. Gemino Abad, Dr. Cristina Pantoja Hidalgo, Prof. Amelia Lapeña Bonifacio, ICW director Dr. Roland Tolentino, and Likhaan officers and trustees Rhona Lopa-Macasaet and Erlinda Panlilio, while ICW deputy director Francis M. Quina and fellow Likhaan Foundation Creative Writing Scholarship awardee Pipay Warren look on.

Pipay has also stuggled to write her thesis, so the scholarship will allow her to go forward with “parts of the project that are hard to finish, like the poetics essay.”

Both Pipay and Mel are working while studying for their Masters in Creative Writing at UP Diliman.

The Likhaan Foundation Creative Writing Scholarship is offered by the UP Institute of Creative Writing through the generous support of the Likhaan Foundation. It grants Php100,000 worth of tuition and combined allowances to successful applicants, covering two full years of schooling.

Pipay Warren (center) is awarded a Likhaan Foundation Creative Writing Scholarship. The award was presented by (L-R) ICW fellows Dr. Cristina Pantoja Hidalgo and Dr. Gemino Abad, ICW director Dr. Roland Tolentino, and Likhaan officers and trustees Rhona Lopa-Macasaet and Erlinda Panlilio, while ICW deputy director Francis M. Quina and fellow Likhaan Foundation Creative Writing Scholarship awardee Mel Cabral look on.

The scholarship is meant to sustain the student until the completion of their studies. It is open to all students of MA Creative Writing who are in good academic standing. The applicant must be at least in their second year of studies. Applicants submitted a referral letter from one of their former professors verifying their abilities in the field, and, most of all, their determination to finish the degree.

UP ICW’s Fourth Interdisciplinary Book Forum to Focus on National Cinema at the Turn of the Century

LIKHAAN: The UP Institute of Creative Writing will hold the fourth installment of the Interdisciplinary Book Forum (IBF) this March 15, 2-5pm at the Pavilion 1131, Palma Hall, UP Diliman. The book-in-focus for this iteration is The End of National Cinema: Filipino Film at the Turn of the Century by Prof. Patrick F. Campos.

The panel of discussants for this installment of the IBF will be composed of National Artist Dr. Bienvenido Lumbera of the UP Departamento ng Filipino at Panitikan ng Pilipinas, Prof. Eileen Ramirez of the UP Art Studies Deparment, Dr. Neil Martial Santillan of the UP Department of History, Prof. Nick Deocampo of the UP Film Institute, and Prof. Ryan Oliva of the UP College of Law. ICW Director Dr. Roland Tolentino will serve as moderator. The discussants will share their thoughts about the book, particularly as it relates to the nature and context of their respective disciplines.

According to UP Likhaan fellow and UP Press Director Dr. J Neil Garcia, Patrick Campos’ book  “takes the controversial position that, in contradistinction to the thematic and representational content of many of our acclaimed and “touchstone” films, the technological, logistical, and financial mode of production—the very materiality—of this medium translocalized or cosmopolitanized it right from the get-go, making the recent rejection of the rubric of nationality in making sense of this art form something of a long superseded fait accompli: a kind of super-delayed reaction or tellingly belated recognition of what really has been a long-established fact.

“It’s indeed curious why this oversight was sustained in the scholarship and in the literature for so long (although we can only surmise that the nostalgia of decolonization, to a certain extent, certainly played its protracted and mythmaking part). In any case, this critical insight informs Prof. Campos’s readings of a selection of important Filipino films—arguably proficient in the depth and sweep of their interpretive gestures. Among other possible queries, we can ask just what kind of “usefulness” this book might find not just for film or media studies, but also for postnational, cosmopolitan, cultural, and global (re)theorizings, especially in our part of the restively transitioning and increasingly uneven world.”

The UP ICW’s IBF is held once every semester and constitutes a vital component of the UP Likhaan’s Emerging Interdisciplinary Research Grant. With this Forum, the Likhaan, in cooperation with the UP Press, seeks to provide an academic venue in which to realize the imperative for dialogue and intellectual engagement across the various disciplines, which of course speaks directly to the EIDR’s core agenda. Being the center for the study and development of creative and to a certain extent critical writing in the UP System, the Likhaan is in a unique position to carry out such an important academic mission.

Admission to the IBF is free. For inquiries, contact the UP Likhaan via 981-8500 loc. 2117 or email uplikhaan@gmail.com.