Bookwatch Vol. 20 No. 2 by National Book Development Board

About the

This issue’s editor

National Book Development Board

Li b a y Li n s a n g a n Ca n to r i s a p u b l i s he d f i c t i o n / n on f i c t i on au t h or an d c u l t u ral j o u r n a l i s t , me d i a

Vi s ion The National Book Development Board is the leading catalyst for building a culture of reading and authorship as well as an environment for the growth of the book publishing industry towards making it globally competitive. Mi s s ion • Promote investments in the book industry • Develop an environment conducive for the growth of the book publishing industry • Enhance market growth of the book industry by promoting lifelong learning through reading

message from the chair

l i t erac y

l ec t u rer, adv oc ac y

fi l mma ke r, a n d

gen der ri gh t s t rai n er. A B A Fi l m a n d M A C rea t i v e Wri t i n g gradu at e f rom t h e Un i v e r s i t y o f t he Ph i l i ppi n es D i l i m an , s h e i s a t wo -t i me Pa l a n c a aw ardee an d a f orm er di rec t o r-s c r i p t wr i t e r o f c h i l dren ’s edu c at i on al T V prog ra ms . Yo u c a n e- m ai l h er at l i bay. c an t or@ gm a i l .c o m.

adult literature. Fiction for young people has steadily improved in quality over the last few decades

with a readership base that includes a significant number of adults. Around the world, there are a burgeoning number of writers of young adult fiction whose works now merit a separate bestseller list. The spate of film franchises based on YA series is proof of the genre’s wide-reaching appeal and

This issue’s contributors Beverly W. Siy

here has never been a more temperate climate for the prosperity of children’s books and young

longevity. No doubt, children who first clamped their hands around Harry Potter and the Sorcerer’s is a writer, translator

NBDB Governing Board

and copyright advocate. Her expertise

Flor Ma r i e Sta . R o m a n a - C r uz

includes basic bookmaking, writing for

Stone almost twenty years ago are now the young professionals who will be first in line for the release of the epilogue to the series.

Chair

children, humor writing, essays and

Reynaldo Antonio D. Laguda

memoirs, Filipino language and culture,

V i c e - C h a ir Undersecretary for Finance and Administration Department of Education

and copyright. She can be contacted at

Ceferino S. Rodolfo

Myta Santiago is a freelance writer and

Tiyanak ng Tabon have their highly deserved spots in the list of finalists. It’s my sincere belief these

Undersecretary for Industry Development Group D epartmen t o f Trade a nd Industry

social media manager. On the side, she

books prelude the wealth of stories (not to mention the lustrous illustrations and graphic art) that

is a bookworm, a practicing yogi, avid

Filipino readers have to look forward to in the near future.

Felipe M. De Leon, Jr.

rock collector, and passionate pen & ink

Chairman National Commission for Culture and the Arts

artist. She currently lives in Makati, Metro

Rowena Cristina L. Guevara Undersecretary for Science and Technology Services Department of Science and Technology

beverlysiy@gmail.com.

Manila, Philippines.

In the country, Philippine literature for young people has experienced the same success. The 4 th National Children’s Book Awards–a biennial award for writers and illustrators of children’s and young adult literature–awarded book titles with the same high quality polish of foreign books but geared toward a local audience. Favorites such as Xi Zuq’s Supremo and Edgar Samar’s Si Janus Silang at ang

This issue of Bookwatch will appeal to followers of young adult literature with the following features: “Writing for the Young” by editor Libay Linsangan Cantor; “What YA is to Filipinos and The Graphic Revival of the Comic” by Mia Marci; and “Big Benefits of Bilingual Books for Children” by Beverly Siy. I

Mia Marci is a freelance art and lifestyle

trust that this will be another enjoyable read for you, our loyal reader. Thank you again for picking up

Ruperto S. Sangalang Commissioner Commission on Higher Education

features writer. She is also an English

this copy of Bookwatch. It has been our constant pleasure to report the exciting developments from the

teacher and a post-graduate student

Philippine book publishing industry. Read well and READ PINOY.

Ani Rosa S. Almario

Education.

who majors in Language and Literacy

Vice President Adarna House, Inc.

F lo r M a r i e S t a . R o m a n a - C r u z Chair, NBDB

Maria Karina A. Bolasco Director Ateneo de manila university press

Dr. Isagani R. Cruz Founder Manila Critics Circle

Ruel S. De Vera Journalist Philippine Daily Inquirer

This issue’s layout artist Mariel Sandico is a multimedia arts practitioner and associate lecturer from Mapua Institute of Technology. She manages Layag Pilipinas, a nomadic artist collective for youth empowerment through arts education.

All rights reserved. No article or visual material may be reproduced or altered without permission from the authors and artists. NBDB retains the sole printing rights of the journal. However, the journal may be freely copied digitally and shared. Copyright of the commissioned and solicited articles and visuals are owned by the NBDB until publication, whereupon copyright reverts back to the authors and artists.

Alfredo C. Ramos

Chairman and President National Book Store, Inc.

Bookwatch is the official publication of the National Book Development Board. It is not for sale.

This issue’s cover art by Gloria Concepcion Moralidad

For inquiries please call 570-6198 or 697-1804.

Unit 2401 Prestige Tower F. Ortigas Jr. Road (formerly Emerald Ave.), Ortigas Center, Pasig City http://www.booksphilippines.gov.ph

Vol. 20 No. 2 2016

contents

notes from the editor

features

06 Writing for the young: Trends and trajectories of Philippine literature for children and young adults

his volume of Bookwatch is released at the heels of the National Children’s Book Day celebration here in the Philippines. It is during

the month of July when this celebration occurs in the country. Aside from encouraging young Filipinos to read more books, older Filipinos are also encouraged to participate in activities that will move them to enhance the culture of reading in our society, hopefully to have these adults as partners

Big Benefits of Bilingual Books for Children

of the young in enhancing a general appreciation of Philippine literature. Writers, illustrators, and publishers are also given citations to encourage them to produce more quality materials for the youth.

But as reading advocates that champion local publishing, we also have to ask a crucial question that often gets repeated in local literary gatherings: Are

What YA is to Filipinos

The Illustrated Word

young readers reading local literature?

Studies have shown that, despite the country being dubbed as “the social media capital of the world,” and with all other media types distracting our population on a daily basis, we Filipinos still love to read. Yes, we read books, we read newspapers, and we even read comics. But as fictionist Jose “Butch”

The Graphic Revival of the Komiks

Dalisay Jr. once lamented to a crowd of writers in a lit fest, he said “Filipinos read. They’re just not reading us.”

Ouch. That was a few years back. How is the scene today?

With so many video games on the market, along with foreign TV shows and movies for kids and teens, how does the Filipino youth accept and assess

would-be writers on honing this craft. We discussed with illustrators to give us a picture of how it looks like from their end of the pen. We asked authors about their own assessment, their creative processes, and their own challenges when it comes to publishing and marketing both here and abroad. Tides are changing. Readers are still reading, and as we found out, they’re also reading us, but perhaps the platforms to reach them have also evolved. We also try to see where the youth now hang out online.

Philippine literature for the young is not entirely a new entity. It has been there for decades. Perhaps it’s time we revisit and see how we could help its growth and enhance its reach—for the future of its existence, and for its future audience.

Happy reading!

Filipino literature written especially for them?

This issue tries to give an overview of how far Philippine literature has come, regarding the world of children’s literature, young adult literature,

A Fair World for Books: Your Calendar of International Book Fairs

and comics-graphic novels (for the young and young at heart). We talked with creative writing professors who teach these subjects and encourage

Bestseller Lists

NBDB and PBBY name best children’s books

Recently Released and Upcoming Titles P.S. The editor welcomes comments, suggestions and queries. Please e-mail her at libay.cantor@gmail.com.

r o f Wr t ng theYoung Bookwatch Vol. 20 No. 2

Bookwatch Vol. 20 No. 2

Trends and trajectories of Philippine literature for children and young adults

erhaps like love, reading has no gender. Regardless of an individual’s educational and social class background, reading or appreciating literary forms is engrained in the Filipino as soon as one could be taught how to read after learning how to speak. More so, like love as well, reading certainly has no age, for human beings as young as one or as “young at heart” as 99 could enjoy content geared towards them, regardless if these are printed or drawn or printed-and-drawn. One look at the shelves of local bookstores would reveal special sections dedicated to materials for young readers. The children’s literature (CL) section, for instance, has subdivided shelves that cater to readers of varying literacy skills. Meanwhile, over at the young adult (YA) section, lines continue to be challenged as topics and themes cross over from this genre to “nearby” genres such as the “new adult” section. Children and teens are always welcome to select from the shelves for older readers (perhaps with some parental guidance exercised) as adult readers althrough these CL/YA sections to pick their favorites. No matter who’s reading what, the important thing is that there are publications geared towards children and teenagers of all shapes and sizes—and more are being published both online and in print. But first, what do we consider as children’s literature and young adult literature)? What have Filipino writers been scribbling for the

As global markets involving children’s literature and young adult literature are now expanding, what’s happening in the local market? What has been published? What else is being written? We tapped practitioners in the field to share insights about the topic.

younger Filipino readers? For this article, we talked to two professors from the University of the Philippines (UP) in Diliman, respected writers in their own right, as well as a children’s book publisher and writer, to share their thoughts on these matters. Defining CL and YA When we say children’s literature and young adult literature in the Philippines, folks might think that this is a rather “new” genre in our market, or at least ever since the Harry Potter series came out (or Twilight, depending on one’s generation). Perhaps people aren’t considering that our literary forebears in these genres go as far back as the early 1900s, at least in print. We also grew up learning that the Philippines has a rich background in oral literature, and it’s safe to assume that there are stories there tailored for children and young adults. Various provinces and regions in the country have their own sets of mythological figures, so they are also accompanied by their own folktales which include stories for younger Filipinos. Eventually, some of these tales ended up in print form. Today, traditional and modern options are both available in the Philippines. Categories exist to help us choose materials, but some lines are blurred by several factors. How could we comprehend the divide? Prof. Heidi Eusebio Abad, a UP Diliman professor teaching writing for children and

writing for young adult courses both in the undergraduate and graduate levels, delineates for us—amidst problematic categorizations— the age segmentation of this target market. “First of all, let me say that the definitions asked for are difficult to pin down because of the fluidity and fast rate by which both terms in the phrase ‘children’s literature’ are evolving. I consider children’s literature as an ‘umbrella term’ that covers all the main genres of literature, namely short story, poetry, novel, drama, nonfiction, and if you will, comics. It is also a less author-centered genre because it emphasizes the targeted reader, which is children, whose ages can range from 1 to 25 years old. This wide age range brings us to the young adult category (actually a sub-classification of children’s lit). The various YA age brackets would be the ‘tweens’ (from 10-13 years old), the ‘young teens’ (from 13-16), the ‘older teens (from 17-20), and even the ‘new adults’ (those in their early 20s),” Abad noted. For some writers like UP Diliman junior faculty member Gabby Lee, who also teaches CL and YA literature, she researches on how publications understand the delineations. “I usually follow publication guidelines when defining these terms, since there’s very little overlap. Children’s literature is usually texts that are intended for ages 0-12 (though this can also be subdivided into children from 0-10 and then middle grade readers from 10-12 years old).” Lee also raised a good

By Libay Linsangan Cantor

point about CL and YA publications: that sometimes, it’s not the writers who define the market segmentation, but the publishers, and sometimes against the wishes of the writers. “YA is usually texts meant for ages 13-18, and more often than not depends on the marketing behind the book. The Outsiders by S.E. Hinton was intended for an adult audience but her publishers marketed it for teen readers.” Since comics are also being mentioned in the discourses on CL and YA lit, Lee also

differentiates this format in relation to other formats popular in these genres, especially now that comics is also being called by another name today: the graphic novel. “Graphic novels are, as the name implies, a novel-length narrative that uses comic book techniques of the juxtapositions of words and pictures to tell a story. The confusion may be between the graphic novel and the picture book, which is really about the relationships between words and pictures. The graphic novel uses the gutter (the spaces between comic panels) to control

“

Gone are the days when the characters in children’s lit (especially in fairy tales) were ‘cardboard cut-outs’ of heroes and villains. Today, more characters are neither absolutely good nor bad; they just ARE.

“

- Heidi Abad

Some children’s books in the Philippines still carry stories that teach moral lessons or illustrate moral values for kids, like foremost children’s content writer Rene Villanueva’s Ang Batang Natutong Sumunod sa Magulang and Segundo Matias Jr.’s Ang Usok at si Daddy, both published by Lampara Books.

Bookwatch Vol. 20 No. 2

BookwatcH Vol. 20 No. 2 of the Sweet Valley High series and other romance-focused publications popular during the 1980s and 1990s.

Local authors, publishers, and children’s rights organizations team up from time to time to produce special projects such as Augie Rivera’s penned children’s book series Batang Historyador. A project by UNICEF and published by Adarna House, the aim of the books is to teach children about the important eras in the history of the Philippines.

Literary connections, cultural disconnections Indeed, many foreign (mostly American) YA novels reached our shores. However, some of us started to question the content of these novels, especially the culture it carries. Filipino-American author Cecilia Manguerra Brainard, in her preface on Growing Up Filipino: Stories for Young Adults, a YA anthology she published and edited, echoed this sentiment when describing her reading habits growing up in the Philippines. “While I enjoyed those books, I would have wanted books with Filipino protagonists, heroes, and heroines who could have taught me how to negotiate life as a Filipina youth.”

the academic and the literary, with varying nuances and subject positions, as stated in this excerpt:

narrative pacing. Picture books operate on using spreads, with words integrated into the image, while comics use the speech bubble and narrative boxes to separate words and pictures.” Abad also recalls earlier examples of this format. “The graphic novel may have its own history and development, but to my own experience as a child, this reminds me of the famous Classics Illustrated collection of novels and stories (not necessarily written for children) that were rendered in comics form.” CL and YA in and out of school Now that the materials, publishers and the readers have been included in trying to understand CL and YA, another player should be considered: the education sector. In the Philippines, some impoverished families sometimes consider it a luxury to buy books, so it is often the case that students get introduced to children’s literature through their textbooks, integrated as part of their formal lessons. This is why writers and publishers work closely with the education sector in fine-tuning their offerings for young readers. In a 2011 Kritika Kultura online journal article by UP professor Dr. Rosario TorresYu, she pointed out these intersections of

“The function of children’s literature in education is well established in theory and practice as a fairly good venue for teaching children skills, moral, religious and social values, and aspirations, as well as for modeling social roles. This thinking rests on theories of growth taken from developmental psychology (Piaget, Vigotsky), social learning in education (Bandura), and theories of social and cultural construction in sociology (James, Prout). In literary study and criticism, children’s literature is attracting new interest as an interdisciplinary area for those in childhood studies, literature, education, development and culture. Cultural studies gave way to a more serious consideration of marginalized forms of cultural expression such as children’s literature. “ Indeed, before CL materials became standalone content, early educators found the need to incorporate stories in children’s textbooks as a way of making lessons more engaging. And this is where many children before learned about local folktales, myths, legends, and various creation stories: through textbooks. Eventually, materials for young readers were developed outside of textbooks. This crucial intersection of literature and

education might also help explain the contents of what we earlier read as CL and YA in the Philippines, as Abad expounded. “Locally published stories in the 1970s to the early 1990s focused more on retellings of folktales, myths and legends. For the more original stories, the trend was to be more didactic and educational. Perhaps citizens of a country, as children, learn about their culture through the folktales we hear from our elders—and eventually read.” Outside of the academe, there have also been pioneering efforts. In the 1920s, the popular magazine Liwayway already carried many children’s stories in the form of folktales penned by Severino Reyes under his famous “Lola Basyang” pen name. When the Americans colonized the country, they also brought with them their collection of children’s literature. Jumping from our own folktales to the Americanized folklore, young Filipinos back then enjoyed children’s stories with “moral lessons” embedded in them. A popular example is the Aesop’s Fables collection as well as the rhyming words in Mother Goose or Dr. Seuss books. And who could forget fairy tales that regaled us with “once upon a time” tales which, more often than not, end with the characters living a “happily ever after” picture-perfect life. Filipino children who were starting to cross age brackets also crossed over to other reading materials. Also popular in the Philippines were young adult series such as the Nancy Drew detective series and the Hardy Boys mysteries, written and published in America during the 1920s-1930s, revised in the 1960s, and revived-continued-updated during the 1980s, the 2000s and even until today. Libraries of selected local schools carried these series for elementary and high school kids to enjoy. Inside classrooms, high school kids also shared with each other their copies

Perhaps every generation shares the same thought, and some of them, like Brainard,

“

at iba pa.” (All issues of characters aged 14-18, all stories about them could be considered as YA. All stories that children find entertaining could be considered as children’s literature. But there are also radical or sensitive themes like stories involving crimes, sex, war, and others.) Aside from defining the genres from the point of view of the audience, like what Prof. Abad mentioned, Matias also adds another important strategy for writers to consider. “Mahalagang isaalang-alang ang paraan ng pagkuwento sa mga radikal o sensitibong paksa para sa mga bata.” (It’s also important to consider the way we narrate radical or sensitive stories for children.) Of Filipino writers and crafting topics/ characters for the young How are Filipino writers telling stories to children and young adults? Matias mentioned that topics—and perhaps the writers

People took their writing to the Internet because it was free and there weren’t a lot of rules, and there was a large and supportive community. Many of them succeeded. Most of them didn’t. There will always be a space for the print novel.

“

But if a writer refuses to broaden their horizons, that doesn’t mean that the horizon isn’t there. - Gabby Lee chose to be proactive about it. In his introduction in Bagets: An Anthology of Filipino Young Adult Fiction he co-edited with Carla Pacis, Eugene Evasco mentioned that in 1996, the term “young adult” was officially adapted in Philippine literature when a group called the B1 gang spearheaded the publication of YA materials. Publisher, editor, and head writer Armin Santiaguel gathered a group of writers in Filipino and came up with what he proclaimed as “the first and only young adult book series in Filipino.” However, Evasco also aired his doubts whether this pioneering series would be considered as an important contribution by the academe since it was published in a popular format. Regardless of what scholars might think, the concern still goes back to the primary audience: the children and young adults. Segundo “Jun” Matias, Jr., a publisher and author like Santiaguel, believes in this sentiment in defining CL and YA. “Lahat ng issues ng mga tauhang nasa edad 14 hanggang 18, lahat ng kuwento tungkol sa kanila ay masasabing YA. Lahat ng kuwentong kawili-wili sa mga bata ay matatawag na children’s literature. Pero may mga temang radikal o sensitibo gaya ng mga kuwentong may kinalam sa krimen, sex, digmaan,

themselves—are getting more daring in the subject matter they want to tackle in their stories. Prof. Abad also cites evolving themes and topics. “By the year 2000 until now, more stories for children and young adults explored themes and topics which used to be considered taboo or not yet fit for young readers. It used to be that stories on death, youth gangs, bullying, sexuality, drug addiction, or alcoholism, were the more daring themes in children’s lit. Now, there are topics on family discord and problems (e.g. parental separation, financial trouble), children with special needs, the OFW (overseas Filipino workers) phenomenon, LGBT (lesbian, gay, bisexual and transgender) issues, environmental concerns, socio-political events as they affect children, and even dystopian views of society.” Stories and situations are not the only ones presenting new approaches in local CL and YA literature. Characters are also becoming diverse. Whether they reflect realities of children during specific eras or are fantastical creations that challenge traditional storytelling boundaries, our local CL and YA literary materials are coming of age, so to speak.

Acclaimed children’s book writer and YA novel writer Carla M. Pacis’ works are originally written in English. Anvil Publishing Inc. recently released translated Filipino versions of her YA novels like Enrique El Negro and OCW. (book covers courtesy of Anvil Publishing)

Bookwatch Vol. 20 No. 2 Prof. Abad gives examples. “Gone are the days when the characters in children’s lit (especially in fairy tales) were ‘cardboard cut-outs’ of heroes and villains. Today, more characters are neither absolutely good nor bad; they just ARE. This probably helps the young readers to relate more to such characters because people are a mix of both sides in real life. However, this trend also becomes a bigger challenge to the writers because they still have to strike a balance with this ‘neither-good-nor-bad’ treatment in stories.” It is indeed based in reality if protagonists in CL and YA literature veer away from inhabiting a world clearly delineating black from white to entering realms of gray. Matias has an explanation for this. “May interes ang readers sa mga character na dark at hindi safe. Mas gusto nila ang mga tauhan na may flaws. Siguro, pakiramdam nila na mas tao ito: marunong magkamali at gustong malaman kung paano ang character journey niya.” (Readers are interested in dark characters that are not ‘safe.’ They want characters with flaws. Maybe they feel that these characters are more human: that they could also make mistakes so they’re curious to know their character journeys.) Going outside the Philippines, however, and looking into the foreign scene, there is no doubt that western materials infiltrating local shores would find fans among local audiences. But are local writers also mining these foreign materials and mimicking them? As a former writer of children’s content for television, I have witnessed myself that this “trend” is actually a practice in local television. There have been original creations, sure, but there

BookwatcH Vol. 20 No. 2 and materials. But what about the existence of newer publication venues existing side by side with traditional systems? Aside from being visible in print, today’s media-saturated world has also seen the proliferation of online publishing avenues.

were also creations that look and sound awfully familiar. They say E.T., we say Kokey? I leave that for another discussion someday. As a creative writing teacher at the UP College of Arts and Letters, Prof. Abad has also seen some form of mimicry happening with her students who are fans of foreign CL and YA literature. “It is tempting to say that local writers are mimicking these darkthemed trends, especially in the YA dystopian novels and LGBT stories. I’ve had my share of batches of students who went through different trends of the time, or kung ano ‘yung uso na issue (whatever issue is trending) like bullying, child abuse, environmental problems, sexuality, LGBT issues, dystopian systems. Even if I sometimes complain about the gaya-gaya (mimicking) mentality, I choose to see it as part of the starting out/growing up stage of a writer. I remember starting out by copying the trend of ‘modern myths’ or inventing my own ‘the legend of...’ (stories).”

Prof. Heidi Eusebio Abad teaches writing for children and writing for young adults courses at the undergraduate and graduate levels. Some of the children’s books she authored are Polliwog’s Wiggle, Big World For Little People, and the award-winning Abot Mo Ba Ang Tainga Mo? (author photo courtesy of Ms. Abad)

Matias, however, calls it differently. “Mimicry is not the word. We don’t mimic. Inspired, yes. (It’s) healthy. Kasi ang ibig sabihin ‘buhay’ ang mga writers at nalalaman niya ang trends.” (This means writers are ‘alive’ and they’re attuned with trends.) Indeed, even seasoned literary writers also couldn’t escape from this early process. From the point of view of a writer, especially one writing in this era, Lee shared her insights about this. “Given that we are now writing in the age of globalization and a more democratic playing field, there will always be influence within and beyond national borders. One of the earliest lessons one learns as a writer is to imitate, and then figure out what works/ what doesn’t work for you. Being a Filipino writer isn’t just about the language, but an ability to capture the culture and render it in an authentic way.” Literary attractions and other media distractions Indeed, authenticity has always been a challenge for writers in any given genre. Is it a bigger challenge today, especially for CL and YA lit writers, since their audience’s attention span gets shorter and shorter as the world gets more and more “high-tech,” so to speak? Prof. Abad encounters this “fact” in her classes. “To my view, young readers today demand the same ‘high entertainment’ that they are now exposed to in their techie world. The multimedia gadgets that they are used to, the information overload from the Internet, the fast-paced and quick-changing visual and auditory stimuli around them may prove to be a challenge to the static words printed on a page.”

Lee pointed to one of the more popular websites-apps that let authors self-publish: Wattpad.com. “Wattpad is simply an offshoot of communities merging on the Internet. Prior to Wattpad, there was Fanfiction.net and Archive of Our Own (AO3), fandom zines and fan conventions. People just took their writing to the Internet because it was free and there weren’t a lot of rules, and there was a large and supportive community. Many of them succeeded. Most of them didn’t. Those who succeeded either got there because they wrote something that resonated with an audience, or filled a gap in that audience. There will always be a space for the print novel, the literary novel. But if a writer refuses to broaden their horizons, that doesn’t mean that the horizon isn’t there.” The Canadian company behind Wattpad counts millions of subscribers and visitors coming from all over the world, mostly comprised of younger netizens. Like a social media network, one can create an account and curate their reading lists bookmarked from available materials within the platform. Readers could remain readers in this venue. Practicing or aspiring writers who are in this venue also have the option to publish their works. But, similar to the

blog, it has earned criticism from observers who find a lack of “literariness” in the published materials on the site, with this kind of criticism coming from some prominent figures in the local literati. But as writers who are also teachers, both Lee and Abad—coming from two distinct generations—share the same opinion about this issue. Lee, in particular, is very encouraging to fellow writers trying this outlet, as she could relate to this process. “If they really want to write, good for them. ‘Literariness’ can be learned by reading more, writing more, and failing more. I began my writing career online, writing fanfiction. Learned about plot, characterization, use of language, and all the other elements of writing good stories on the Internet before I even stepped into a creative writing classroom. You write where you can, and wherever you can get readers. And if you really want to shoot for the moon, then you will.” Abad also recognizes the value of these developments. “I’ve heard of the debates on how the quality of writing suffers from this freedom to publish one’s work online. I choose to look at the brighter side by saying that at least, more people are now writing and reading AND learning to be more critical of what is out there. As a published writer, I know it makes me more vulnerable to scrutiny

As a writer, Matias also finds this aspect as a challenge regarding storytelling, one that writers of today should accept and work on. “Challenge ang malaman ang bawat facet ng isang character. Challenge sa akin ang paggawa ng non-formula na kuwento, out of the box, risky stories, o hindi pangkaraniwan. Sa dami ng distractions o ibaibang klase ng media, kailangang gumawa ng kakaibang mga kuwentong hindi pa nababasa o napapanood. Kailangang mayaman sa kuwento ang writer.” (It’s a challenge for me to create nonformulaic stories, out of the box, risky or extraordinary. With so many distractions coming from various media, we need to create different stories that haven’t been read or seen on the screen Speculative Fiction YA writer Gabby Lee and yet. A writer needs to be rich in her collection of stories entitled Instructions on stories.) How to Disappear published by Visprint Inc. There’s no denying that writers are indeed rich in inspiration

(images courtesy of Ms. Lee)

Bookwatch Vol. 20 No. 2

BookwatcH Vol. 20 No. 2

From online to offline: digital words find space and a new life in the print arena, thanks to their primary exposure and garnered popularity in sites like Wattpad and zines that cater to teens such as CandyMag.Com.

In the past issue of Bookwatch, this discussion was also mentioned when Adarna House gave the example of the Janus Silang series being pulled out from certain private schools. Edgar Samar’s best-selling Filipino YA novels apparently didn’t earn brownie points with educators who found his teenage protagonist Janus’ swearing as risqué. Yes, schools have standards and there’s the “good manners and right conduct” grade to uphold, but what about literature mirroring what’s happening in real life? Yes, there are kids who are angelic and there are kids who use cuss words. So are we really “babying” the young Filipino reader too much? Abad provides insights as an educator. “If what you mean by ‘babying’ is that the children are given ‘safe and sanitized’ stories, there’s a bit of truth in it in the publishing industry, but more strongly in the choice of books to be read in the schools. In my classes, though, I am more lenient, tolerant, and daring—even if as a person, I am generally conservative hahaha!”

and criticism. What the writing and reading public should still learn to do is to be more critical of the things they write and read, but in a constructive and educational way. I prefer to keep away from mere bashing, trolling, bullying, or whatever else you may call it.” For a writer who’s also a publisher, Matias is very much into this scene, having his own young adult novels publicized in the site. Furthermore, he encourages writers to connect via these venues in order to reach out more to their target audience. “Hanggang ngayon ay nakakatulong pa rin ang pag-iengage o pakikipag-connect sa mga readers sa pamamagitan ng iba’t ibang klase ng social media. Sa pamamagitan nito, nakakatulong ito sa sales ng libro. Ito ay napatunayan ng Wattpad.” (Up to now, it helps to engage and connect with readers through various social media. This helps with book sales. Wattpad proved this.) Publication risks and risqué themes for kids and teens When the world is your audience and the Internet is your publisher, it seems that the sky’s the limit when it comes to choosing themes to write and exhibit online. And when you’re a writer who was burdened by earlier sanctions because this or that publisher found your manuscript as “too risqué for children or teens,” then perhaps this explains why sites like Wattpad boomed, as it provides a breath of fresh air to stifled scribes. In a predominantly Catholic country like the Philippines, one that still adheres to conservative dogma and therefore influencing the conservative pedagogy found in basic

educational systems, both the society at large and the schools within it could be serving as covert culprits in shushing writers who want to push the envelope further. And this unspoken rule might also be influencing publishing houses to choose materials carefully, and conservatively. Are we “babying” our youth too much? When do we expect them to grow, then, as readers and thinkers? And how? Abad points to specific topics that Philippine publishers still treat as “not for kids” in this digital age. “As of now, the strongest example of what I know to be still risqué for established publishers is the LGBT issue. Bernadette Neri wrote what I consider to be a poignant story of family love, Ang Ikaklit sa Aming Hardin (Sunflower in our Garden), but she had to self-publish this book. There is also Rhandee Garlitos’ heartwarmingly funny Ang Bonggang Bonggang Batang Beki (The Fierce and Fabulous Boy in Pink). I would not push the issue, though, with publishers, since they either have their own mission/vision for their publishing house, or they still have to consider the business side of publishing. I honestly believe that a good story will eventually get published, as long as the author does not give up.” And as an author who doesn’t give up, Lee could vouch for being strong and true to one’s material, no matter what. “Sexuality and the body are two of the themes I’m interested in, and obviously they are problematic given the

broader movements of kid lit/YA since there’s the obvious self-censorship as well as systemic censorship from parents and schools. I feel that the idea behind this is because of: the conservative nature of Philippine society; the idea of ‘protecting’ impressionable young minds from these so-called ‘bad influences,’ and; market-driven forces behind the sales of YA books. However, I am of the personal opinion that it is dependent on the author on how they handle the topic they chose, and if they are willing to stand by it. Perfectly great books have been censored for a whole host of reasons, and most of them having to do with either the parents/teachers not reading the book, or censoring the book for a superficial reason.”

Considering that this is children and young adults we’re talking about—and writing for—writers and publishers of these genres still have to hold on to one glaring truth, as highlighted by Abad. “I would not want to go to the extreme of exposing the children to all these depressing scenarios, violent situations, morally perplexing conflicts, and unresolved stories without providing an element of solace or security. They ARE children, after all, who are still in the process of becoming their own persons, and of figuring out this strange, chaotic world of ours. Writers for children have to care about and take care of their readers. Not all writers may agree with me but I still stand by my belief that writers for young readers have that added responsibility to provide hope, even in stories that deal with the ugliness in this world; to suggest ways by which to make this world a better place; and even to guide the young readers into making ‘good’ life choices along the way.” Take it from a publisher when he also encourages writers to write, risqué topics be damned. Matias adds, “Wala dapat limit sa concepts. Dapat ay open magsugal ang isang publisher sa kahit na anong topic at genre.” (There should be no limit in concepts. A publisher should be open to gamble on any topic and genre.) And for someone who has had exposure to the CL and YA lit scene outside of the country, Abad also notes that, regardless of the existence of limitations, the Philippines is not that far behind its Asian counterparts. “I think we aren’t too far behind in terms of the topics that have been tackled already, though it may be difficult to publish a few

TV scriptwriter-turned children’s book writer /publisher Segundo Matias Jr. and his YA series written in Filipino called Moymoy Lulumboy about a teen who discovers that he’s not an ordinary mortal but a descendant of influential figures in a parallel fantasy world populated by familiar Philippine mythological folk creatures. (author photo courtesy of Mr. Matias)

“

Wala dapat limit sa concepts. Dapat ay open

magsugal ang isang

“

publisher sa kahit na

anong topic at genre.” (There should be no limit in concepts. A publisher should be open to gamble on any topic and genre.) - Segundo Matias Jr. of the more daring themes. I’ve observed, in my twice attendance of the Asian Festival of Children’s Content and twice attendance of the Asia Pacific Writers and Translators Conference, that our ideas about, practice of, and potential for further developing CL/YA lit in the country are, in fact, at par with our Asian neighbors. On my part, I try to address whatever gaps through my own works and by holding workshops and teaching the courses in university. I am happy when the works done by my students get published later on or even win literary awards. I am especially proud of Sophia Lee, Cyan Abad-Jugo, Raissa Rivera-Falgui, Aneka Rodriguez, and Carlos Malvar, because their writing projects in my class had something ‘different’ from the rest.” In addition, Abad notes that, through time, growth is also manifesting in the local publishing world. “Our local publishers have been generally supportive of the genre. Aside from the earlier established publishing houses

Bestseller Lists

Bookwatch Vol. 20 No. 2 like Adarna House, Lampara Books, Tahanan Books, and OMF-Hiyas, more publishing houses, even of textbooks, have branched out into the CL and YA genre. Even the number of literary contests on the genre has increased.” But, like with the boom that’s happening online, this publication boom also yields similar concerns, as Abad pointed out. “I welcome this growing number of publishing opportunities. It’s a different concern, however, when it comes to quality control in the choice of manuscripts, editing, and book production. Stakeholders in the children’s book industry in the Philippines have to be less ‘onion-skinned’ when their works are scrutinized on a more professional, literary, scholarly, or artistic level.”

also like Becky Bravo’s children’s stories in English because of her witty sense of humor, and Carla Pacis’ dedicated works in the YA novel. I am impressed by Lara Saguisag’s poetry for children because she is still able to make it ‘sound and feel’ Pinoy in spite of her use of English.”

Filipino CL and YA moves forward, page by page Whether materials are published by established university or scholastic presses or by trade book publishers and even independent presses, one thing’s for sure: Filipino writers are getting more encouragement to create and publish materials for young readers, as they expand their scope and reach within the genres we call children’s literature and young adult literature. Never mind that there’s still some form of song-and-dance routine needed to be hurdled by writers who want to turn their creative push into a creative shove. The Filipino is as wise as she/he is creative, so there will always be ways to circumvent obstacles towards the path to publication. Aside from the encouragement of garnering awards and winning writing grants, writers who choose to tell tales for the young are also hoping that readers would support local endeavors more. And for those who are just discovering recent works, Lee recommended several titles to begin with, especially in the YA lit genre which she also writes. “Salingkit by Cyan Abad-Jugo, Janus Silang at ang Tiyanak ng Tabon by Edgar Calabia Samar, What Things Mean by Sophie Lee, Sula’s Voyage by Catherine Torres, the Filipino Fiction for Young Adults series edited by Dean Alfar and Kenneth Yu. Good books, great stories, and a good overview of what people have been writing for the past few years.” Efforts within the academe are still present as ever. The University of the Philippines Press (UP Press), for instance, came out with what they called “UP Jubilee Student Edition” books in 2002 which aimed to bridge gaps between the Filipino student and the Filipino author by (re)publishing literary works in smaller books cheaper for an average college student to afford. Two books in the project are The Children’s Hour: Stories on Childhood (2007) with volume 1 edited by Gemino Abad and volume 2 edited by Cristina Pantoja Hidalgo. Volume 1 includes a

collection of short stories previously published by the older generation of writers who wrote about childhood tales and experiences such as our National Artist for Literature NVM Gonzalez, Gregorio Brillantes, Tita Lacambra Ayala, Kerima Polotan Tuvera, and other luminaries. Volume 2 features stories written by a younger generation of writers like Luis Katigbak, Lakambini Sitoy, Vicente Groyon, and Tara FT Sering, among others. Independent publishers are also growing, with writers combining efforts to taking advantage of online publication venues. One such project is Sola Musica: Love Notes from A Festival (2014) containing four beach fest-set stories by Ines Bautista-Yao, Mina Esguerra, Chinggay Labrador, and Marla Miniano, available in digital format and paperback format. Even Filipinos are writing from abroad. As previously mentioned, Fil-Am Cecilia Brainard came out with Growing Up Filipino: Stories for Young Adults (2003) composed of stories written by Filipinos based in the US and in the Philippines. It was first published in the US by her independent publishing company and was also published in the Philippines later on by Anvil Publishing. She came out with a second volume called Growing Up Filipino II: More Stories for Young Adults in 2010. Both volumes are available as print books and are also sold via Amazon.Com. Want to discover more? Abad adds to the list, mentioning literary greats worth revisiting and current examples worth discovering. “I have great respect for the works of Rene Villanueva and Augie Rivera, who both write in Filipino. They can tackle light and whimsical topics (given their trailblazing work in the children’s TV show Batibot), or very serious and sensitive issues (e.g. child abuse or Martial Law). I

Writers also learn from each other, and there should also be a healthy exchange and dialogue. Thanks to efforts like the National Children’s Book Day and similar events, the discourse is alive. Within the classroom and outside of it, the discussion should continue and be encouraged, as Abad highlight in her recollection. “Of course, I have to mention Mailin Paterno’s maturity in the craft of writing for children. From her, I first heard the advise to learn how to ‘distill the essence in language’ especially when writing for younger children. Every word, every line should count. This is what most writers who are used to ‘showing off their rhetoric’ find difficult when they venture into writing for children.”

National Bookstore Non-Fiction 1 2 3

Stupid is Forevermore by Sen. Miriam Defensor-Santiago ‘Day, Hard!: Lakas ng loob, Kapal Mukha by Annabelle Rama The Best of the Morning Rush Top 10 with Chico, Delamar and Gino Volume 3 by Chico, Delamar and Gino 4 Heart Detox by Bo Sanchez 5 Paano ba ‘to?! How to Survive Growing Up by Bianca Gonzalez 6 Dear Alex, We’re dating. Tama, Mali?! Love, Catherine by Alex Gonzaga 7 Everyday Kath: 365 Ways to be a Teen Queen by Kathryn Bernardo 8 Conversations Pa More with Ricky Lo by Ricky Lo 9 #Basa by Brod Pete 10 Direk 2 Da Poynt by Wenn Deramas

Indeed, Philippine children’s literature and young adult literature have come a long way. And with writers, publishers and readers supporting the genres, CL and YA lit will definitely travel farther, and further.

Fiction 1 2 3 4 5

Move on, Walang Forever by Marcelo Santos III The Wrong Message by Queen Elly Habang Wala Pa Sila by Juan Miguel Severo Attack on Titan 12 (Philippine Edition) by Hajime Isayama In Case You Come Back by Marla Miniano and Reese Lansangan 6 KenCasey by Ethyl Dela Peña 7 Hai(na)ku by A.A. Patawaran 8 Fairytail 12 (Philippine Edition) by Hiro Mashima 9 Vince & Kath by Queen Elly 10 Zsa Zsa Zaturnah sa Kalakhang Maynila 2 by Carlo Vergara

P.S. Some of Prof. Heidi Eusebio Abad’s published children’s books include Abot Mo Ba Ang Tainga Mo? (2001, Gintong Aklat Awardee for Children’s Literature 2002 given by the NBDB-Book Development Association of the Philippines), Polliwog’s Wiggle (2004, Gintong Aklat Award Finalist for Children’s Literature 2006), and Big World for Little People (2014), to name a few. She also won second prize in the Poetry Written for Children category at the 59th Carlos Palanca Memorial Awards for Literature in 2009. Gabby Lee co-wrote the bilingual (EnglishFilipino) book entitled La-On and the 7-Headed Dragon (2002) with her mom, artist Marcy Dans Lee, who also provided the illustrations. She specializes in writing speculative fiction for young adults and has been published in several local anthologies in the Philippines, US, and Australia. Her first collection of short stories entitled Instructions on How to Disappear (2016) published by Visprint Inc. includes her YA stories. Segundo Matias Jr. is a Palanca awardwinning literary writer who was also a prolific writer of TV drama series. His book entitled Ang Papag ni Tatang (2012) won an honorable mention citation at the Philippine Board on Books for Young People’s 2012 PBBY-Salanga Prize honoring the children’s book author. As a publisher, he is affiliated with Precious Pages/Lampara Publishing Inc. He just finished writing the third book in his YA series Moymoy Lulumboy.

BookwatcH Vol. 20 No. 2

Young Adult 1 2 3 4 5 6 7 8 9 10

You Know Me Well by Nina Lacour and David Leviathan The Crown by Kiera Cass All The Bright Places by Jennifer Niven Hello, Goodbye, and Everything in Between by Jennifer Smith This is Where the World Ends by Amy Zhang United as One by Pittacus Lore The Fall of Butterflies by Andrea Portes The Rose Society by Marie Lu Cruel Crown by Victoria Aveyard 13 Little Blue Envelopes by Maureen Johnson

Children’s 1 2 3

The Trials of Apollo: The Hidden Oracle by Rick Riordan Finding Dory from Disney’s My Busy Books National Geographic Kids Almanac 2017 from National Geographic Kids 4 Tsum Tsum Collector’s Guide from Disney 5 Equestria Girls: Rainbow Rocks from My Little Pony 6 Disney Descendants’ Secrets of Auradon Prep: Insider’s Handbook by Matthew Sinclair Foreman 7 Thea Stilton #21: Thea Stilton and the Lost Letters 8 Return to the Isle of the Lost: A Descendants Novel by Melissa Dela Cruz 9 Thea Stilton Mouseford Academy #5: The Secret Invention 10 Color Me Creative: Unlock Your Imagination by Kristina Webb

Flipside Publishing Services, Inc. As of April 2016 1

The King of Nothing to Do: Essays on Nothing & Everything by Luis Joaquin M. Katigbak 2 Bayaning Lamanlupa by U Z. Eliserio 3 Imelda Marcos: The Rise and Fall of One of the World’s Most Powerful Women by Carmen Navarro Pedrosa 4 Philippine Speculative Fiction Volume 10 edited by Dean Francis Alfar and Nikki Alfar 5 Day Devoid and Other Stories by Luis Joaquin M. Katigbak 6 The Untold Story of Imelda Marcos by Carmen Navarro Pedrosa 7 A History of the Philippines by Samuel K. Tan 8 1001 Reasons to Stay in the Philippines edited by Isagani R. Cruz and Lydia B. Echauz 9 Kubori Kikiam: Strips for the Soul #1 by Michael David 10 Kubori Kikiam: Best Things in Life #1 by Michael David

Fully Booked

Top Ten bestsellers (April to May 2016) 1 2 3 4 5 6 7 8 9 10

Philippine Cookery: From Heart To Platter by Tatung Sarthou The Rise of the Pinoy by Mike Grogan 12:01 by Rusell Molina and Kajo Baldisimo After Eden by Arnold Arre Wounded Little Gods by Eliza Victoria Zsazsa Zaturnnah: Sa Kalakhang Maynila Blg.2 by Carlo Vergara Lost by Rob Cham Imelda Romualdez Marcos -The Verdict by Carmen Pedrosa Jose Rizal -El Filibusterismo 2015 Edt. by Leon Ma. Guerrero Where Should You Invest by Marvin Germo

Bookwatch Vol. 20 No. 2

BIG BENEFITS OF

BookwatcH Vol. 20 No. 2

BILINGUAL BOOKS FOR CHILDREN

Ilocano writers who contributed to the anthology The Best Ilokano Short Stories for Children, Volume One include Anna Liza Gaspar (above), Ariel Tabag (below), and Cles Rambaud (far below).

By BEVERLY W. SIY A look at children’s books sold in the Philippine capital of Metro Manila shows a number of them carrying the story both in English and Filipino. Other writers from the regions are also doing the same thing to reach a wider audience as they translate their region’s languages into Filipino or English. Get to know some of these publications and authors.

ilingual books are books that use two languages; one language is a translation of the other. They are also known as dual language books, and are usually available across genres and age groups, including children’s books. Children, nowadays, are exposed to this kind of books. Those written in Filipino usually come with an English translation, or vice versa. However, there is a false belief that books with two languages make the other language inferior to its translation. Yet the proliferation of these books seems to counter this notion, especially in a country with so many beautiful languages. Why should books come in two languages? Is it a publisher’s ploy to cut the cost in producing separate books in different languages? As a parent, guardian or teacher, why should you give a child a bilingual book? How does a child benefit from reading a story told in two languages, in the first place? Here are three reasons: Reason #3: With bilingual books, children are exposed to different languages. These books serve as bridges for children to read and hear languages other than that which he/she uses at home. Children may be introduced to words distinct to a language and culture that may widen their vocabulary. They would learn how to pronounce and even spell words they don’t have in their own language. A good example came out in 2005, Hagdan/Agdan (Stairs), which was written and published by an award-winning Ilocano writer, Sherma Benosa, and illustrated by Bianca D. Fuentes. Hagdan/Agdan (Stairs) is the first children’s book in the country that was presented in a comic-strip format. It is written in Filipino with a translation in Ilocano. Filipino and Ilocano words about the parts of the house are introduced in the book. Reason #2: With bilingual books, children get immersed in different cultures. These books serve as a meeting place, an intersection even, of two different cultures and people. Children get

Some Filipino writers who have authored bilingual books for children are Padmapani Perez (top), Early Sol Gadong (above), and Rhandee Garlitos (below). (Photos courtesy of the authors; Perez’ photo was taken by Raizulli Nolasco.)

Reading another language, children get to understand and appreciate how another community creates meaning with the way they form words into sentences, and sentences into stories. opportunities to get to know people from other towns, or from other parts of the world, who speak and act differently from them. They may learn about the characters, setting, tradition, food, clothing, and manner of speaking from these books, and parents and teachers can help in discussing the similarities and differences. That way, children get to see through the eyes of other people, in entirely new perspectives or points of view. This contributes to the nourishment of children’s experiences of other cultures. In the children’s book Shelah Goes to Dangah, Baguio-based writer and anthropologist Padmapani Perez wrote the story in English and it was translated by Sheila N. Aniban to Kalanguya, a language spoken in Benguet Province. Perez’s Alam-am Publishing independently published the book. The main character named Shelah, who is from the Kalanguya community in Tawangan in Benguet, participates in a da-ngah. In an interview by xizuqsnook.com, Perez says, “The da-ngah belongs to the forms of cooperative labor around the Philippines that we know as bayanihan (coming together to help each other). When a person needs assistance in completing or quickening a difficult task such as carrying timber for a house from the pine forests, or even setting the foundation for building a new house, then this person can call for a da-ngah.” The story was set in contemporary times to show that a da-ngah is a living practice valued by the community. We get to know Shelah, a Kalanguya child, while she actively participates in community work. Children who belong to another community with a culture and a language of his/her own might find affinity with Shelah upon reading the book. Shelah is “inquisitive, assertive, independent, has a mind of her own” as described by author Perez of the character she created—characteristics easily identifiable to children. Reason #1: Language is key to understand one’s culture. Bilingual books open children’s minds to different ideas and opinions. Reading another language, children get to understand

Bookwatch Vol. 20 No. 2

BookwatcH Vol. 20 No. 2 Hagdan/Agdan (Stairs) is a children’s book that explores what parts of a house could be thinking about, with the stairs as the central character. It is written by Sherma Benosa (left) and illustrated by Bianca D. Fuentes (right). (photos courtesy of MJ Tumamac of Xi Zuq’s Nook xizuksnook.com)

that make up the community, society and the world in which they live” so that children may learn to identify stereotypes and biases when they encounter them in the real world. Philippine children’s literature has examples that illustrate this encouragement. Rhandee Garlitos’ Si Faisal at si Farida, written in Filipino and English, begins with Christian children Adrian and Nerissa’s perceptions of newcomers Faisal and Farida, who are both Moslem children, and unfolds on how the friendship among the four children are forged despite their differences. Children are not the sole beneficiaries of the existence of bilingual books. With the advent of bilingual books, the need for such books naturally widen readership; therefore, more

doors are opened for writers and publishers to produce more materials. We are seeing this reality now in the Philippines. Writers and publishers from the outskirts of Manila are usually the first to identify this need, like some members of the largest organization of writers in the country called GUMIL Filipinas (Gunglo dagiti Mannurat nga Ilokano iti Filipinas) or the Ilocano Writers Association of the Philippines. In 2015, they published a collection of children’s stories in Ilocano, a language largely spoken in Northern Luzon. They named the collection Dagiti Napili a Kapipintasan a Kabukbukodan a Sarita a Para Ubbing Umuna a Libro (The Best Ilokano Short Stories for Children, Volume One).

With bilingual books, children could learn not to discriminate other languages, other cultures, or other people.

This photograph taken by Baguio-based author Padmapani Perez shows how elders and children keep the tradition of reading alive in their communities, as the books they share aim to keep the culture of their traditions alive through the pages.

and appreciate how another community creates meaning with the way they form words into sentences, and sentences into stories. They’ll be able to appreciate a community’s behavior and customs as encapsulated in language. As suggested by the U.S. duallanguage book publisher Language Lizard in their website, “(Dual-language books) are helping children feel comfortable with cultural diversity.” By using bilingual books, we foster understanding and respect of other cultures in our children. Reading these books could also be a way of informally teaching children the updated values they need to be exposed to in the 21st century. With bilingual books, children could learn not to discriminate other languages, other cultures, or other people. Discrimination, as defined by Amnesty International, means “treating someone differently simply because of who they are or what they believe. Discrimination doesn’t only mean a lack of equality, it actually perpetuates harm.” By being exposed to various cultures and languages, not only does the child become intrinsically curious about “new things” but they also learn how to remove discrimination and nurture respect. But parents and teachers should be careful in selecting bilingual books for children. The U.S. child’s rights program Partners Against Hate, in their website, says we should make sure that there are “accurate and positive representations of the many cultural groups

Cles B. Rambaud, Mighty C. Rasing, Anna Liza M. Gaspar, Godfrey Dancel, and Martin T. Rochina are the writers in the collection. Rambaud and Tabag, the editors, have also made the translation of the works in Filipino ready for non-Ilocano readers. Hiligaynon writer Early Sol Gadong, based in Western Visayas in central Philippines, came out with a book entitled Si Bulan, Si Adlaw kag Si Estrelya (Moon, Sun and Star) published by Balay Sugidanon, Inc. in 2014. The text of the book is in Kinaray-a, one of the languages spoken in the Visayas region, but Gadong also has her Filipino translation ready for Filipino children to enjoy an old story on why the sun, moon, and stars separated. The possibility to publish works in two languages opens opportunities for writers, especially those who write in their native languages. They have more chances of reaching more readers, and this is quite important in an archipelago where people are separated by waters and cultures. They can contribute in fostering respect and understanding of diversity to children, and, most importantly, in developing the confidence of children from different cultural backgrounds. An example of a bilingual book layout in Hagdan/ Agdan (Stairs) featuring Ilocano text with a Filipino translation. (photos courtesy of MJ Tumamac of Xi Zuq’s Nook xizuksnook.com)

Y a h W t is A to

Bookwatch Vol. 20 No. 2

i lip ino s

In a country where half the population is below 24 years of age, and about a third of that percentage is teens, is Philippine YA lit addressing this readership?

By mia marci

hen young adult (YA) literature is mentioned, recent international hits as Harry Potter and The Fault in Our Stars are some of the titles that come to mind. But for Tarie Sabido, a longtime blogger of local and regional children’s literature and chairperson of the Philippine Board on Books for Young People (PBBY), the nonprofit organization which leads the celebration of the National Children’s Book Day, YA in the Philippines has spun off from the way it’s defined by western publishers, booksellers, and readers.

that because teens like a book, it must already be YA. “It’s YA when it was written for the teen audience in mind or marketed specifically to a teen audience.”

Filipinos, Sabido observes, tend to apply the western definition, but the local reality is very different. “When we say young adult novels, we mean novels for those aged 8-12 and 13-18, a much wider range compared to American YA books. In the UK and US, publishers cater to the 8-12 year old crowd with the use of chapter books or what they call middle grade novels, separate from the YA genre geared towards 13-18 year old readers.”

Over an e-mail interview, award-winning YA author Candy Gourlay pointed to this authoraudience relationship as well, especially since there’s a difference once the audience is in the writer’s mind. “Children’s authors are unlike writers for adult readers in that we know who our readers are. I know that many writers like to insist that they write for themselves. I can’t say that. From the moment I begin telling a story, I am thinking of my reader. But YA is not just about writing,” she continued, “It’s not even just about marketing even though it first emerged as a marketing category. It has become a culture that embraces both the creators (the writers) and the consumers (readers, bloggers). One does not exist without the other; the successful YA books are the ones that have a strong social media relationship with their readers. It’s a give and take.”

This approach is seen in the marketing of Tall Story, a novel penned by UK-based Filipino author Candy Gourlay, published in 2010 by David Fickling Books (DFB) in the UK and also by Cacho Hermanos in the Philippines. Sabido mentions it in light of this differentiation. “Tall Story in the United States is not labeled as a young adult novel; it’s a middle grade novel. But here in the Philippines, we are calling it a young adult novel.” She also corrects the misconception

Aside from this relationship, Gourlay also reminds us of crucial facts. “We must not forget that YA is a relatively new phenomenon! Even here in the UK, publishing houses are still trying to figure it out. It is a category of the writing of our time.” She further points to a parallelism of how the category and its intended audience evolved. “A while back, I wrote [in my blog] about the invention of the teenager in the 1940s - when ‘teenagers’ emerged as an economic and cultural force to

BookwatcH Vol. 20 No. 2 reckon with. YA, I believe, is similar.” A former journalist turned YA novel author, Gourlay remembers a time when the Philippine publishing scene was bereft of titles and characters that young Filipinos could connect with. “[As a writer] I am always aware of the Filipino child reader because once upon a time, I was exactly that. And I remember growing up in the 1960s and 1970s wondering why there were no Filipino characters in the books that I read voraciously.” She even wrote about it for the UK news website, The Guardian, in an editorial titled “Growing up I thought Filipinos Weren’t Allowed in Books.” It was in being conscious of the young Filipino reader that she wrote Tall Story which was published in the Philippines in 2010. “I want Pinoy kids to read my books and say, ‘That is me... and hey, I really like what I see.’” Tall Story was a 2012 National Children’s Book Award winner in the Philippines, and also received acclaims abroad such as the first Crystal Kite Awards for Europe, The UKLA Children’s Book Prize, and National Geographic Kids Brilliant Summer Books. But even Gourlay isn’t so sure what the exact appeal of her novel is to attract such readers and accolades not just in the Philippines but around the world. “If I knew the answer to what makes a reader fall in love with a book, my life would be so much easier! I didn’t set out with a plan to win acclaim. I just wanted to write a story.”

For Sabido, the challenges to YA in the Philippines aren’t limited to the genre alone. “One challenge is actually getting writers who are going to write full-length novels. A lot of Filipino writers write short stories but you only have a few who write full-length novels. But it’s also because of economics, isn’t it? I think there are only very few people here who can just write fulltime like John Greene, and sometimes you need that kind of commitment to write a novel.” She continues, “I also think publishers have a hard time finding good quality YA manuscripts. It’s not a secret that they are looking for YA manuscripts to publish, and they do receive manuscripts. But are the manuscripts good enough for them? Does it fit their editorial vision? Will it appeal to their target market? Or does it meet the vision of their publishing house? Kasi ang hirap e – it’s so hard! That’s several challenges in one!” Recently, the PBBY launched the Kabanata, a program that selects 10 YA manuscripts to develop for publishing. Says Sabido, “The number of submissions wasn’t mind-blowing. We had like 30-40 submissions. That’s not a lot. If that had been a call for short story entries, there would have been a big difference.” She also finds that even with readers willing to spend for books, it’s not the norm for them to just pick a title by a Filipino writer off the bookshelf. Teens tend to buy Filipino books when they are required by a teacher or come as highly recommended by someone they trust. But contrary to what a lot of adults say, Sabido stresses, “Filipino teens read. They’re just not reading what their parents want them to read or what their teachers want them UK-based Filipino author Candy Gourlay’s award-winning YA novel Tall Story is about a Fil-Brit teenage girl who meets her Filipino half-brother for the first time as he steps into foreign soil to be with their family.

“ Bagets: An Anthology of Filipino Young Adult Fiction, edited by renowned children’s/YA book writer-professors Carla Pacis and Eugene Evasco, contains eight YA stories written in Filipino and 8 written in English.

to read. And they’re not reading Filipino YA books, which is a problem. We have to address that. It’s something that the PBBY and all the local publishers are trying to work on.” Sabido also clarifies, “YA here is not young. What makes it appear young is the small number [of books available]. In terms of development and availability, there’s so much more room for growth and underdeveloped potential. But that’s what makes it so exciting!” Indeed, as YA isn’t exactly young, there have already been recognized YA novels and materials published in the last couple of decades in the country. While Kabanata is a recent project for the PBBY, a project prior to that was the Pilar Perez Medallion for Young Adult Literature contest. Organized by The Filipinas Heritage Library, Adarna House, Candy Magazine, National Bookstore, and Powerbooks, the contest launched in 2001 in honor of its namesake, a children’s librarian from Pasig, and to help boost the availability of local YA. The contest called for original manuscripts targeting an audience of children 10-14 years old to further boost the presence of YA in the Philippines at the time. The contest was short-lived, however, because the winning published novellas were said to be difficult to sell at a time, according to an e-mail from a junior writer and researcher of Adarna House on a query from Zarah Gagatiga, a librarian and blogger for “School Librarian in Action.” Only four manuscripts won the medallion the short time it existed: Jacobo’s Ghost by Annette Flores Garcia, Mga Ako by Amalia Salamat, ‘Sup by Maria L.M. FresFelix, and Anina ng mga Alon by Eugene Evasco. Contests or no contests, there are writers who still write, of course. One recognized writer of YA novels is Carla M. Pacis whose works include OCW: A Young Boy’s Search for His Mother (2001), Birdflight (2000), and Enrique El Negro (2002), to name a few. Pacis also co-edited Bagets: An Anthology of Filipino Young Adult Fiction with Eugene Evasco, published by UP Press in 2006. The short stories were written in both English and Filipino, and covered a number of themes common in YA, from growing pains, to young love, and finding one’s place in a

YA is not just about writing. It’s not even just about marketing. It has become a culture that embraces both the creators and the consumers. - Candy Gourlay

”

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BookwatcH Vol. 20 No. 2 criticism on Wattpad’s popularity among the teens, it’s a positive venue and avenue for Sabido. “Reading is reading. If it compels young people to read, then yay! So I’m all for Wattpad. Hello, they’re reading stories, they’re writing stories, they’re commenting on each other’s stories, they’re sharing stories. That’s not a problem to me. That is wonderful.” Perhaps it’s also notable to mention that award-winning authors and recognized writers have also experimented with publishing their works in this site.

Raissa Rivera Falgui’s YA novel Woman in a Frame is about a girl getting intrigued with a painting of a woman, so she sets out to discover the story of how this painting came about, leading her to a historical narrative.

the illustrated word

As reading advocates and the local publishing scene create efforts to encourage readers to patronize local novels, writers should also be brave enough to explore new ways of publication and writing experiences of growing up that readers could relate with.

confusing teenage world. Newer YA titles, meanwhile, cover periodbased fiction such as Woman in a Frame (2012) by Raissa Rivera Falgui about the discovery of a love triangle in 1896, and Salingkit (2012) by Cyan Abad Jugo, set during the era of the 1986 EDSA People Power Revolution. Gourlay’s second YA novel entitled Shine (2013) is about a girl in a small superstitious town suspected of being some kind of monster. Writers in Filipino are also contributing to the collection, such as the award-winning novel series by Edgar Samar entitled Si Janus Silang at ang Tiyanak ng Tabon (2014) and its sequel Si Janus Silang at ang Labanang Manananggal-Mambabarang (2015), both published by Adarna House, about a teenage boy encountering characters from Philippine lower mythology. Another similarly-themed novel but more elaborate in scope and mythical presentation (think Lord of the Rings but it’s in Philippines soil, not Middle Earth) is author-publisher Segundo Matias Jr.’s Moymoy Lulumboy: Ang Batang Aswang (2014) and its sequel Moymoy Lulumboy Book 2: Ang Nawawalang Bertud (2015), both published by Lampara Books. Another title is Mga Tala sa Dagat (2014) by Annette Acacio Flores, published by Adarna House, about a boy from a fishing family and the sacrifices he has to make in life for the sake of love and fate. The next wave of YA comes from digital self-publishing platforms like the Torontobased website called Wattpad.Com, where anyone of any age can upload their own stories for others to read. They also have a downloadable app where you could access your account and create a list of your favorite

“

Filipino teens read. They’re just not reading what their parents or teachers want them to read. And they’re not reading Filipino YA books, which is a problem. We have to address that.

”

- Tarie Sabido publications in the site. The ones that get the most attention in this space are stories with the classic formula of guy, girl, and the notso-straightforward path to love. The year 2014 was witness to this with the fan frenzy over She’s Dating the Gangster by Bianca Bernardino, which first got attention on Wattpad before getting published on CandyMag.com’s Teen Talk section. This was further fueled by the subsequent movie adaptation by Star Cinema, starring the studio’s hot new love team of the time, Daniel Padilla and Kathryn Bernardo. Since then, studios and publishers alike have been on the lookout for the next big Wattpad title that they can adapt for TV and movies. Meanwhile, Summit Media Books expanded their offerings with the Pop Fiction imprint that publishes Wattpad titles in pocketbook form. While there has been

The important thing is to create, as Gourlay concludes. “If you love to read a certain kind of YA, know that yes, you can write it without being derivative. Remember that form, genre, cast, and setting are just jumping off points. Focus on bringing your characters to life. And the art of the story can mean saying the ‘unsayable,’ asking the ‘unaskable,’ turning the knife in a wound that is already festering, challenging beliefs that have always been ‘the way.’ Our nation is new, troubled, and very conservative. Do you have the courage to tell it like it is?” she challenged. One look at the crop of YA novels then and now, we could say that yes, courage is there - and being published.

Philippine Board on Books for Young People (PBBY) chairperson Tarie Sabido notes many YA short stories being written, but not enough YA novels.

Illustrators in the Philippines, especially those who focus on illustrating works for young readers, describe their creative processes and personal rewards on why they draw what they draw.

By MYTA SANTIAGO

llustration nowadays has been an evolving art form, visible from award-winning backgrounds in games to thought-provoking book covers. Today, it covers far more than conventional types of art. Many an artist today can be considered an illustrator of some sort, and they have their own expertise. However, their field is as competitive as any other in the “real world,” with a few who have turned heads. Graphic novels, for one, have always caught the eye of collectors, using shadows and textures so deep and pronounced that the superheroes and villains of the Marvel or DC universes seem to pop out of the panels. But another kind of literature—a lighter, softer and cheerful sort —has been getting slightly more popular: children’s books. These eye-openers for young minds require a balance of details, from the types of color utilized to how the image matches the letter. Those who master the art of getting a child’s attention with great illustrations garner both a parent’s trust and a publisher’s return call.

Audience appreciation Most of the time, large publishers and self-publishers have a big pool of illustrators to choose from. With the right amount of research and interviews, publishers work with individuals who realize exactly the vision of the book. For both publisher and illustrator, the audience is very important. Dione Kong, a 2D illustrator with a passion for children’s books, took note of this. “It is important to know the audience involved. I take note of their age.” Kong illustrated the children’s book entitled Heavenly written by Camille Canicosa-Pangantihon.

Having a clearer idea of what your audience is also necessary to guide you through a project. Another illustrator, Yas Doctor, quipped, “Yes, audience is important. Whenever I illustrate, I try to get my ideas across without straying away from the story.” Doctor’s philosophy is evident in her portfolio such as the illustrations she did for LG&M Publishing titles like Noah and Great Flash Flood written by Krissie Zamora-Martinez and Olive Ridley Comes Home written by Rhandee Garlitos. She also illustrated Masaya Ako! (I Am Happy!) published by Adarna House. Her illustration work for Eugene Evasco’s book Rizaldy won the 2011 Alcala Prize for illustrations awarded by the Philippine Board on Books for Young People (PBBY).

How publishers pick Publishers often look at communities or groups of illustrators and talk to those they know specialize in children’s books. In the Philippines, one such group is Ang Ilustrador ng Kabataan (Ang INK) or the Children’s Book Illustrators group. Many illustrators of varied levels display their works in the organization’s website (of course, they have their own websites). Publishers then screen portfolios, learn more about the illustratorcandidate, and finally choose an artist. Once that stage is done, the illustrators work closely with the publishers. Most traditional companies require art notes that specify what they want, in case the illustrator needs a guide or idea on what to do. For example, in the story Cinderella, the Prince runs after the mysterious princess who he has fallen for. She leaves one of her glass slippers. The writer may simply say, “Show Cinderella leaving her shoe as she runs down the stairs.” For the illustrator, less is more.

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Book illustrator Yas Doctor and her cover art for the book entitled Noah and Great Flash Flood (left) written by Krissie ZamoraMartinez. She also creates and sells art prints online, such as the piece on the previous page entitled Matalas Ang Mata (Sharp-eyed).

Devoted to the project Illustrators shower hours, day in and day out, to turn a thousand words into a simple illustration. It’s not simply a matter of drawing lines and coloring them in. Time is needed to think, develop characters, and draw, redraw, and redraw some more. Frances Alvarez, illustrator of Adarna Housepublished titles such as Hating Kapatid (Fair Share) written by Raissa Rivera-Falgui and Can We Live Without Trees written by May Tobias-Papa, shared with us her process. “Most of the time, I do as much research as I can before drawing. I read about the assignment and look for ideas I can develop visually. After I have my references and sketches ready, my studies approved, and after I’ve decided on what medium to work with, I start drawing and painting.”

Feedback is very important, as Alvarez noted. “I also try to get feedback from my fellow illustrators when I get stuck in a rut and feel that I need to see my assignment from a different perspective. Sometimes when I’ve been working on a project for too long, I miss tiny details along the way.” Indeed, both her process and attitude on how to tackle her work pay off handsomely at times. Aside from garnering more clients, Alvarez also garners citations. Hating Kapatid, for example, was awarded at the 2014 National Children’s Book Awards as one of the Best Reads for 2012-2013, a feat that both honors the author and the illustrator. She has also done book illustrations for publications by WWF (World Wildlife Fund) like Pangangasiwa sa Ating Mga Basura (Managing Our Garbage) and Daloy ng Pag-Asa (Flow of Hope) both written by Isobel Resurreccion.

Two illustration layout samples created by Brent Sabas for Eugene Evasco’s book (left) entitled May Lakad Kami ni Tatay (A Trip with My Father) and Ang Singsing-Pari Sa Pisara (The Millipede on the Blackboard) co-written by Evasco and Chris D. Martinez (above).

“

There are many opinions on

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how Philippine children’s books are and should be illustrated. In general, it’s difficult to explain what could be considered a good kind of illustration for kids and teens—except that it should engage them in some way.

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BookwatcH Vol. 20 No. 2 Diane Kong (right) and samples of her illustrations (far right, below) for the book Heavenly written by Camille Canicosa-Pangantihon

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G ood i l l ust r at ions a re generous w i t h emot ion a nd det a i l s t h at no m at t er how m an y t i mes t he

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re a der op ens a b ook, he or s he w i l l al ways f i nd somet h i n g new to lo ok at .

Frances Alvares and her illustration (above) for Hating Kapatid (Fair Share) written by Raissa Rivera-Falgui and published by Adarna House.

On children’s books

There are many opinions on how Philippine children’s books are and should be illustrated. Doctor mentioned that, in general, it’s difficult to explain what could be considered a good kind of illustration for kids and teens—except that it should engage them in some way.

illustrated children’s book author Eugene Evasco’s book entitled May Lakad Kami ni Tatay (A Trip with My Father) and the Palanca award-winning story Ang Singsing-Pari Sa Pisara (The Millipede on the Blackboard) cowritten by Evasco and Chris D. Martinez published by Lampara Books.

Brent Sabas, fellow Ang INK member and Visual Communications graduate of the University of the Philippines in Diliman, also had the same thought. “The styles in children’s illustration are evolving. For me, it’s hard to pinpoint what makes it effective for kids and teens. With the existence of the Internet, I believe kids are more accepting towards visually dynamic illustrations.” Sabas

Alvarez added, “Good illustrations are the ones that do their jobs well, and selflessly offer themselves up for the reader to ingest, take apart, and turn into something of their own. Good illustrations are generous with emotion and details that no matter how many times the reader opens a book, he or she will always find something new to look at.”

Groups are important Illustrators, just like any artist, need a community where they can get constructive criticism and new ideas from the sages of the art world. This is handy for those who dabbled in something else before realizing that illustration was their dream job, just like Doctor. “I wasn’t an art major so being in Ang INK really helped developed my skills. What I really like about the organization is that you get to meet and surround yourself with people who are very creative and productive, which I think is very important for anyone who wants to fulfill their passion,” Doctor asserted. Kong had a laugh when she narrated her thoughts on the matter. “Ang INK is like a place where you can breathe in fresh air. When I joined the organization, I met new artists who are down to earth, passionate and enthusiastic. Their ideas are fresh but concrete. Everyone is different and the same. Ang INK helped me by simply inspiring me to continue making artworks. It’s also a gateway to market yourself—to tell people what you can do and maybe land an illustration project.”

“Ang INK has a lot of great talented artist members,” Brent mentioned. “And when you are constantly surrounded by such caliber of talents, somehow you acquire their aesthetics and apply it on your own works which levels up your drawing game. The org also opens a lot of opportunities for us to make our art reach more people, like exhibits and publications.” Illustrators create images that summarize the stories of writers. In the world of children’s books, it poses a challenge as illustrators devote so much time and talent to create the perfect picture that young minds can enjoy and learn from. From the words of the illustrators featured, while a picture paints a thousand words, it takes a thousand hours to make one picture. We should thank these visionaries who never stop creating a world full of color—straight from their own childlike imagination.

Furthermore, the illustrators agree that Ang INK serves as a portal to a wide range of opportunities for illustrations to be seen.

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the graphic revival

The reason why it’s such a niche thing is because people think of comics as kids’ things or collectors’ things but there’s so much of it that’s art or actually talks about greater cultural goings-on in the Philippines.

of the

The first recognized Filipino comics creator is none other than the country’s national hero, Dr. Jose Rizal. From that first attempt, the comics industry has seen its highs and lows in the 20th century. Discover the Philippine scene today via the latest incarnation called the graphic novel.

popularity among young girls), it’s hard to say what ‘niche’ is,” says Vitangcol. “It’s a niche within a niche,” says Cham, who also cites local comics convention attendees like Komikon crowds as a gauge to assess the audience. “There are people who read comics and people who read independent comics within that niche. So when you go to Komikon, it’s always kind of the expected crowd. There are the collectors, then you have the people who are into the zine scene, the ones who are interested into stories from our own culture. I feel like that’s one niche. But you also have people who don’t go to Komikon, such as

Manix Abrera and his fans; his readers come from many different demographics.” Cham further explains his theory on comics being a niche. “The reason why it’s such a niche thing is because people think of comics as kids’ things or collectors’ things but there’s so much of it that’s art or actually talks about greater cultural goings-on in the Philippines.” Vitangcol narrates his own observations. “Local readers are hungry for local graphic novels. If you look at the books that are stocked at bookstores, there’s been a significant boom in the number of titles. Komikon attendance also continues to grow steadily. While graphic novels aren’t as mainstream as other media like superhero TV shows and movies, you will see that they’ve embedded themselves in pop culture.” An example is how Trese has embedded itself as part of Philippine Lore and how Zsa Zsa Zaturnnah has been adapted into a movie and for the stage, among others. Whether it’s through the publishers or online, the Philippine comics and graphic novels scene is alive, well, and bustling. Vitangcol has worked with other comic illustrators and artists at Ateneo de Manila University (ADMU) where comics writing,

Rob Cham (or an illustration of himself) and two of his graphic novels entitled Light (on previous page) and its follow-up Lost could be read online for free at lost-comic.com. (images courtesy of Rob Cham)

By Mia marci

Image: Rob Cham’s graphic novel entitled Light published by Anino Comics (an imprint of Adarna House)

hilippine komiks historians describe the ‘50s and ‘60s as the “golden era” of this kind of publication, marked with the Philippines being one of the largest comic-producing markets, the birth of classic characters such as Mars Ravelo’s Darna and Lastikman, and the import of local artists to draw for popular DC and Marvel comic titles. But even when the industry tragically dwindled by the end of that era, the industry is far from dead.

In the Philippines, the line blurs between comic and graphic novel. Ace Vitangcol, creative director of Studio Studio and the writer of comic series like Love in a Bag, Angel Crush, and My Celestial Family, explains. “Comics creators are careful about labeling something as a graphic novel, typically reserving that title for bigger story lines. But like Alan Moore [writer of graphic novel Watchmen], some just call all comics as comic books.”

After the ‘60s, comic writers and authors charged on, whether as comic illustrators for publishers abroad or as cartoonists for editorials or the comic section for the local paper. It also paved the way for the local “graphic novel,” a term first coined by American comic writer Will Eisner in 1978 to differentiate one-shot long-form stories told through comics from the funnies and superheroes. Some notable local titles that fit Eisner’s definition were Pol Medina Jr.’s Pirata in 1995, an independent one-shot graphic novel centered on the canine character Polgas of his popular Pugad Baboy series, and Arnold Arre’s Mythology Class in 1999, which went on to win at the National Book Awards bestowed by the Manila Critics’ Circle and NBDB.

For Rob Cham, who wrote and drew Light published by Anino Comics, that thin line and the birth of the local graphic novel may have also stemmed from artists who had to slowly work their way to being published in print. Artists drew a series of short comics before compiling them and sending them to a publisher, the way Pol Medina Jr. did with Pugad Baboy. ”Pol Medina always collected his strips, made his own comics, and self-published ever since.”

Cham cites the Trese series by Budjette Tan as another example of a concept being sold to the publisher (Visprint) that expanded into a series over time. It sells because it is a visual medium, with something for almost

everyone. “The visual appeal is very strong with comics. It can show off ‘badassery’ (and romance, drama, comedy, etc.) unlike any other medium,” added Vitangcol. And who’s reading? There’s a popular notion of the niche audience—comic book “nerds” who collect comics and anything and everything related to them. But Cham and Vitangcol have different ideas of who reads local comics and graphic novels. “As the industry covers a very wide spectrum, from grassroots ashcans that are printed in very small quantities and sold only at conventions, to more mainstream titles like Trese, Kikomachine (by Manix Abrera), the books by (Adarna House imprint) Anino Comics, and my own work (which found

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Local readers are hungry for local graphic novels. While graphic novels aren’t as mainstream as other media like superhero TV shows and movies, you will see that they’ve embedded themselves in pop culture.

Author-illustrator Carlo Vergara and his latest graphic novel featuring his queer character superhero Zsazsa Zaturnnah.

creation, and design are taught under their Fine Arts Program. Artists and writers are starting to organize through groups such the ADMU organization BLINK (Blue Indie Komiks) and art groups such as Studio Salimbal and The Desk. The easy accessibility of an audience through online channels, especially Facebook, is a game-changer in terms of distribution. For Cham, it’s what helps those who opt for or start with the self-publication route. “The best example of that happening is online web comics, such as Uy Si Crush (by Richard Mercado and Gaby Taylo) and Libreng Komiks (by Toto Madayag).” While both titles won’t be so easily found in your neighborhood bookshop, their popularity is undeniable: Uy Si Crush has 20,000 likes and counting on their Facebook page while Libreng Komiks launched their page online in 2013 and is now at 72,954 likes and counting. Libreng Komiks in particular, saw a sudden rise in their following after their comic parodying the popular HBO TV show, Game of Thrones, went viral.

But even with a very strong online presence, print comics are still going strong. The 2014 reissue of Arnold Arre’s Mythology Class has sold out in bookstores, Trese is up to five volumes in print with a strong hint of even more to follow, and Carlo Vergara has announced plans for the continuation of the three-part Zsa Zsa Zaturnnah: Sa Kalakhang Maynila (with part 1 published in 2011 and part 2 was just released this 2016).

Trese graphic novel series writer Budjette Tan (left) and illustrator Kajo Baldisimo (right) playing with masks from the images of the Kambal (twins), characters they created to serve as the bodyguards of their heroine Alexandra Trese.

But a big part of the fate of the comic industry and how much more it can evolve depends on how engaged creators can keep its audience. “(Comics here) have to consider the book reading population. I think comic readers need reach out to them,” says Cham as he pauses then shakes his head, laughing. “It’s so hard!” Writer-illustrator Arnold Arre’s awardwinning 1999 graphic novel Mythology Class (on opposite page) gets a 2014 reissue. Meanwhile, his 2015 graphic novel Halina Filipina (above) about a Fil-Am who rediscovers Manila is now out in the market. (images courtesy of Arnold Arre)

Vitangcol is more hopeful about the challenge. “I think that people are more keen to read comics and graphic novels now because of the popularity of the superhero genre in movies. While it started out the opposite way (popular book adapted into movie), you’ll see that the movies now affect book sales. Just look at how Deadpool is flying off the shelves these days. I’m hoping that trend will be applicable to local books someday.”

Ace Vitangcol and samples of his popular comics series.

Bookwatch Vol. 20 No. 2

NBDB name

and

Si Janus Sílang at ang Tiyanak ng Tábon Written by Edgar Calabia Samar Published by Adarna House, Inc.

PBBY

best

Si Janus Silang at ang Tiyanak ng Tábon is a captivating tale of a young boy’s courage amidst the enveloping darkness in his life. Edgar Calabria Samar pulls us into a world of mysterious events and frightening characters from Philippine folklore. He expertly weaves in elements from role-playing video games, a concept that connects with young readers (and to gamers of all ages). This book takes us on a rollercoaster ride full of adventure, suspense, and danger. Finally, a hero like Janus Silang claims his space in our imagination. He rises above the challenges and gives hope—a bright star leading us out of the darkness. - Dan Matutina

Children’s Books The National Book Development Board (NBDB) and the Philippine Board on Books for Young People (PBBY) celebrated the 4th National Children’s Book Awards (NCBA) last July 19, 2016 at the CCP Theatre Main Lobby. The NCBA recognizes the best children’s literature published from 2014 to 2015. Out of 123 nominees, six books stood out to win Best Reads of 2016. The books were judged by the panel composed of Kristine V. Canon, Portia P. Padilla, Alistair Troy B. Lacsamana, Cecilia V. Picache, and Daniel Gabriel U. Matutina.

NCBA Best Reads 2016 Here are the Best Reads winners for the year and their citations from the judges. Dumaan si Butiki Written by Gigi Constantino Illustrated by Ray Sunga Published by Adarna House, Inc. Sino ang mag-aakala na eksayting ang paglalakbay ng isang butiki? Sobrang nakakaaliw ang pagsulpot-sulpot kung saan-saang bahagi ng bahay ng butiki sa kuwento. Ang simpleng texto ay nagamit pa upang ituro ang konsepto ng kabaliktaran, sa paraang kaaya-aya. Kung kaya, hindi ka magsasawa sa pagsubaybay sa lahat ng dinaanan ni Butiki. -Kristine Canon Haluhalo Illustrated by Eli F. Camacho Published by Adarna House, Inc. Ang aklat na ito ay kumpleto sa sangkap, puwera lang sa salita. Marami itong iba’t ibang kulay, siksik sa tamis at umaapaw sa aliw. Kung sa bagay, ano pa ba ang kailangan sabihin kung kitang-kita naman at madali maintindihan ng bata man o matanda ang paggawa at pagkain ng haluhalo? Haaay! Ang sarap ulit-ulitin ang pagbabasa sa nalikhang aklat ni Eli F. Camacho na Haluhalo. - Kristine Canon Mang Andoy’s Signs Written by Mailin Paterno Illustrated by Isabel Roxas Published by Ilaw ng Tahanan, Inc.

We see it everywhere. A crowd of funny, wise, vulgar, ridiculous words and phrases rendered in bold strokes and colorful letters. But as the sight becomes too familiar, the messages

they convey are soon ignored. Thus, it is refreshing to read Mailin Paterno’s simple story about a billboard maker who turned harsh warnings into gentle reminders. Isabel Roxas complemented it with her signature whimsical illustrations using bright splashes of color and chaotic spreads that actually make sense. Together, they created Mang Andoy’s Signs, a delightful book for both children and adults. This book truly deserves a sign of its own saying: “Simply marvelous!” - Cecilia Picache Salusalo para kay Kuya Written by Ergoe Tinio Illustrated by JC Galag Published by Adarna House, Inc. Masarap maging bahagi ng pamilyang Pilipino. Malaki, maingay pero masaya. Para bang ibinalik ako sa pagkabata ng Salusalo para kay Kuya.

BookwatcH Vol. 20 No. 2

Naalala ko noong bata pa ako, kapag kaarawan ko na ay sabik na sabik akong gumising nang maaga para buksan ang aking mga regalo. Ramdam mo rin ang pagmamahal ng isang kapamilya sa kaanak sa kuwento. Sa bawat pahina ng kuwento, nangungusap ang mga mapinpintog na pisngi ng mga tauhan, abala sa isang salusalo, pero masaya pa rin ang lahat. Ipinapaalaala na dapat tayong maging katulad ni Bubuy Boy, na umiiyak ng bahaghari, na kahit na parang may iniwan na malaking butas ang ating kaanak kapag sila ay pumanaw na, kailangan tayong maging malakas at puno ng pag-asa at sariwain ang mga inspirasyong iniwan nila. Salamat Ergoe Tinio, JC Galag, at Adarna House sa mahusay na kuwento! - Troy Lacsamana Supremo Written by Xi Zuq Illustrated by Al Estrella Published by Adarna House, Inc. Supremo is an engaging read. This heartwarming story takes you back to the good old days when you felt lucky to have a best friend and you felt tingled upon seeing your crush. Its flowing language, realistic plot, and catchy illustrations come together to give you one unforgettable ride. It makes you laugh out loud; it makes you stop and think; it even manages to make you shed tears. And, just when you start thinking you’ve had it all, it reminds you of your social responsibility—without pushing it down your throat forcibly. Kids will love this, and adults will enjoy it, too. Supreme, indeed! - Portia Padilla

Kid’s choice award This year’s Kid’s Choice Award went to Made Perfect in Weakness, written by Didith Rodrigo, illustrated by Patricia Lascano, and published by The Bookmark, Inc. The Kid’s Choice Award was decided upon by two groups of Kid Judges. The first group of kids aged 11-14 years old picked their nine favorite books to pass down to the younger group aged 7-10 years old. The older group was composed of Pheonna Heart Ragasa, Apriel Beltran, Horacio Rafael de Peralta, Alon Fabros, and Rafael Varela. The younger group consisted of Ricmel Padon, Sean Kirby Cruz, Yasuyuki Avendaño, Alizza Tolentino, and Althea Hazel Fresno.

PBBY-Salanga and PBBY-Alcala Prize The PBBY also awarded this year’s PBBYSalanga and PBBY-Alcala Prize winners. The Salanga Prize calls for writers to submit original stories, while the Alcala Prize calls for illustrations for the Salanga Prizewinning story. The PBBY-Salanga Prize went to Genaro Gojo Cruz for his story Makinang Makinang, while Joseph Salazar, John Paolo Sandicho, Leila Francesca Maligalig, and Jacqueline Franquelli were named honorable mentions. The PBBY-Alcala Prize went to Mark Lawrence Andres, while Dominic Ochotorena was named an honorable mention. (photo courtesy of PBBY)

Illustration by Mark Lawrence Andres for Makinang Makinang

Bookwatch Vol. 20 No. 2

BookwatcH Vol. 20 No. 2

C opyright

It is also very impor tant for the general public, not only authors, to be acquainted with copyr ight and other intellectual proper t y r ights. When they develop a deeper understanding and concer n for these r ights, the respect for authors and their creations will follow.

and the

filipino author

A query from a children’s textbook writer prompted copyright advocate Beverly W. Siy to investigate what else ails writers of this industry in the Philippines, leading to creating solutions of her own, and in tandem with institutions like NBDB.

friend asked permission to include my children’s story for a textbook she was doing. From our conversation, I have learned how scant her professional fee was as the writer and editor of the textbook. And, considering, from that miserly fee, she was asked to get the payment to acquire the publishing rights of authors whose works she considered for publication. It led us to discuss the bad practices in the world of copyright and publishing. It was summer when my friend approached me regarding her situation, and most textbooks were being finalized during that time of the year for the opening of the academic year that happens every June. Because of this, I felt like airing my sentiments out loud on social media about copyright and textbooks. On Facebook, I received a surge of inquiries on the issues I raised in a matter of minutes. There were people who reached out to me for advice on copyright issues they have encountered; most of them were veteran writers. Most of them were asking how they should respond when someone is interested in publishing their works.

by beverly w. siy

Authors, publishers, government agencies like NBDB, and copyright advocates occasionally gather to discuss intellectual property rights in the Philippines. (photos courtesy of Balangay Productions)

As a copyright advocate, I believe that something should be done; these problems should be addressed as soon as possible. Through my husband’s Balangay Productions, in partnership with the National Book Development Board (NBDB), Intellectual Property Office of the Philippines (IPOPHL), Filipinas Copyright Licensing Society (FILCOLS), Freelance Writers Guild of the Philippines (FWGP), and C&E Publishing Inc., I spearheaded the organization of the Seminar on Philippine Copyright and Textbooks. It was held last 7 May 2016 at the C&E Information Resource Center in Quezon City. It featured talks on copyright, textbook production in the Philippines, and book piracy. I designed the seminar to address the prevailing industry practice that violates the law: the publication of literary works without permission from their authors.

The seminar also encouraged the practice of giving fees to authors in exchange for permits in the publication of their works. It is the legal right of these authors to receive fees upon the use of their works. As a writer for more than a decade and a copyright coordinator for more than a year, I have met a lot of renowned writers who are having financial difficulties even if their works are well-anthologized in books and textbooks. Fees, which they were supposed to receive from the publication of their works, considering the outstanding sales of textbooks in the country, could have helped them in their expenses. I have met families of deceased writers, heirs of the authors’ copyright, who were also lacking in finances. Most of them were not aware of their right to receive fees from the copyright of their author-relative. And they were not sought and paid, and are continuously being ignored by publishers. Perhaps the reason is that copyright is a different animal. It’s a complex topic to discuss. It deals with something intangible; it deals with intellectual properties that include the different forms of arts such as literature. In the Philippines, copyright is effective during the lifetime of the author up to 50 years after his/her death. In other words, copyright can be inherited. Therefore, events and programs on copyright and publishing that are spearheaded by different government agencies are very important. It is exciting to know that the government has different approaches to acquaint authors on copyright. There were the Learn, Be Empowered, Adopt and Profit (LEAP) seminars of IPOPHL. I attended the session entitled On Copyright and Copyright in the Digital Age held last 27 April 2016 at the IPOPHL office in Taguig City. Copyright experts explained that the uploading of copyrighted materials in the Internet was a kind of communication to the public. Therefore, authors have rights and control over them. When works were uploaded without permission, rights of authors were violated, and therefore, were done against the law.

Another project, which yielded much in the education of authors on copyright, was the 7th Philippine International Literary Festival (PILF) held last 28-29 April 2016 at the QCX Museum in Quezon City. I attended the session Rights Selling 101 where Atty. Andrea Pasion-Flores was one of the panelists. The discussion was authorfriendly. The said lawyer had constant regard to writers being a creative writer herself; Pasion-Flores is a published fictionist who wrote novels like Have Baby Will Date published by Summit Media and short stories collected in the anthology For Love and Kisses released by UST Publishing House. In another session I attended, Breaking Into The International Market, Atty. Pasion-Flores spoke as a literary agent. Together with Frankfurt Book Fair senior manager Claudia Kaiser and Tu Books founder Stacy Whitman, they talked about breaking into the international scene. I learned how important it is for authors to equip themselves with ample knowledge on copyright and the right way to negotiate with local publishers and international literary agents. I also learned that there are so many opportunities for Filipino-authored books to sell internationally, especially with the country’s participation at the Frankfurt Book Fair (FBF) in Germany. Since 2015, the NBDB has been participating in the FBF, the largest trading center in the whole world for rights and licenses in the publishing industry. It features a Literary Agents & Scouts Centre which gathers 600 literary agents from more than 30 countries. From Pasion-Flores, Kaiser, and Whitman’s discussion, I have learned that it was best for authors to manage the scope and limitations of rights they would give to local publishers so they can easily market their works for opportunities abroad. Speaking of the international scene, because of the ASEAN integration, the works of

Bookwatch Vol. 20 No. 2

BookwatcH Vol. 20 No. 2

I believe that publishing works in the ASE AN market would be easy, especially if the authors’ copyr ight negotiations with the local publishers are clear and precise.

Filipino authors have more opportunities for publication in neighboring countries. ASEAN consists of ten countries in Southeast Asia, which totals 600 million in population. We should see the integration as an opportunity to promote works from our country to a larger market. The ASEAN publishers just need highly skilled translators. I believe that publishing works in the ASEAN market would be easy, especially if the authors’ copyright negotiations with the local publishers are clear and precise. It is recommended that the translation rights are intact and available for foreign publishers. Indeed, movements towards addressing copyright issues are now happening. The Publishing Course that was launched by the NBDB and Book Development Association of the Philippines (BDAP) last June 2016 has a copyright component that was taught by Atty. Nicolas Pichay, who is also a poet and a playwright. Furthermore, IPOPHL is now in the process of establishing the Bureau of Copyright and Related Rights. Copyright is not only a literary issue; it is also a cultural issue. It is also very important for the general public, not only authors, to be acquainted with copyright and other intellectual property rights. When they develop a deeper understanding and concern for these rights, the respect for authors and their creations will follow. Hopefully, this attitude will eventually be ingrained in our culture. This will entail the decline of plagiarism and piracy of copyrighted materials. That’s why the celebration of World Book and Copyright Day (WBCD) every April 23 gets bigger and more significant each year. The objectives of the WBCD are to strengthen the love of reading among the youth and to champion the respect for copyright of authors and their works. For 2016, it was held at the Ayala Triangle, a park in the middle of the Makati business district. April 23 is the birthday of two well-loved writers, William Shakespeare and Miguel de Cervantes, and the Philippines

celebrates WBCD as a tribute to poet and hero Francisco Baltazar who was also born in April. The NBDB, IPOPHL, Komisyon ng Wikang Filipino (KWF) or Commission on the Filipino Language, National Library of the Philippines (NLP), National Commission for Culture and the Arts (NCCA), Instituto Cervantes, Embassy of Spain, Ayala Land, and WTA Architecture and Design Studio plus other entities from the private sectors came together for this project. Free publications and other materials on copyright and intellectual property rights were disseminated by NBDB and IPOPHL to the public. NBDB also offered free t-shirt printing services of quotes from authors and winners of the 34th National Book Awards. To wear these silk-screened shirts already promotes the excellence of Filipino writers. NBDB also offered henna tattoo sessions which featured images related to literature and the love of books. There was also a book market where buyers were given roses, live performances such as balagtasan (a debate in the form of traditional Filipino poetry), puppet show, and storytelling activities. It is still a long and difficult road before we are able to inform the greater majority on the benefits of respecting one’s copyright. The country is also producing more writers than before. Most of them are young and amateur. But I believe that we are in the right direction, especially with the awareness campaigns targeted at authors and the public sponsored by the government and the private sector.

On a personal level, I do my best to help in the awareness campaign whenever I receive messages on Facebook from fellow writers. I answer some of their comments on my posts related to copyright and publishing, I also give tips on managing and protecting their rights. Recently, I helped a friend who writes Filipino poetry in computing the royalties she should have received from a company that published her poem without permission. Through my e-mail and Facebook account, I read a lot of stories and receive queries from Filipino writers about their experiences on copyright and publishing. Since my knowledge is still limited, I usually refer them to Director Wilfred Castillo of NBDB (helpdesk@ nbdb.gov.ph) or to Atty. Louie Calvario of IPOPHL (mail@ipophil.gov.ph). Every bit counts. Collectively, these actions help towards enhancing our knowledge on copyright issues. I hope we could all do our share in its protection.

A Fair World for Books Your Calendar of International Book Fairs

HONG KONG BOOK FAIR

July 20-26, 2016 Venue: Hong Kong Convention and Exhibition Center 1 Harbour Road, Wan Chai, Hong Kong Opening Hours: 10:00 a.m. - 10:00 p.m. Website: http://hkbookfair.hktdc.com/en/ The Hong Kong Book Fair is designed to both sell books from around the world and showcase the thriving reading and writing culture in and around Southeast Asia. Since 1990, the fair has seen exponential growth of visitors, and in 2011, a whopping 950,000 individuals visited the six-day book fair. Organized by the Hong Kong Trade Development Council, the book fair’s major exhibit categories include: general books and publications, children and teen’s books, religious literature, and other printed products.

by Myta Santiago

Book fairs offer a plethora of opportunities for writers, publishers, and literary geeks to see developing trends in literature, as well as discovering authors with a new story to tell. They are good venues to buy books straight from the authors or publishers themselves. But they also provide a chance for storytellers to advertise what they have in store for their audience. Book fairs also give workshops to individuals who want to dabble in the art and business of writing and publishing, making these events something to always look forward to. In short, book fairs give what everyone wants: good books, good company, and good advertising. While there are small fairs to attend, especially local ones, the bigger fairs are a good, free-for-all target. Philippine children’s books especially can benefit from a worldwide audience, given that they open the eyes of foreigners to the culture and traditions of the archipelago. However, if you’re not sure which book fair to go to, here are some upcoming book fairs for the rest of 2016 and a bit of 2017.

FRANKFURT BOOK FAIR

October 19-23, 2016 Venue: Ludwig-Erhard-Anlage 1, 60327 Frankfurt am Main, Germany Opening Hours: 9:00 a.m. - 6:30 p.m. Website: http://book-fair.com/en/ Hailed as the biggest book event in the world, the Frankfurt Book Fair is also one of the oldest. It was “officially” organized in 1949 by Frankfurter Buchmesse GmbH, but the book fair has been in operation for more than 500 years. Today, it is the goto book event for any and every writer and publisher, as well as bookworm and fan of the letter. A dedicated children’s and young adult’s media section will welcome readers to different authors and publishers from around the world, notably those from France, Italy, and Spain. An illustrator’s corner will also be erected to exhibit graphic portfolios from local and international artists. Around 300,000 is estimated to attend this year.

BEIJING INTERNATIONAL BOOK FAIR

August 24-28, 2016 Venue: East Hall 1-3, West Hall 1-3 China International Exhibition Center No. 88 Yuxiang Street, Tian Zhu Zone, Shunyi District Beijing, China Opening Hours: 9:00 a.m. - 5:00 p.m Website: http://bibf.net/ Despite having been exhibiting books and publishers for almost 23 years and being one of the top four best international book fairs, the Beijing International Book Fair has been seeing a gradual growth on international writers and publishers, notably from the West, in the recent years. Still, this book fair is a must-go for any writer or publisher who desires to achieve a wider audience, especially that the expected number of attendees this year will be 300,000. Most of these participants might join the main highlight of the book fair is the Children’s Book Publisher’s Hall, located in E1 of the Exhibition Center. This is where many children’s book authors meet and discuss topics that can work with children, from toddlers to teenagers’ products.

CHINA SHANGHAI INTERNATIONAL CHILDREN’S BOOK FAIR

November 18-20, 2016 Venue: Shanghai World Expo Exhibition & Convention Center 1099 Guozhan Rd, Pudong, Shanghai, China Opening Hours: 9:00 a.m. - 5 p.m. (tentative) Website: http://www.ccbookfair.com/en/ The efforts in China to bring the world of books into her country, and the country into the books of the world, have been monumental. With the China Shanghai International Children’s Book Fair, the great country will be able to see various media for young minds from around the world. It is the only book event in the Asia-Pacific region dedicated to children’s and young adult’s publications. Because of its niche market, it boasts some 300 exhibitors from 30 countries, and an attendance of almost 30,000.

Bookwatch Vol. 20 No. 2

BookwatcH Vol. 20 No. 2

Selected

INDONESIA INTERNATIONAL BOOK FAIR

TOKYO INTERNATIONAL BOOK FAIR

September 23-25, 2016 Venue: Tokyo Big Sight 3-11-1 Ariake, Koto-ku, Tokyo, Japan Opening Hours: 10:00 a.m. - 6:00 p.m. Website: http://www.bookfair.jp/en/ Organized by Reed Exhibitions Japan Ltd., the Tokyo International Book Fair started in 1993, around the same time as the Beijing International Book Fair. While attendance is still low compared to Beijing (a mere 40,000 attendees are expected this year), TIBF is gaining ground with almost 500 exhibitors coming to the venue from across the globe. A zone dedicated to children’s books alone will cover 1/6 of the fair, which comprises children’s books, picture books, children’s magazines, and teaching materials.

September 28October 2, 2016 Venue: Assembly Hall, Jakarta Convention Center Jl. Jend. Gatot Subroto, Daerah Khusus Ibukota Jakarta, Indonesia Operating Hours: 9:00 a.m. - 8:00 p.m. Website: http://iibf.id/?lang=en Indonesia is very expressive of their culture; add that to their love for reading, and you have a book fair cum cultural show in one. The Indonesia International Book Fair was organized by the Indonesian Publishers Association in 1983, but it hasn’t gained much momentum unlike its East Asian counterparts. However, this is one of the premier book fairs in our neck of the woods, and with Indonesia having a culture much like ours, it would not be a problem marketing our literature to them.

THE LONDON BOOK FAIR March 14-16, 2017 Venue: Olympia London Hammersmith Road, Kensington, London

Opening Hours: 9:00 a.m. - 6:30 p.m. Website: http://www.londonbookfair.co.uk/ The London Book Fair started in the early 1970s with a theme in mind: to become the venue for various media to distribute their products both in London and other parts of the world. The most vivid part of this threeday event is the children’s section, complete with seminars and workshops, as well as an “emporium” where suppliers and publishers, both new and old, meet each other.

Recently Released Upcoming Titles

children’s books 1

BOLOGNA CHILDREN’S BOOK FAIR

Compared to other book fairs where children’s media is just a topic, Bologna in Italy takes this type of content several steps further. For the past 53 years, the Bologna Children’s Book Fair has been hosting the enhancement of content for young ones— from writers to publishers, from animators to illustrators. In the last few years, the book fair has seen 1,200 exhibitors from 98 countries, with a steadily growing attendance; last year’s attendance was almost 40,000.

May 17-21, 2017 Venue: Singapore (exact venue TBA) Opening Hours: 9:00 a.m. - 8:00 p.m. (tentative) Website: http://afcc.com.sg

The Asian Festival of Children’s Content or AFCC is a huge five-day event, which is a combination of a professional trade fair and a consumer’s event, so it’s not exclusively a literary festival. It was reconstituted as such by its organizers, the National Book Development Council of Singapore, from its 2000 origins as the Asian Children’s Writers and Illustrators Conference. Since 2010, the AFCC has been host to a plethora of activities that includes not only a book fair but professional conferences, various thematic workshops, seminars, and master classes. The AFCC attracts an international crowd composed of writers and illustrators, of course, but also parents, students, teachers, publishers, editors, agents, distributors, and media professionals involved

2 in producing children’s content. Over 100 speakers are featured in the yearly event, with more than 700 conference delegates and around 10,000 participants adding to the foot traffic of the fest. Each year, there is always a “country of focus” and for 2017, it’s Indonesia. The AFCC is a good way to do an environmental scan of what’s happening in the Asian market regarding children’s content production and to discover academic updates regarding early childhood literacy or various topics in childhood studies.

Charged Siege Malvar Visprint,Kristine Inc.Ong Muslim, author of Age of Blight July 2016 and other books

Impiyerno salin sa Filipino ng Inferno ni Dante Alighieri Resty Ceña (tagasalin, English to Filipino) Visprint, Inc. August 2016

G ab r i e la Lee

April 3-6, 2017 Venue: Piazza Costituzione, 6 40128 Bologna Opening Hours: 9:00 a.m. - 5:30 p.m. Website: http://www. bolognachildrensbookfair.com/

ASIAN FESTIVAL OF CHILDREN’S CONTENT

IN ST R U CT IO N S O N H OW TO D ISA P P EA R

fiction

“In Gabriela Lee’s first book, Instructions on How to Disappear and other stories, she has meticulously and intelligently reworked numerous genre tropes. Set in future Manila, a gleaming metropolis where one’s paranoia may not be exactly unfounded and whose lashing sings tribute to Philip K. Dick, “Stations” takes on the ethical trappings of high technology adoption. “August Moon” relies on a succession of flashbacks to uncover, as well as obscure, the eventual doom of a woman who deems herself a “good wife,” while “Eyes as Wide as the Sky” depicts a postwar world—scorched yet not wholly devoid of hope. These stories insist on the unreal becoming the real, the rational melding with the irrational, familiarity breeding strangeness. An impressive debut.”

Instructions on How to Disappear: Stories Gabriela Lee Visprint, Inc. Late July 2016 Naermyth: Revelations Karen Francisco Visprint, Inc. September 2016

A First Look At Philippine Birds, Butterflies & Fishes Maria Elena Paterno and Crispin Dayao, Jr. Ilaw ng Tahanan Publishing, Inc. August 2016 A First Look At Philippine Fruits, Flowers & Trees Lolita J. Bulalacao, Ph.D and Crispin Dayao, Jr. Ilaw ng Tahanan Publishing, Inc. August 2016

The Detective Boys of Masangkay: Ang Mangkukulam Bernalyn Sastrillo Adarna House September 2016

Young adult fiction 1

Science fiction/ fantasy/horror 1

A FOR ADOBO Nelson Agustin Ilaw ng Tahanan Publishing, Inc. Tahanan Books August 2016

Moving Onwards and Upwards Hanako-Amihan Yabut Adarna House September 2016

Religious / Inspirational 1

Why live for God and How: Short Readings and Reflections for Growing Christians Daniel Espiritu New Day Publishers July 2016

Bookwatch Vol. 20 No. 2

BookwatcH Vol. 20 No. 2

Non-fiction 1

Textbooks

C&E Publishing, Inc.

Central Banking as State Building: Policymakers and Their Nationalism in the Philippines, 1933â&#x20AC;&#x201C;1964 Yusuke Takagi Ateneo de Manila University Press September 2016

Basic Ed 1 2 3

Outsourceable Selves: An Ethnography of Call Center Work in a Global Economy of Signs and Selves Aya Fabros Ateneo de Manila University Press August 2016

Politics of Clan Reunions Gaston Kibiten Ateneo de Manila University Press August 2016

other 1

essays 1

Rizal in Barong Tagalog Noel Villaroman New Day Publishers August 2016

July 2016

Keywords: Essays in Philippine Media Cultures and Neocolonialisms Rolando Tolentino Ateneo de Manila University Press August 2016

Understanding Iran: A History of Philippine-Iran Relations Mariano Dumia New Day Publishers July 2016

August 2016

Ibong Adarna Virgilio S. Almario (Editor) Adarna House September 2016 Sacada Alan Navarra Visprint, Inc. July 2016

Biology 1 Zenaida Nucum Chemistry 1 Zenaida Nucum

Creative Writing Ralph Semino Galan, John Jack Wigley, Augusto Antonio Aguila

Introduction to World Religions Victoria Corral, Genevieve Balance-Kupang

Research 1 (Qualitative Research) Amadeo Cristobal Jr., Maura Consolacion Cristobal Sidhaya 12: Pagbasa at Pagsusuri Rhoderick V. Nuncio, Elizabeth M. Nuncio, Rogelio F. Valenzuela, Vilma A. Malabuyoc, Aileen Joy G. Saul

2 3

5 6

21st Century Literature Pamela Del Rosario Castrillo, Hazel Meghan B. Hamile, Judith D. Dalagan Business Finance Nick L. Aduana

Business Marketing Danilo M. Te, Donna Vida M. Abrina, Rodilina Marte

Business Mathematics Jerico B. Bacani and Jeffrey M. Soriano Earth Science Joselito Duyanen

HOPE 2 Asst. Prof. Diana Dy, Asst. Prof. Rodrigo Sambuang, Mr. Noli Cajefe

Pagsulat sa Filipino Sa Piling Larang (Akademik) Will Ortiz and Eugene Evasco Philippine Politics and Governance Arnel Joven

Research 2 (Quantitative Research) Amadeo Cristobal Jr., Maura Consolacion Cristobal

Susumaton: Oral Narratives of Leyte Merlie M. Alunan (Editor) Ateneo de Manila University Press July 2016

Bookwatch Vol. 20 No. 2

September 2016 1 2

ABM 2 Nick L. Aduana

Basic Calculus Neil Jerome Egarguin, Lauro Fontanil, Vernel Lawas; Alleli Ester Domingo (Coordinator)

Komunikasyon at Pananaliksik sa Wika at Kulturang Pilipino Heidi Atanacio, Yolanda Lingat, Rita Morales, Rosemarie Tiongson, Gina Sy-Luna, Crispulo Alarde Jr. Media and Information Literacy Carol Gonzales

Physics 1 Cresta Lee, Valerie Dellosa, John-Niel Masong, Ivy Neis, Lalainie Bagui, Lorna Aban & Sheryl Monterola

BookwatcH Vol. 20 No. 2 higher Ed July 2016 1 2

Automata Theory Cecil Jose Delfinado

Human Physiology and Anatomy Laboratory Manual Ma. Frieda Hapan, Jocelyn Domingo, Ma. Gina Sadang Review Handbook in Diagnostic Bacteriology Teresa Tablante-Rodriguez Taxation Law Eduardo Victor Valdez

August 2016 1

2 3

4 5 6

Basic Nutrition & Diet Therapy Textbook (2nd ed.) Ma. Lourdes Caudal International Marketing Leonardo Garcia, Luz Suplico Law on Obligations and Contracts Atty. Rhea Samson

Sales Management Workbook Cynthia Abella Services Marketing Leonardo Garcia, Luz Suplico

The RPS Styles and Strategies of Teaching and Learning Towards Effective Educators in Nursing and Health Professions Dr. Rosalinda Salustiano

September 2016 1

2 3

Basic Nutrition & Diet Therapy Lab Manual (2nd ed.) Ma. Lourdes Caudal Basic Microeconomics Carlos Manapat

Concepts and Principles in Biochemistry with Diagnostic Implications Sally Suba & Jennifer Florida Professional Nursing in the Philippines 12th Ed Lydia M. Venzon and Ronald M. Venzon Workplace Essentials Chan/de Jesus/Juagiong