She lives in Manila with her three cats. Visit her site: www.JessicaRulesTheUniverse.com

    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.

    The son of a legendary fisherman has to give up his studies and start supporting his family following his father’s accident. This kind of sacrifice is a universal problem faced by many children who are forced into child labor because of financial needs. It also tells the struggles of the son as he tries to establish his own identity and get out of his father’s shadow.

    Here in this starkly beautiful volume, she has discovered a language sufficient to the terrors and the joys of the contemporary. The highest praise that can be given to any work of literature—and Dark Hours is most surely literature—is that it is contemporary. This is a very remarkable book.”—Lynn Emanuel

    A country of “yellow fever” victimsAs the elitist image of the Aquino regime permeated society as a whole, its propaganda experts began to shape the political landscape as well, and transformed most of the unsuspecting citizens into consumers of its own brand of illiberal democracy symbolized by the yellow banner, the yellow ribbon, and the yellow confetti.Arillo’s Greed & Betrayal relived the events that marked the Aquino regime’s bungled presidency and how it systematically and repeatedly blamed Marcos, Enrile, Honasan, Laurel, Mitra, and others as the all-purpose excuse to hide its own incompetence, failures, and perfidy.This book also inspired the writing of Arillo's latest book, A Country Imperiled: Tragic Lessons of a Distorted History.

    Caleb is suffering from schizoaffective disorder, and Paul, who is about to start on his first office job in a long while, wants to make sure his brother takes his medication on time. Lillian, at first hesitant, accepts the job for the pay and the perks, but soon starts to wonder about the brothers she is working for. How come she can’t find any information online about the drugs Caleb is taking? And how come the national central database lists them as dead?

    DE VEYRAhas published two books of poetry: Subterranean Thought Parade and Shadowboxing in Headphones. He has won the Don Carlos Palanca Memorial Awards for Literature, the Free Press Literary Awards, and the very first National Commission for Culture and the Arts' Writers' Prize for Poetry. He also fronts the spoken word-jazz-rock band Radioactive Sago Project and currently works as a host and writer for the News and Public Affairs programs of TV5. This is his third collection of poems.

    Based on the author's childhood experience. 2000 Palanca 2nd Prize winner.

    Bear witness as a generation continues its evolution, wired faster to dream higher. This is the Filipino youth at their most honest and most eloquent. Here is your password. Here are the messages that matter from the newspaper that started it all.Youngblood 3 is the young Filipino—unplugged.

    The end of his journey turns out to be the beginning of an odyssey in his beloved city where he finds "an insidious lawlessness creeping upon the land."Set in Manila in the last beleaguered months before the politico-military takeover in 1972, Bamboo in the Wind tells of the last desperate efforts of a people fighting to stave off disaster. Amid the escalating madness of a regime gone berserk, an odd assortment of people—a senator, a young nationalist, a dispossessed farmer, a radical activist, a convent school girl, a Jesuit scholastic—make their way along the labyrinthine corridors of greed and power. Each is forced to examine his own commitment in the face of brutality and evil, as the book conjures up scene after scene of devastation: the massacre of the demonstrators, the demolition of Sapang Bato, the murder of the sugar plantation workers, the burning of the Laguardia rice fields. And, as a climax to the mounting violence, that final September day—the arrests, the torture, and finally, the darkness that overtakes the land.

    Set in the exotic background of the little mining village of Nibucal in the southern Philippines, A Blade of Fern sketches a panoramic vista of rural life and problems of survival among miners prospecting for gold.The novel is in the tradition of the Romantic hero who runs away from a society he rejects to seek regeneration in a deeply natural environment.A Blade of Fern should be of interest to students of Philippine literature in English and the general reader.

    But as it is often said nothing ever really happened unless it is written down. There are so many stories to tell of the agonies and triumphs of both doctors and patients, who have peopled this venerable institution through the ages. I wrote the stories because I firmly believe that healing is a mutual process; that the healer is very often himself healed as he goes about caring for the ailing person. So the stories bite both ways.”

    That past assumed a new dimension when seen from the people's viewpoint. The present work undertakes to prove that the essence of these past relations has persisted in the present era. The authors have therefore chosen to call this period The Continuing Past in order to emphasize the fact that while there are apparent changes, the new refinements of external control and exploitation merely conceal the persisting subjection. The authors express the hope that their "re-examination of the Philippine neocolonial experience...and the brief focus on evolving American imperialist objectives and the techniques used to attain them may not only reveal this historical period in a new light but may help to provide the basis for new historic initiatives on the part of the people in the attainment of their final liberation."As in the previous volume, events and personalities are subjected to stringent analysis from the point of view of the people's larger interest, thus giving the layman a better grasp of the forces that influence contemporary society. The process of demystification proceeds with greater intensity as sacred cows are re-evaluated in terms of the people's long-range objectives.The Continuing Past is a very relevant work; and also irreverent as the previous writings of Constantino have been.

    From Ann Siang Road in Singapore to Matnog in Sorsogon, from Amsterdam to Tokyo to Hawaii, they explore love, loss, life, and loneliness in this collection, hoping to finally find their place in this world.

    A collection of the National Artist's short stories and poetry and includes the play "The Portrait of the Artist as a Filipino."