Introduction to Philippine Literature during the Modern Period (Under the Martial Law)
1. The Modern Period—1960 to 1975
(Under the Martial Law)
By Richard Croghan
By 1960 Philippine Literature in English had finished its period of tutelage and imitation. The literary
skill and originality of the Middle Period had also passed. A modern period of literature was beginning. This new
period of development was characterized by a growing sense of nationalism and by a deeper search for identity.
These themes were reflected in the writers of the 1960s. In that decade most writers revealed a sharper perception
of their own country and the problems it was undergoing. Students and the reading public were more interested in
reading contemporary Filipino writers than in studying foreign authors.
In 1960 the Republic Cultural Heritage Awards for Literature were started. The purpose of these annual
awards was "To initiate a movement for greater and more dedicated efforts in cultural advancement to complement
the country's program of economic development.” The first winner was N. V. M. Gonzalez, for his book, The
Bamboo Dancers (1959), since translated into Russian. In some ways the Cultural Heritage Awards were the
Republic's counterpart of the prewar Commonwealth Literary Awards of 1940.
The first Pro Patria Awards for literature were presented in 1961. The winners that year were Jose Garcia
Villa, N. V. M. Gonzalez, and Wilfredo Ma. Guerrero.
In 1962, the first Asian writers' conference was held in Baguio under the auspices of the Philippine center
of International P.E.N. A few years later, in 1966, the United Poets International was established in Quezon City
and Amado M. Yuzon became its first president.
W. H. Auden, in 1948, wrote a long philosophical poem entitled “The Age of Anxiety.” In this title Auden
sounded the dominant tone of much literature in the 1960s. In that decade the Filipino writers frequently wrote to
raise questions rather than to propose answers. Leonard Casper described this period well when he wrote, “In the
wary twentieth century, a story is often the experiencing of one's inexperience."
The simple romantic themes of the early period, and even the middle period, gave way V to themes of
confusion and violence in the late 1960s and early 1970s. Among the modern writers could be detected different
schools of thought. One group stressed the proletarian form of literature which had been introduced by Salvador
P. Lopez in the 1930s and 1940s. Among this group were included: Efren Reyes Abueg, Rio Alma. Lose Lacaba,
Ricardo Lee. Bienvenido Lumbera, Rogelio Mangahas, Ninotchka Rosca, and Rogelio Sikat. These writers aimed
at social reform and revolution through the literature. Their motto might be summed up as “Literature from the
Masses, for the Masses."
A second group of writers was interested in the art of literature itself. Unconstrained by political
considerations, they freely experimented with literary forms and themes. These writers reflected the ideas of Jose
Garcia Villa who in the 1920s stressed the need ✓ of "Art for Art's sake." Among the followers of Villa's theory
might be mentioned Tita Lacambra Ayala and Kerima Polotan Tuvera. From these different schools of thought
emerged Filipino writers who revealed a skillful command of the language and who reflected in their works the
political and social unrest around them.
In 1970 Graphic Magazine launched a literary contest as an incentive for young writers. The aim of these
awards was to contribute to the development of a significant national literature. The first prizes were given to
Resil B. Mojares for "A Sickness in the Town," to Luis V. Teodoro for "The Distant City," and to Ricardo I.
Patalinjug for “The Exile.” In 1971 Graphic widened this contest to include Filipino fiction and poetry. It became
the first English language magazine to provide such a contest.
In the Philippines, the literary world, as well as the nation itself, stood still on September 21, 1972, when
President Ferdinand E. Marcos declared Martial Law. The government established a board of censors to review
all printed materials. At first the Daily Express was the only newspaper allowed to continue publication. Later the
Bulletin Today and the Times Journal appeared.
With Kerima Polotan Tuvera as editor, Focus Philippines published its first issue on November 18, 1972.
This magazine has become one of the main outlets for new writers. But so far, the results have not been impressive.
Many modern writers are choosing Jopics from an earlier period and subjects that are trivial. They are escaping
from both the present and the future. At times the literature section has had to be filled with earlier stories by
established writers such as N. V. M. Gonzalez or Gregorio C. Brillantes. In poetry the contributions are often
sentimental and read more like prose than verse. In general, the writers seem afraid to truly express themselves.
There is an absence of new creative artists.
2. To encourage literary contributions, Focus held a literary contest "in recognition of the role of writers in
the building of a vital and creative society, and in order to promote the cause of Philippine writing." First place in
the short story contest for 1972-1973 was won by Isagani Martin for "The Faction of Fools." No second or third
prizes were awarded. In the Article or Essay Division, first place went to Benjamin Villalva for “A Saunterer
through Life.”
The Government has also provided encouragement for national artists. On May 15, 1973, Proclamation
No. 1144 provided that special awards were to be presented “...to accord recognition to artistic and literary
accomplishment at its highest level, and ... to elevate creative expression in all its forms to its rightful status as the
vanguard of the country's spiritual development.” For his literary accomplishments, Jose Garcia Villa received the
National Artist Award on June 12, 1973.
In April of 1974, the First National Seminar on Bilingual Education was held at the Ateneo de Manila
University. The general consensus was that there will be an increasing use of Pilipino as the medium of instruction
in all schools. This means that the quality of English will change. More Pilipino structures and expressions will
appear in written English, and perhaps in future years the writers will use a language that is really Englipilino or
Pilipinish. It appears that the future of Philippine Literature in English is uncertain.
But whatever the future may bring, the essays, short stories, and poems written since 1960 have proved
interesting. In this Modern Period of Philippine Literature in English the literary style and content have become
more Filipino than ever before.
Essays: Since 1960, many Filipino essayists have written about social or political questions, history, or
literary criticism. In the newspapers and magazines, journalists such as Maximo V. Soliven, J. V. Cruz, Amelita
Reysio-Cruz, and George Sison were widely read and discussed. In the writing of history, works of high quality
were written by Horacio de la Costa, S.J., Encarnacion Alzona, Teodoro Agoncillo, Guadualupe Fores-Ganzon,
Domingo Abella, Gregorio Zaide, Esteban A. de Ocampo, and Carlos Quirino. These authors all received Republic
Cultural Heritage Awards for their historical writings. Leonard Casper's The Wayward Horizon (1961) and The
Wounded Diamond (1964), as well as Miguel A. Bernad's Bamboo and the Greenwood Tree (1961), were
important contributions in literary criticism. In 1967 Antonio G. Manuud edited Brown Heritage. This book
contains essays of varying quality on Philippine cultural traditions, Tagalog literature, other Philippine literature,
and Philippine literature in English. Because of its wide range of topics this book has become an important
reference work for many teachers and students.
Among the modern essayists are: Francisco Arcellana, Miguel A. Bernad, S.J., Renato Constantino,
Horatio de la Costa, S.J., J. V. Cruz, Amelita Reysio-Cruz, Jose L. Guevara, Ray Hulog, Jose Lansang, Teodoro
M. Locsin, Nancy T. Lu, Cris Magdiwang, Raul Manglapus, Cesar Adib Majul, 1. V. Mallari, Nestor Mata, Sylvia
Mayuga, Carmen Guerrero-Nakpil, Benjamin M. Pascual, Jose A. Quirino, Francisco A. Robles, Alejandro R.
Roces, Alfredo R. Roces, George Sison, Maximo V. Soliven, Doris Trinidad, Kerima Polotan Tuvera, Teodoro F.
Valencia, Benjamin Villalva, and Leopoldo Y. Yabes.
Short Stories: During the Modern Period the artistic quality of the short story did not improve as rapidly
as it did during the previous thirty years. However, there was a development in the themes which the writers
treated, for the authors gradually shifted ✓ from themes of private problems and rural life to themes of national
problems and city life. Gregorio C. Brillantes portrayed individual anxieties in The Distance to Andromeda and
Other Stories (1960). Gilda Cordero-Fernando also centered on the individual in The Butcher, the Baker, the
Candlestick Maker (1962). Kerima Polotan Tuvera covered several different themes. She treated people, politics,
rural and city life. love and fashions in her works which appeared in Stories (1968), Author's Choice (1971), and
Adventures in a Forgotten Country (1975). The problems of city life were depicted by Andres Cristobal Cruz in
White Wall, Selected Tondo Stories (1964).
Perhaps the most prolific writer of this period was Jose A. Quirino. Aside from his numerous newspaper
articles and essays, he published Loneliness is a Volcano and New Stories (1966), Nocturne for Piano and
Heartstrings and More New Stories (1967). and The Three Faces of the Hero and Other Stories (1969).
In the late 1960s the national crisis of social and political unrest was reflected in several works.
Bienvenido N. Santos vividly portrayed a man's search for his national identity in The Day the Dancers Came
(1967). The realities and hardships of life were themes for the stories of Federico Licsi Espino, Jr., in The Country
of Sleeb (1969) Many young writers wrote to expose injustice or to reveal the conditions of the underprivileged.
Among the talented young writers was Ninotchka Rosca who published Bitter Country and Other Stones (1970).
Another promising young writer of today is Amadis Ma. Guerrero who published Children of the City and Other
3. Stories in 1974.
Among the short story writers of the Modern Period are: Cirilo F. Bautista, Gregorio C. Brillantes, Incs,
T. Camayo, Linda T, Casper, Isabelo T. Crisostomo, Andres Cristobal Cruz, Morli Dharam, Antonio Enriquez,
Federico L. Espino, Jr., Gilda Cordero-Fernando, Delfin Fresnosa, N. V. M. Gonzalez, Amadis Ma. Guerrero,
Nick Joaquin, F. Sionil Jose, Emmanuel Lacaba, Jaime A. Lim, Renato E. Madrid, Resil B. Mojares, Elsa Victoria
Martinez, Wilfredo D. Nolledo, Ricardo I. Patalinjug, C. V. Pedroche, Jose A. Quirino, Ninotchka Rosca,
Bienvenido N. Santos, Luis V. Teodoro Jr., Edilberto K. Tiempo, Edith L. Tiempo, Kerima Polotan Tuvera,
Romeo P. Virtusio, and Alfredo A. Yuson.
Poems: Filipino poets showed further development in skill and originality in the Modern Period. Like the
other writers of literature, the poets reflected and interpreted the events that were happening in the Philippines and
throughout the world. In the 1960s the growing sense of nationalism made people conscious of using their national
language. This spirit influenced certain poets who began writing "Bagay Poems." These poems were experimental
in that they used a language which Blas F. Ople coined as “Taglish" or Enggalog.” Among the contributors to this
movement were Rolando Tinio, Jose Lansang, Jr., Emmanuel Torres, and Cirilo F. Bautista.
The satirical mood of the 1960s was captured by such poets as Florentino Dauz, Alfredo O. Cuenca, and
especially Alejandrino G. Hufana. These poets turned away from the influence of Jose Garcia Villa and expressed
their own view of the modern world. Hufana's Poro Point (1961) presents an interesting anthology of lives.
One poet and literary critic whose works span both the middle and modern periods is Ricaredo Demetillo.
His poems have been published in numerous magazines and in his collections Daedalus and Other Poems (1961),
Masks and Signatures (1968), and Scarecrow Christ (1973). Another poet who has written during both periods is
G. Burce Bunao. His clear, forceful verse has been published in The Quiver and the Fear (1968).
In the late 1960s several new poets reflected the mood of questioning and unrest. Among the more talented
poets of this period was Emmanuel Torres. He won the Palanca Poetry Award for his collection Angels and
Fugitives (1966). His more recent poems have been published in Shapes of Silence (1972). A later Palanca Award
winner was Federico Licsi Espino, Jr., who published A Rapture of Distress (1968), Dark Sutra (1969), and
Counterclockwise: Poems 1965-69 (1969).
Another talented poet who emerged in the 1960s was Cirilo F. Bautista. He has published some excellent
verse in Summer Suns (1963), The Cave and Other Poems (1968), and The Archipelago (1970).
In the 1970s, many poets have contributed fine collections of verse. Mauro R. Avena has revealed his personal
insights in Rain and Other Poems (1970) and Evening Poems (1971). Perhaps the most interesting among the
modern poets is Hilario Francia, Jr., who won the Palanca Poetry Award for his Selected Poems (1970).
Among the modern poets are included: Celedonio G. Aguilar, Carlos A. Angeles, Mauro R. Avena, Tita
Lacambra-Ayala, Cirilo F. Bautista, Godofredo Burce Bunao, Rolando A. Carbonnell, Erwin E. Castillo, Albert
B. Casuga, Alfredo O. Cuenca, Florentino Dauz, Ricaredo Demetillo, Federico Licsi Espino, Jr., Hilario Francia,
Jr., Rita B. Gadi, Edel E. Garcellano, Gloria Garchitorena Goloy, Alejandrino G. Hufana, Nick Joaquin, Marra
Lanot-Lacaba, Jose M. Lansang, Jr., Virginia Lichauco de Leon, Ofelia Fernandez Limcaco, Virginia R. Moreno,
Valdemar 0. Olaguer, Donel B. Pacis, Wilfredo Pascua Sanchez, Epifanio San Juan, Jr., Artemio Tadena, Edith
L. Tiempo, Rolando Tinio, Emmanuel Torres, Jose Garcia Villa, and Manuel A. Viray.
Source:
Croghan, R.V. (1975). The Development of Philippine Literature in English (Since 1900).
