Always remember: the alleviation of poverty is never a political or economic issue - it is moral.
— F. Sionil Jose
What most readers do not realize is that it takes a particular genius to write funny, to satirize.
I was born in an Ilokano village called Cabugawan. Most of the houses in it were roofed with thatch, pan-aw, a species of wild grass.
Christianity doesn't demand that we worship our ancestors. If we don't remember our ancestors, then, in all likelihood, we cannot also recall the distant past.
The influence of teachers extends beyond the classroom, well into the future. It is they who shape and enrich the minds of the young, who touch their hearts and souls. It is they who shape a nation's future.
Class - or the economic status of individuals - is evident in all societies, some very well stratified by a rigid caste system determined by birth.
For them who delay aging, who infuse decrepit bodies with youth and beauty - they must rejoice in the fullness of their deeds.
All dictators, the rich and famous, to the lowest security guard who holds a gun, easily forget that power is transitory.
Of course, we are all egoists. Egoism is so much a part of our humanity.
I envy those Hindus and Buddhists who have in their religion philosophy and ancestor worship which build in the believer a continuity with the past, and that most important ingredient in the building of a nation - memory.
In the visual arts, particularly painting, I distrust all those abstractions, those artificial constructions. I have a very simple way of judging them: if I can do them, they are not art.
To fund major cultural efforts, we must not rely alone on government and foundation patronage; if the farmer can spend for beer, he can pay for good entertainment which he can understand, which he can identify with and which will fortify his spirit.
November is auspicious in so many parts of the country: the rice harvest is already in, the weather starts to cool, and the festive glow which precedes Christmas has began to brighten the landscape.
For decades, as literary editor, I have followed the growth of our creative writing in English. In my Solidaridad Bookshop, half of my stock consists of Filipino books written in English and in the native languages.
In the '50s, I was traveling alone all over Mindanao, Basilan, all the way to Tawi-Tawi with just a camera and a notebook. I always stayed in the houses of Moros.
I do not want to be bored listening to music that is muffled and known only to the poet himself.
All through history, a nation or a civilization's enduring glory is articulated by its mega constructions - the pyramids, the lofty cathedrals of the Christian world.
At 86, I can easily look back to the last eight decades. Though memory often fails me now, so many images of the past are still clearly polished, and I can yet recall not just an abiding sense of place, but the keen smells, the sensory responses to the events of that past.
I regret that I have not written more, shouted louder, and acted out my beliefs.
When I wake up every morning, I thank God for the new day.
I write entirely in English; Tagalog chauvinists chide me for this. I feel no guilt in doing so. But I am sad that I cannot write in my native Ilokano. History demanded this; if it isn't English I am using now, I would most probably be writing in Spanish like Rizal, or even German or Japanese.
I have always admired teachers because teaching, like the priesthood, medicine and writing, is a vocation. You don't become a teacher because you want wealth. It is the same with writing.
In the end, religion teaches us to value truth, justice and freedom.
Past middle age, some friends suggested that I should have my eyebags removed, the deepening creases on my face stretched. I often examined my face in the mirror, imagining how I'd look if I followed the suggestion. I decided to retain the old mug. I was too familiar and comfortable with it. And the final hindrance: the cost.
We must know our own roles. We should also know the roles that others play, and the rules such roles follow. In this manner, social harmony is maintained. It is when we overstep our roles, or act without knowing them, that social anarchy ensues.
We are shallow because we have become enslaved by gross materialism, the glitter of gold and its equivalents, for which reason we think that only the material goods of this earth can satisfy us and we must therefore grab as much as can while we are able.
We are shallow because our media are so horribly shallow. Every morning, I peruse the papers, and there is so little to read in them. It is the same with radio - all that noise, that artifice.
We recognize the distinctness of Asian art when we turn to its traditional forms, recognize it as Japanese, Chinese and Indian, even Balinese or Thai.
What is needed in the theater, in fact for all our art forms, is a vibrant critical tradition.
The Japanese covet important symbols - their heroic past as enshrined in Yasukuni, the Imperial family which has never been sullied by scandal.
Ninoy Aquino was a friend; I knew his faults, which were outweighed by his virtues.
It was in the sugar hacienda in Negros, Panay and in Central Luzon where I saw the injustices heaped upon the sugar workers, particularly the sacadas, or seasonal workers.
I am for poetry that is admired by peasant and aristocrat alike.
Colonialism subdues in many dulcet guises. It conquered under the pretext of spreading Christianity, civilization, law and order, to make the world safe for democracy.
Some lucky people can be funny without half trying because they actually look funny, because acting funny is in their bones - fun as funny, not funny as crude slapstick.
I tell young people who ask me about a future in writing not to go into it unless they get married to someone rich.
Like so many poor Ilokanos, my grandparents left their village, for it could no longer sustain them. The Ilocos is a narrow coastal plain where, so often, the mountain drops to the sea. Land hunger had always afflicted the Ilokanos and made them migratory.
From antiquity, Latin died but is still studied in seminaries and elite universities. So did Sanskrit in Asia. iI was replaced by Pali, but even Pali died, too. Linguists say the only ancient language which was resuscitated from the grave was Hebrew of Israel.
Indeed, the existence of class, of social hierarchy, is as old as man himself. It prevails in the jungle where strength determines hierarchy; among men, it has also been savagely the same, whereby rulers vested with power through personal combat, or through lineal heritage as in the case of royalty, ravage their subjects.
As artists, we must not go down to the level of the masa; we should bring them up, intellectualize our languages, create classics out of our folk arts. We can do this if we are true to our roots and strive for excellence.
Literature - Eastern and Western - abounds with stories, myths, legends about the search for youth, for eternal life.
Professional societies are sooner or later fractured by the ego of their leaders. Everyone wants to be president, chairman, CEO; no one wants to be a mere follower.
We are shallow because we are 'mayabang,' ego driven, and do not have the humility to understand that we are only human, much too human to mistake knowledge for wisdom.
Art, whatever form it takes, requires hard work, craftsmanship and creativity. As a writer, I know my grammar, cadence, the music of prose, and the art of the narrative.
You perhaps know me as a novelist. Literature is one of the arts - in fact, the noblest of the arts. That is not my opinion; it was first expressed by the ancients. As art, literature has many similarities with the other art forms.
The heart of the theater is the play itself, how it dramatizes life to make it meaningful entertainment. To achieve depth and universality, the playwright must subject himself to intense critique, to know human character and behavior, and finally to construct art from the most mundane of human experience.
The Japanese bureaucracy is unique. It is also very powerful, although it is now the object of so much criticism. Many of Japan's brightest made it a pillar of strength and continuity.
In a much larger sense, the problem of Sabah is directly influenced by the duplicity of imperial Britain. For whatever devious reason, the dismantling of the British empire created divisions and violence due to ethnic and religious differences.
Poetry is emotion, passion, love, grief - everything that is human. It is not for zombies by zombies.
I can't understand Urdu, Bahasa or Russian, but when the Pakistani Faiz, the Indonesian Rendra and the Russian Rosdentvensky declaim, I can feel the living throb of rhythm and music, the warmth and passion of their poetry, as do the hundreds, not a mere roomful, of poetry lovers in the audience.
