He ran away again from his foxhole in Bataan when the Japanese were closing in. and through much of his life, even when he had become comfortable, he still ran away, haunted by the poverty of his boyhood, of the treachery that he may have committed. This is Benjamin Singkol—perhaps the most interesting character ever created by F. Sionil José. After World War II, Sionil Jose enrolled at the University of Santo Tomas and came under the wing of Paz Latorena, one of the country’s foremost writers and literature teachers and the Dominican writer, Juan Labrador. He worked in journalism and developed his distinctively direct narrative style.Sionil José is best known for his epic work, the Rosales saga—five novels which encompass a hundred years of Philippine history, from 1872 when the three Filipino priests—Gomez, Burgos and Zamora—were martyred, to 1972 when Marcos declared Martial Law.

    

    Because of this we have no memory of ourselves: we remember only the last deluge, the last seismic upheaval. Two friends are hired by Marcos to rewrite Philippine history. Their mission: to make it appear that Marcos was destined to rule the country in perpetuity. Working from an office called Agency for the Scientific Investigation of the Absurd, they embark on a journey that will take them across a surreal panorama of Philippine politics and history, and in the process question all their morals and beliefs. This landscape includes mythological sultans, mercenaries, the Beatles, messianic Amerasian rock stars, faith healers, spies, torturers, sycophants, social climbers, sugar barons, millenarian vigilantes, generals and communists--the dizzying farrago of lovers and sinners who populate the country's incredible story. By the end of their project--and this breathtaking novel--the reader emerges from a world that is at once familiar and unbelievable. It's what real life might look like if both heaven and hell were crammed into it, and all its creatures were let loose.

    Moving beyond Manila, the volume offers detailed accounts of how strong men such as Ramon Durano, Ali Dimaporo, and Justiniano Montano used "guns, goons, and gold" to become powerful provincial warlords. Illustrated with many original photographs, maps, and genealogies, this book is a valuable resource for anyone who seeks to understand the modern Philippines.

    Plus the portrait of a hip chick from then Swinging London as she discourses indelicately on a most delicate topic: the Filipino as Lover.

    Marks the seasons of the author's life, her early writing, her work as active media practitioner, and her religio-spiritual writing.

    This novel challenged its readers to solve or alleviate the festering wound of Philippine society: the widespread feudalism in the countryside. Francisco identifies the cause of poverty of the farmers and describes their helplessness in the hands of the landlord. He introduces characters of a different kind: one that does not allow oneself to be carried away by the flood of life, and instead acts according to one’s own principle and goal of helping others.

    The story of Francisco, who is torn in his love for two women both with outstanding qualities—: Christy, his fianceé of many years, and Magda, the mysterious widow.

    Hau, Writer and literary critic

    Ileto submits to varied kinds of analyses standard documents as well as such previously ignored sources as folk songs, poems, and religious traditions, in order to articulate hidden or suppressed features of the thinking of the masses. Paramount among the conclusions of the book is that the pasyon, or native account of Christ's life, death and resurrection, provided the cultural framework of movements for change. The book places the Philippine revolution in the context of native traditions, and explains the persistence of radial peasant brotherhoods in this century. Seen as continuous attempts by the masses to transform the world in their terms are the various movements that the book analyzes - Apolinario de la Cruz's Cofradia de San Jose, Andres Bonifacio's Katipunan, Macario Sakay's Katipunan, Felipe Salvador's Santa Iglesia, the Colorum Society, and other popular movements during the Spanish, revolutionary, and American colonial periods.

    

    It never quite plays out as beautifully as I imagine this scene to be. I am still a normal girl, after all, and in my head I've blocked it perfectly: We wake up with a slow stretch, cuddle for a few minutes, conduct a short conversation with our husky sleepy voices..."Even for a struggling actress like 26-year-old Kach, love doesn't come easy. Especially if your timing is off and you miss your cue and forget to deliver the right lines at the right time...Beautiful, talented and starving, theater actress Kach, who has a real penchant for drama, lives off the refrigerators and affection of her childhood friends: Nats, a chef who has taken it upon herself to play mother to Kach, and Jorge, an overachieving research genius who balances off Kach when she starts overreacting and who gladly supplies much-needed warm hugs when her world - or her tiny Makati apartment - dramatically turns cold.Now Kach has finally landed a legitimate role costarring an intense, sexy and brooding young stage actor named Sanchez. Their onstage chemistry quickly reaches boiling point and overflows into real-life, and suddenly Kach finds herself in a super-kilig affair, complete with snatches of smooches behind closed stage curtains.But their romance takes a dramatic turn when Kach discovers that Sanchez isn't tailor-made for the role of her real-life leading man...and that someone else is ready and willing to audition!

    Santos has presented what may well be the essence of those years - the loneliness and hunger of a people who were almost all of them hurt and broken to the bone. But for an ideal, which Santos so eloquently dramatizes in this book, they would have lost their very souls. In this sense YOU LOVELY PEOPLE is a document and at once a portrait of the Filipino heart.

    In Bonifacio's Bolo, Ambeth Ocampo adds even more interesting bits to another scrapbook of history.

    Only four chambers, but with infinite space like memory, where there is room even for those whom we do not love. Fish-Hair Woman is a novel of many rooms running between love and war. In 1987 the Philippine government fights a total war against communist insurgency. The village of Iraya is militarised. The days are violent and the nights heavy with fireflies in the river where the dead are dumped. With her twelve-metre hair, Estrella the Fish Hair Woman, trawls the corpses from the water, which now tastes of lemongrass. She falls in love with the visiting Australian writer Tony McIntyre who disappears in the conflict. Ten years later, his son Luke is reading this story in a mysterious manuscript sent to Australia with love letters. Tony left Australia when Luke was six. Now at nineteen, he travels to the Philippines because his father is supposedly dying. On arrival he is caught in a web of betrayal that spins into the dark, magical tale of the manuscript. What is fact, what is fiction? Luke meets Stella, who could be Tony’s lover — or the Fish Hair Woman? But where is Tony? Whose story is being told? Who is telling the story? Poetic and eclectic in style, this epic tale threads a multitude of voices and stories from the Philippines to Australia, to Hawai’i, and to the reader’s world. The pool of grief, and of joy, is yours, mine, ours.