Monday, April 26, 2021

SUMMARY & INDEX


Filipino literature--in the Philippines and the diaspora--is a vibrant area of English-language writing. The Halo-Halo Review is an accessible online summary of critical and other responses to Filipino literature's multiple and diverse forms. We hope that what others are saying about Filipino English-language literature will encourage others to read, teach and engage. 

By "Filipino," The Halo-Halo Review means all who self-identify as Filipino whether they're in the Philippines or the diaspora, as well as mixed and hyphenated Filipinos. Alternative monikers include Pinoy, Pinay, Pilipinx, Pin@y, Pilipino, Pilipina -- we welcome you all as long as you enjoy halo-halo and manga!

Reviews and engagements are sorted by genre. Click on the genre below to see the book titles reviewed and their accompanying links. Multi-genre books may be placed in more than one category (e.g. if a book includes poetry and fiction, it will be sorted in both of the categories).

POETRY

FICTION

NON-FICTION

SCHOLARLY WORKS

CHILDREN'S & YOUNG ADULT LITERATURE

OTHER

The Halo-Halo Review has two components. The first component, as described above, is an aggregation of online links to reviews and other engagements with Filipino literature throughout the internet. While the editor has begun collecting such links, readers are also encouraged to share information on other links. Links will be posted on an ongoing basis at the applicable genre sites.

The Halo-Halo Review's second component is The Halo-Halo Review's Mangozine which will contain new reviews. We welcome reviewers (reviewers need not be Filipino) -- click HERE for more information (feel free to review Filipino English-language books from your own sources). Also featured will be a "Readers Show Love to Filipino Authors" section--we are always looking for contributions; more info HERE. In addition, The Mangozine also will serve as the first online publisher for reviews and other engagements (e.g. book introductions)  published in print but not yet available online. Finally, its feature articles will include author interviews. 

While reviewed publications are in English, we will cover bilingual editions, as well as Filipino-language books if the review is in English.

To share information about additional links and/or to discuss your interest in writing a review, please go to the ABOUT section for contact information.

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FILIPINO AUTHORS ON ENGLISH
(to be updated over time)

If you're a Filipino writer and you're writing in English, you have to have a clear reason for the language that you're using ... I'm going to write in English: why? ... It really has to do with class ... For me to be part of the world of the enemy and yet to be attached to that world ... For the Filipino, English is a very literary language. The writers in English are always working with or working against the language we are given, the colonizer's language. People who live in a colonized world recognize you are living in a world of translation...



Ricardo M. de Ungria in “An English Apart” ...claim[es] that “[w]riting well in English is [his] best revenge against English,” De Ungria searches the various polemics that surround the English debate: 

But why do I want to take revenge at the English language? … Because it taught me, among other things, to think poorly of my native language and exclude this from the discourse of my deepest needs and joys and aspirations? … Because it foisted upon me a rich heritage of writing that I could never be a part of nor even closely relate to…? Because it left me inside a wonderful labyrinth of a symbolic world whose exquisite emblems and implements only heighten my sense of helplessness and futility at being understood…? Because it has opened me up to a fascinating world where I am condemned forever to live as a stranger? 



In 1898, the United States claimed it owned the Philippines after buying it for $20 million from Spain through the Treaty of Paris. The Filipinos—who had won and declared their independence from Spain—protested, and thus commenced the Philippine-American War, a war that has been called the United States’ “First Vietnam.” With their prowess on the military terrain, the U.S. defeated the Philippines. The U.S. solidified its colonial domination through the cultural and linguistic terrain with the popularization of English as the preferred language for education, administration, commerce and daily living. Thus, English is sometimes called by Filipinos to be “the borrowed tongue,” though enforced tongue would be more accurate.




whenever I sit down to chat your English rises like a mountain peak
Paolo Javier, from "Soldiering On Like The Devil" in COURT OF THE DRAGON



We used to talk about the course of Philippine literature in English as though it passed somewhat miraculously through three stages: a period of apprenticeship, of emergence or growth, and then of maturity. It was in the 1950s a useful if also a subtly condescending way of picturing what was called its “development.” On the other hand, Fr. Miguel A. Bernad, S.J., thought in 1957 that Philippine literature is whatever language was “perpetually inchoate” because, first, the writers couldn’t earn a living from their writing; second, we were torn by several languages or had not mastered English well enough; and third, we were culturally confused or had not fostered enough our own hybrid culture. It is well worth quoting Fr. Bernad:
Filipino writers in Spanish flourished at the end of the nineteenth century and the first decades of the twentieth. But this flowering of a culture never bore fruit: its roots were soon withered. While Apostol and Guerrero, Bernabe and Balmori, Barcelon and Recto, were writing poems that were admired in Spain, a generation of Filipino was growing up that would not understand the language in which they were written.
This is not to deplore the coming of English to our shores. Its coming was by no means deplorable: it was a cultural windfall. It does explain, however, why Philippine letters, which had finally flowered (and it is a curious thing that it did not come to its full flowering until after Spanish political domination was over) died out quickly, even in flower. Philippine letters had to seek other roots in a different cultural soil. This is why even after sixty years of English in the Philippines, Philippine literature in English is still young. But it has much promise: it may eventually attain to full maturity. (Bamboo and the Greenwood Tree) 1957/1961).
Gemino Abad,  from Our Scene So Fair: Filipino Poetry in English, 1905-1955




Today, whatever standing I may have as a poet in the Philippines will probably be based on my Tagalog poems. But I will also probably be remembered, or remain notorious, for my last poem in English. // It’s an acrostic poem, and the first letters of the lines, if read downwards, spell out a Tagalog slogan popular among demonstrators before martial law: MARCOS HITLER DIKTADOR TUTA (Marcos Hitler, Dictator, Running Dog).
—Jose F. Lacaba, from "Why I Stopped Writing Poetry in English"





For THE HALO-HALO REVIEW's Mangozine--Issue 11

In addition to aggregating reviews from the internet, THE HALO-HALO REVIEW presents The Mangozine which features new reviews and serves as the online publisher for reviews and other engagements (e.g. book introductions) published in print but not yet available within the internet.  Other features, including author interviews and reader testimonials, also will be presented. The following presents a Table of Contents for Issue 11 -- CLICK on links to go to the reviews.

Submission deadline for the 12th issue has been set at Nov. 15, 2021 (though I will take reviews sooner than the deadline if that is more convenient for the reviewers).

ISSUE 11
(April 2021)

Editor's Note:  Welcome to the 11th issue of THE HALO-HALO REVIEW where we provide engagements with Filipino-Pilipinz literature and art and authors/artists through reviews and engagements, interviews and other prose. We hope readers, writers, artists, and publishers will continue to participate and share information about numerous Filipino authors and the wide variety of their writings. 

I.  NEW REVIEWS AND ENGAGEMENTS

Marcelina by Jean Vengua (Paloma Press, 2020)
Reviewed by Luisa A. Igloria

Reviewed by Neil Leadbeater 

You Are Here by Mabi David (High Chair, Quezon City, 2009)
Reviewed by Lawdenmarc Decamora 

OBJECT PERMANENCE by Nica Bengzon (Gaudy Boy/Singapore Unbound, New York, 2021)
Engaged by Eileen Tabios

Reviewed by Neil Leadbeater 


Mostly in Monsoon Weather by Marne Kilates (University of the Philippines Press, 2007)

Reviewed by Aloysiusi Polintan



Peirce/Marx:  Speculations on Exchanges between Pragmatism and Marxism by E. San Juan, Jr. (Kindle/sp, 2020)
Reviewed by Paulino Lim

Engaged by Eileen Tabios

Reviewed by Neil Leadbeater

Selected Poems by Merlie Alunan (University of the Philippines Press, 2004); Moon Over Magarao by Luis Cabalquinto (University of the Philippines Press, 2004); Museum of Absences by Luis H. Francia (Meritage Press and University of the Philippines Press, 2004); Misterios and Other Poems by J. Neil C. Garcia (University of the Philippines Press, 2005); Textual Relations by Ramil Digal Gulle (University of the Philippines Press, 2007)In Transitives by Isabelita Orlina Reyes (University of the Philippines Press, 2005); Almost Home by Myrna Peña Reyes (University of the Philippines Press, 2005); Beyond, Extensions and Commend Contend by Edith Tiempo (University of the Philippines Press, 1993 and 2010); and The Long Lost Startle by Joel M. Toledo (University of the Philippines Press, 2009)

Reviewed by Aloysiusi Polintan

Engaged by Ayo Gutierrez 



II. AUTHOR INTERVIEWS, POST-BOOK


Kay Ulanday BarrettMORE THAN ORGANS

Cecilia M. BrainardSelected Short Stories

Migs Bravo Dutt / The Rosales House

Leny Mendoza StrobelBabaylan: Filipinos and the Call of the Indigenous and Back from the Crocodile’s Belly: Philippine Babaylan Studies and the Struggle for Indigenous Memory 



III. READERS SHOW SOME LOVE TO FILIPINO AUTHORS

Go HERE to read:

Maileen Hamto on Ninotchka Rosca
Elizabeth Ann Quirino on Arlene J. Cha
Eileen Tabios on Therese Estacion
Maileen Hamto on Lily Mendoza
Elizabeth Ann Quirino on Deborah Francisco Douglas
Leny M. Strobel on Eileen R. Tabios
Maileen Hamto on Grace Nono



IV. FROM OFFLINE TO ONLINE


Reviews & Engagements

Michael Leong discusses Court of the Dragon by Paolo Javier (Nightboat Books, New York 2015) in The Cambridge Companion to Twenty-First Century American Poetry edited by Timothy Yu (Cambridge University Press, 2021)

From Books: Introductions, Prefaces, Forewo
rds, Afterwords and Author's Notes

Pravat Kumar Padhy presents Foreword to QUOTES OF LIFE by Radhey Shiam, edited by Rama Kant (Cyberwit, India, 2021)




ABOUT

The Halo-Halo Review aggregates reviews of Filipino authors found in the internet.  In addition, through its The Mangozine, it will publish new reviews as well as features like author interviews and reader testimonials about beloved Filipino authors. We don't just feature writers but also visual and other types of artists. We welcome hearing from those with information about additional links, reviews, and/or reader testimonials. 

Reviewers need not be Filipino but the authors and artists under review must be Filipino (including mixed/part Filipino).  

Reviewers may review any books they wish, including those in their personal library. We also have some review copies available which we can send to you and, if you review them, you may keep.  The list of review copies is available HERE.

CONTACT:  galateaten at gmail dot com


EDITOR: 

Eileen R. Tabios has released over 60 collections of poetry, fiction, essays, and experimental biographies from publishers in 10 countries and cyberspace. In Spring 2021, she released her first novel DoveLion: A Fairy Tale for Our Times. Her 2020 books include a short story collection, PAGPAG: The Dictator’s Aftermath in the Diaspora; a poetry collection, The In(ter)vention of the Hay(na)ku: Selected Tercets 1996-2019; and her third bilingual edition (English/Thai), INCULPATORY EVIDENCE: Covid-19 Poems. Her award-winning body of work includes invention of the hay(na)ku, a 21st century diasporic poetic form, and the MDR Poetry Generator that can create poems totaling theoretical infinity, as well as a first poetry book, Beyond Life Sentences, which received the Philippines’ National Book Award for Poetry. Translated into 11 languages, she also has edited, co-edited or conceptualized 15 anthologies of poetry, fiction and essays. Her writing and editing works have received recognition through awards, grants and residencies. More information is at http://eileenrtabios.com