Bookwatch Vol.20 No.2 (Approved Cover)

This issue’s editor
Libay Linsangan Cantor is a published fiction/
nonfiction author and cultural journalist, media
literacy lecturer, advocacy filmmaker, and
gender rights trainer. A BA Film and MA Creative
Writing graduate from the University of the
Philippines Diliman, she is a two-time Palanca
awardee and a former director-scriptwriter of
children’s educational TV programs. You can
e-mail her at libay.cantor@gmail.com.
This issue’s contributors
Beverly W. Siy is a writer, translator
and copyright advocate. Her expertise
includes basic bookmaking, writing for
children, humor writing, essays and
memoirs, Filipino language and culture,
and copyright. She can be contacted at
beverlysiy@gmail.com.
Myta Santiago is a freelance writer and
social media manager. On the side, she
is a bookworm, a practicing yogi, avid
rock collector, and passionate pen & ink
artist. She currently lives in Makati, Metro
Manila, Philippines.
Mia Marci is a freelance art and lifestyle
features writer. She is also an English
teacher and a post-graduate student
who majors in Language and Literacy
Education.
This issue’s layout artist
This issue’s cover art by Gloria Concepcion Moralidad
Mariel Sandico is a multimedia arts practitioner and associate
lecturer from Mapua Institute of Technology. She manages Layag
Pilipinas, a nomadic artist collective for youth empowerment
through arts education.
NBDB Governing Board
Flor Marie Sta. Romana-Cruz
Chair
Reynaldo Antonio D. Laguda
Vice-Chair
Undersecretary for Finance and Administration
Department of Education
Ceferino S. Rodolfo
Undersecretary for Industry Development Group
Department of Trade and Industry
Felipe M. De Leon, Jr.
Chairman
National Commission for Culture and the Arts
Rowena Cristina L. Guevara
Undersecretary for Science and Technology Services
Department of Science and Technology
Ruperto S. Sangalang
Commissioner
Commission on Higher Education
Ani Rosa S. Almario
Vice President
Adarna House, Inc.
Maria Karina A. Bolasco
Director
Ateneo de manila university press
Dr. Isagani R. Cruz
Founder
Manila Critics Circle
Ruel S. De Vera
Journalist
Philippine Daily Inquirer
Alfredo C. Ramos
Chairman and President
National Book Store, Inc.
About the
National Book
Development Board
Vision
The National Book Development Board is the
leading catalyst for building a culture of reading
and authorship as well as an environment for the
growth of the book publishing industry towards
making it globally competitive.
Mission
• Promote investments in the book industry
• Develop an environment conducive for the
growth of the book publishing industry
• Enhance market growth of the book industry by
promoting lifelong learning through reading
Bookwatch is the official publication of the National Book Development Board. It is not for sale.
All rights reserved. No article or visual material may be reproduced or altered without permission
from the authors and artists. NBDB retains the sole printing rights of the journal. However, the
journal may be freely copied digitally and shared. Copyright of the commissioned and solicited
articles and visuals are owned by the NBDB until publication, whereupon copyright reverts back
to the authors and artists.
For inquiries please call 570-6198 or 697-1804.
message from the chair
Flor Marie Sta. Romana-Cruz
Chair, NBDB
http://www.booksphilippines.gov.ph
Unit 2401
Prestige Tower
F. Ortigas Jr. Road
(formerly
Emerald Ave.),
Ortigas Center,
Pasig City
T
here has never been a more temperate climate for the prosperity of children’s books and young
adult literature. Fiction for young people has steadily improved in quality over the last few decades
with a readership base that includes a significant number of adults. Around the world, there are a
burgeoning number of writers of young adult fiction whose works now merit a separate bestseller
list. The spate of film franchises based on YA series is proof of the genre’s wide-reaching appeal and
longevity. No doubt, children who first clamped their hands around Harry Potter and the Sorcerer’s
Stone almost twenty years ago are now the young professionals who will be first in line for the release
of the epilogue to the series.
In the country, Philippine literature for young people has experienced the same success. The 4th
National Children’s Book Awards–a biennial award for writers and illustrators of children’s and young
adult literature–awarded book titles with the same high quality polish of foreign books but geared
toward a local audience. Favorites such as Xi Zuq’s Supremo and Edgar Samar’s Si Janus Silang at ang
Tiyanak ng Tabon have their highly deserved spots in the list of finalists. It’s my sincere belief these
books prelude the wealth of stories (not to mention the lustrous illustrations and graphic art) that
Filipino readers have to look forward to in the near future.
This issue of Bookwatch will appeal to followers of young adult literature with the following features:
“Writing for the Young” by editor Libay Linsangan Cantor; “What YA is to Filipinos and The Graphic
Revival of the Comic” by Mia Marci; and “Big Benefits of Bilingual Books for Children” by Beverly Siy. I
trust that this will be another enjoyable read for you, our loyal reader. Thank you again for picking up
this copy of Bookwatch. It has been our constant pleasure to report the exciting developments from the
Philippine book publishing industry. Read well and READ PINOY.

Vol. 20 No. 2 2016
Writing for the young:
Trends and trajectories of
Philippine literature for
children and young adults
Copyright and the
Filipino Author
A Fair World for Books:
Your Calendar of International Book Fairs
Recently Released and
Upcoming Titles
NBDB and PBBY name
best children’s books
Bestseller Lists
The Illustrated Word
What YA is
to Filipinos
Big Benefits
of Bilingual
Books for
Children
c o n t e n t s
features
06
3915 32
34
23
20
37
16
The Graphic Revival
of the Komiks
28
notes from the editor
T
his volume of Bookwatch is released at the heels of the National
Children’s Book Day celebration here in the Philippines. It is during
the month of July when this celebration occurs in the country. Aside from
encouraging young Filipinos to read more books, older Filipinos are also
encouraged to participate in activities that will move them to enhance the
culture of reading in our society, hopefully to have these adults as partners
of the young in enhancing a general appreciation of Philippine literature.
Writers, illustrators, and publishers are also given citations to encourage
them to produce more quality materials for the youth.
But as reading advocates that champion local publishing, we also have to ask
a crucial question that often gets repeated in local literary gatherings: Are
young readers reading local literature?
Studies have shown that, despite the country being dubbed as “the social
media capital of the world,” and with all other media types distracting our
population on a daily basis, we Filipinos still love to read. Yes, we read books,
we read newspapers, and we even read comics. But as fictionist Jose “Butch”
Dalisay Jr. once lamented to a crowd of writers in a lit fest, he said “Filipinos
read. They’re just not reading us.”
Ouch. That was a few years back. How is the scene today?
With so many video games on the market, along with foreign TV shows and
movies for kids and teens, how does the Filipino youth accept and assess
Filipino literature written especially for them?
This issue tries to give an overview of how far Philippine literature has
come, regarding the world of children’s literature, young adult literature,
and comics-graphic novels (for the young and young at heart). We talked
with creative writing professors who teach these subjects and encourage
P.S. The editor welcomes comments, suggestions and queries.
Please e-mail her at libay.cantor@gmail.com.
would-be writers on honing this craft. We discussed with illustrators to
give us a picture of how it looks like from their end of the pen. We asked
authors about their own assessment, their creative processes, and their
own challenges when it comes to publishing and marketing both here and
abroad. Tides are changing. Readers are still reading, and as we found out,
they’re also reading us, but perhaps the platforms to reach them have also
evolved. We also try to see where the youth now hang out online.
Philippine literature for the young is not entirely a new entity. It has been
there for decades. Perhaps it’s time we revisit and see how we could help
its growth and enhance its reach—for the future of its existence, and for
its future audience.
Happy reading!

0706
Bookwatch Vol. 20 No. 2
Wr t ng Youngfor
theTrends and trajectories of
Philippine literature for
children and young adults
By Libay Linsangan Cantor
As global markets involving children’s literature and young
adult literature are now expanding, what’s happening in the local
market? What has been published? What else is being written? We
tapped practitioners in the field to share insights about the topic.
Perhaps like love, reading has no gender.
Regardless of an individual’s educational
and social class background, reading or
appreciating literary forms is engrained in the
Filipino as soon as one could be taught how to
read after learning how to speak. More so, like
love as well, reading certainly has no age, for
human beings as young as one or as “young
at heart” as 99 could enjoy content geared
towards them, regardless if these are printed or
drawn or printed-and-drawn.
One look at the shelves of local bookstores
would reveal special sections dedicated to
materials for young readers. The children’s
literature (CL) section, for instance, has
subdivided shelves that cater to readers of
varying literacy skills. Meanwhile, over at the
young adult (YA) section, lines continue to
be challenged as topics and themes cross over
from this genre to “nearby” genres such as
the “new adult” section. Children and teens
are always welcome to select from the shelves
for older readers (perhaps with some parental
guidance exercised) as adult readers althrough
these CL/YA sections to pick their favorites.
No matter who’s reading what, the important
thing is that there are publications geared
towards children and teenagers of all shapes
and sizes—and more are being published both
online and in print.
But first, what do we consider as children’s
literature and young adult literature)? What
have Filipino writers been scribbling for the
younger Filipino readers? For this article, we
talked to two professors from the University
of the Philippines (UP) in Diliman, respected
writers in their own right, as well as a
children’s book publisher and writer, to share
their thoughts on these matters.
Defining CL and YA
When we say children’s literature and young
adult literature in the Philippines, folks might
think that this is a rather “new” genre in
our market, or at least ever since the Harry
Potter series came out (or Twilight, depending
on one’s generation). Perhaps people aren’t
considering that our literary forebears in these
genres go as far back as the early 1900s, at
least in print. We also grew up learning that
the Philippines has a rich background in oral
literature, and it’s safe to assume that there are
stories there tailored for children and young
adults. Various provinces and regions in the
country have their own sets of mythological
figures, so they are also accompanied by
their own folktales which include stories for
younger Filipinos. Eventually, some of these
tales ended up in print form.
Today, traditional and modern options are
both available in the Philippines. Categories
exist to help us choose materials, but some
lines are blurred by several factors. How could
we comprehend the divide?
Prof. Heidi Eusebio Abad, a UP Diliman
professor teaching writing for children and
writing for young adult courses both in the
undergraduate and graduate levels, delineates
for us—amidst problematic categorizations—
the age segmentation of this target market.
“First of all, let me say that the definitions
asked for are difficult to pin down because
of the fluidity and fast rate by which both
terms in the phrase ‘children’s literature’ are
evolving. I consider children’s literature as
an ‘umbrella term’ that covers all the main
genres of literature, namely short story,
poetry, novel, drama, nonfiction, and if you
will, comics. It is also a less author-centered
genre because it emphasizes the targeted
reader, which is children, whose ages can
range from 1 to 25 years old. This wide age
range brings us to the young adult category
(actually a sub-classification of children’s lit).
The various YA age brackets would be the
‘tweens’ (from 10-13 years old), the ‘young
teens’ (from 13-16), the ‘older teens (from
17-20), and even the ‘new adults’ (those in
their early 20s),” Abad noted.
For some writers like UP Diliman junior
faculty member Gabby Lee, who also teaches
CL and YA literature, she researches on how
publications understand the delineations. “I
usually follow publication guidelines when
defining these terms, since there’s very little
overlap. Children’s literature is usually texts
that are intended for ages 0-12 (though this
can also be subdivided into children from
0-10 and then middle grade readers from
10-12 years old).” Lee also raised a good
point about CL and YA publications: that
sometimes, it’s not the writers who define the
market segmentation, but the publishers, and
sometimes against the wishes of the writers.
“YA is usually texts meant for ages 13-18, and
more often than not depends on the marketing
behind the book. The Outsiders by S.E. Hinton
was intended for an adult audience but her
publishers marketed it for teen readers.”
Since comics are also being mentioned in
the discourses on CL and YA lit, Lee also
Some children’s books in the Philippines still carry stories that teach moral lessons or illustrate moral values for kids, like foremost children’s
content writer Rene Villanueva’s Ang Batang Natutong Sumunod sa Magulang and Segundo Matias Jr.’s Ang Usok at si Daddy, both published by
Lampara Books.
differentiates this format in relation to other
formats popular in these genres, especially
now that comics is also being called by another
name today: the graphic novel. “Graphic
novels are, as the name implies, a novel-length
narrative that uses comic book techniques of
the juxtapositions of words and pictures to tell
a story. The confusion may be between the
graphic novel and the picture book, which is
really about the relationships between words
and pictures. The graphic novel uses the gutter
(the spaces between comic panels) to control
Gone are the days when
the characters in children’s
lit (especially in fairy tales)
were ‘cardboard cut-outs’ of
heroes and villains. Today,
more characters are neither
absolutely good nor bad;
they just ARE.
- Heidi Abad
“ “

08 09
Bookwatch Vol. 20 No. 2 BookwatcH Vol. 20 No. 2
narrative pacing. Picture books operate on
using spreads, with words integrated into the
image, while comics use the speech bubble
and narrative boxes to separate words and
pictures.”
Abad also recalls earlier examples of this
format. “The graphic novel may have its own
history and development, but to my own
experience as a child, this reminds me of
the famous Classics Illustrated collection of
novels and stories (not necessarily written for
children) that were rendered in comics form.”
CL and YA in and out of school
Now that the materials, publishers and
the readers have been included in trying
to understand CL and YA, another player
should be considered: the education sector.
In the Philippines, some impoverished
families sometimes consider it a luxury to buy
books, so it is often
the case that students
get introduced to
children’s literature
through their
textbooks, integrated
as part of their formal
lessons. This is why
writers and publishers
work closely with
the education sector
in fine-tuning their
offerings for young
readers.
In a 2011 Kritika
Kultura online journal
article by UP professor
Dr. Rosario Torres-
Yu, she pointed out
these intersections of
the academic and the literary, with varying
nuances and subject positions, as stated in this
excerpt:
“The function of children’s literature in
education is well established in theory and
practice as a fairly good venue for teaching
children skills, moral, religious and social
values, and aspirations, as well as for modeling
social roles. This thinking rests on theories of
growth taken from developmental psychology
(Piaget, Vigotsky), social learning in education
(Bandura), and theories of social and cultural
construction in sociology (James, Prout).
In literary study and criticism, children’s
literature is attracting new interest as an
interdisciplinary area for those in childhood
studies, literature, education, development
and culture. Cultural studies gave way to a
more serious consideration of marginalized
forms of cultural expression such as children’s
literature. “
Indeed, before CL materials became stand-
alone content, early educators found the
need to incorporate stories in children’s
textbooks as a way of making lessons more
engaging. And this is where many children
before learned about local folktales, myths,
legends, and various creation stories: through
textbooks. Eventually, materials for young
readers were developed outside of textbooks.
This crucial intersection of literature and
education might also help explain the contents
of what we earlier read as CL and YA in the
Philippines, as Abad expounded. “Locally
published stories in the 1970s to the early
1990s focused more on retellings of folktales,
myths and legends. For the more original
stories, the trend was to be more didactic and
educational. Perhaps citizens of a country, as
children, learn about their culture through
the folktales we hear from our elders—and
eventually read.”
Outside of the academe, there have also
been pioneering efforts. In the 1920s, the
popular magazine Liwayway already carried
many children’s stories in the form of
folktales penned by Severino Reyes under
his famous “Lola Basyang” pen name. When
the Americans colonized the country, they
also brought with them their collection
of children’s literature. Jumping from our
own folktales to the Americanized folklore,
young Filipinos back then enjoyed children’s
stories with “moral lessons” embedded in
them. A popular example is the Aesop’s Fables
collection as well as the rhyming words in
Mother Goose or Dr. Seuss books. And who
could forget fairy tales that regaled us with
“once upon a time” tales which, more often
than not, end with the characters living a
“happily ever after” picture-perfect life.
Filipino children who were starting to cross
age brackets also crossed over to other reading
materials. Also popular in the Philippines
were young adult series such as the Nancy
Drew detective series and the Hardy Boys
mysteries, written and published in America
during the 1920s-1930s, revised in the 1960s,
and revived-continued-updated during
the 1980s, the 2000s and even until today.
Libraries of selected local schools carried
these series for elementary and high school
kids to enjoy. Inside classrooms, high school
kids also shared with each other their copies
Local authors, publishers, and children’s
rights organizations team up from time to
time to produce special projects such as
Augie Rivera’s penned children’s book series
Batang Historyador. A project by UNICEF and
published by Adarna House, the aim of the
books is to teach children about the important
eras in the history of the Philippines.
Acclaimed children’s book writer
and YA novel writer Carla M. Pacis’
works are originally written in English.
Anvil Publishing Inc. recently released
translated Filipino versions of her
YA novels like Enrique El Negro and
OCW. (book covers courtesy of Anvil
Publishing)
of the Sweet Valley High series and other
romance-focused publications popular during
the 1980s and 1990s.
Literary connections, cultural
disconnections
Indeed, many foreign (mostly American)
YA novels reached our shores. However,
some of us started to question the content of
these novels, especially the culture it carries.
Filipino-American author Cecilia Manguerra
Brainard, in her preface on Growing Up Filipino:
Stories for Young Adults, a YA anthology she
published and edited, echoed this sentiment
when describing her reading habits growing
up in the Philippines. “While I enjoyed those
books, I would have wanted books with
Filipino protagonists, heroes, and heroines
who could have taught me how to negotiate
life as a Filipina youth.”
Perhaps every generation shares the same
thought, and some of them, like Brainard,
chose to be proactive about it. In his
introduction in Bagets: An Anthology of Filipino
Young Adult Fiction he co-edited with Carla
Pacis, Eugene Evasco mentioned that in 1996,
the term “young adult” was officially adapted
in Philippine literature when a group called
the B1 gang spearheaded the publication of
YA materials. Publisher, editor, and head
writer Armin Santiaguel gathered a group of
writers in Filipino and came up with what he
proclaimed as “the first and only young adult
book series in Filipino.” However, Evasco
also aired his doubts whether this pioneering
series would be considered as an important
contribution by the academe since it was
published in a popular format.
Regardless of what scholars might think,
the concern still goes back to the primary
audience: the children and young adults.
Segundo “Jun” Matias, Jr., a publisher
and author like Santiaguel, believes in this
sentiment in defining CL and YA. “Lahat ng
issues ng mga tauhang nasa edad 14 hanggang 18,
lahat ng kuwento tungkol sa kanila ay masasabing
YA. Lahat ng kuwentong kawili-wili sa mga bata
ay matatawag na children’s literature. Pero
may mga temang radikal o sensitibo gaya ng mga
kuwentong may kinalam sa krimen, sex, digmaan,
at iba pa.” (All issues of characters aged 14-18,
all stories about them could be considered as
YA. All stories that children find entertaining
could be considered as children’s literature.
But there are also radical or sensitive themes
like stories involving crimes, sex, war, and
others.)
Aside from defining the genres from the
point of view of the audience, like what Prof.
Abad mentioned, Matias also adds another
important strategy for writers to consider.
“Mahalagang isaalang-alang ang paraan ng
pagkuwento sa mga radikal o sensitibong paksa para
sa mga bata.” (It’s also important to consider
the way we narrate radical or sensitive stories
for children.)
Of Filipino writers and crafting topics/
characters for the young
How are Filipino writers telling stories to
children and young adults? Matias mentioned
that topics—and perhaps the writers
People took their writing to the Internet because it was free
and there weren’t a lot of rules, and there was a large and
supportive community. Many of them succeeded. Most of
them didn’t. There will always be a space for the print novel.
But if a writer refuses to broaden their horizons, that doesn’t
mean that the horizon isn’t there.
- Gabby Lee
“ “
themselves—are getting more daring in the
subject matter they want to tackle in their
stories.
Prof. Abad also cites evolving themes and
topics. “By the year 2000 until now, more
stories for children and young adults explored
themes and topics which used to be considered
taboo or not yet fit for young readers. It used
to be that stories on death, youth gangs,
bullying, sexuality, drug addiction, or
alcoholism, were the more daring themes in
children’s lit. Now, there are topics on family
discord and problems (e.g. parental separation,
financial trouble), children with special
needs, the OFW (overseas Filipino workers)
phenomenon, LGBT (lesbian, gay, bisexual
and transgender) issues, environmental
concerns, socio-political events as they affect
children, and even dystopian views of society.”
Stories and situations are not the only ones
presenting new approaches in local CL and
YA literature. Characters are also becoming
diverse. Whether they reflect realities of
children during specific eras or are fantastical
creations that challenge traditional storytelling
boundaries, our local CL and YA literary
materials are coming of age, so to speak.

Speculative Fiction YA writer Gabby Lee and
her collection of stories entitled Instructions on
How to Disappear published by Visprint Inc.
(images courtesy of Ms. Lee)
were also creations that look and sound
awfully familiar. They say E.T., we say Kokey?
I leave that for another discussion someday.
As a creative writing teacher at the UP
College of Arts and Letters, Prof. Abad has
also seen some form of mimicry happening
with her students who are fans of foreign
CL and YA literature. “It is tempting to say
that local writers are mimicking these dark-
themed trends, especially in the YA dystopian
novels and LGBT stories. I’ve had my share
of batches of students who went through
different trends of the time, or kung ano
‘yung uso na issue (whatever issue is trending)
like bullying, child abuse, environmental
problems, sexuality, LGBT issues, dystopian
systems. Even if I sometimes complain about
the gaya-gaya (mimicking) mentality, I choose
to see it as part of the starting out/growing
up stage of a writer. I remember starting out
by copying the trend of ‘modern myths’ or
inventing my own ‘the legend of...’ (stories).”
Matias, however, calls it differently. “Mimicry
is not the word. We don’t mimic. Inspired,
yes. (It’s) healthy. Kasi ang ibig sabihin ‘buhay’
ang mga writers at nalalaman niya ang trends.”
(This means writers are ‘alive’ and they’re
attuned with trends.)
Indeed, even seasoned literary writers also
couldn’t escape from this early process. From
the point of view of a writer, especially one
writing in this era, Lee shared her insights
about this. “Given that we are now writing in
the age of globalization and a more democratic
playing field, there will always be influence
within and beyond national borders. One of
the earliest lessons one learns as a writer is
10 11
Prof. Abad gives examples. “Gone are the days
when the characters in children’s lit (especially
in fairy tales) were ‘cardboard cut-outs’ of
heroes and villains. Today, more characters
are neither absolutely good nor bad; they just
ARE. This probably helps the young readers to
relate more to such characters because people
are a mix of both sides in real life. However,
this trend also becomes a bigger challenge to
the writers because they still have to strike
a balance with this ‘neither-good-nor-bad’
treatment in stories.”
It is indeed based in reality if protagonists
in CL and YA literature veer away from
inhabiting a world clearly delineating black
from white to entering realms of gray. Matias
has an explanation for this. “May interes ang
readers sa mga character na dark at hindi safe.
Mas gusto nila ang mga tauhan na may flaws.
Siguro, pakiramdam nila na mas tao ito: marunong
magkamali at gustong malaman kung paano
ang character journey niya.” (Readers are
interested in dark characters that are not ‘safe.’
They want characters with flaws. Maybe they
feel that these characters are more human:
that they could also make mistakes so they’re
curious to know their character journeys.)
Going outside the Philippines, however, and
looking into the foreign scene, there is no
doubt that western materials infiltrating local
shores would find fans among local audiences.
But are local writers also mining these foreign
materials and mimicking them? As a former
writer of children’s content for television,
I have witnessed myself that this “trend” is
actually a practice in local television. There
have been original creations, sure, but there
to imitate, and then figure out what works/
what doesn’t work for you. Being a Filipino
writer isn’t just about the language, but an
ability to capture the culture and render it in
an authentic way.”
Literary attractions and other media
distractions
Indeed, authenticity has always been a
challenge for writers in any given genre. Is it a
bigger challenge today, especially for CL and
YA lit writers, since their audience’s attention
span gets shorter and shorter as the world gets
more and more “high-tech,” so to speak?
Prof. Abad encounters this “fact” in her
classes. “To my view, young readers today
demand the same ‘high entertainment’ that
they are now exposed to in their techie world.
The multimedia gadgets that they are used to,
the information overload from the Internet,
the fast-paced and quick-changing visual and
auditory stimuli around them may prove to be
a challenge to the static words printed on a
page.”
As a writer, Matias also finds this aspect as
a challenge regarding storytelling, one that
writers of today should accept and work on.
“Challenge ang malaman ang bawat facet ng
isang character. Challenge sa akin ang paggawa
ng non-formula na
kuwento, out of the box,
risky stories, o hindi
pangkaraniwan. Sa dami
ng distractions o iba-
ibang klase ng media,
kailangang gumawa ng
kakaibang mga kuwentong
hindi pa nababasa o
napapanood. Kailangang
mayaman sa kuwento ang
writer.” (It’s a challenge
for me to create non-
formulaic stories, out
of the box, risky or
extraordinary. With
so many distractions
coming from various
media, we need to
create different stories
that haven’t been read
or seen on the screen
yet. A writer needs to be rich in
stories.)
There’s no denying that writers
are indeed rich in inspiration
and materials. But what about the existence
of newer publication venues existing side by
side with traditional systems? Aside from
being visible in print, today’s media-saturated
world has also seen the proliferation of online
publishing avenues.
Lee pointed to one of the more popular
websites-apps that let authors self-publish:
Wattpad.com. “Wattpad is simply an offshoot
of communities merging on the Internet.
Prior to Wattpad, there was Fanfiction.net
and Archive of Our Own (AO3), fandom
zines and fan conventions. People just took
their writing to the Internet because it was
free and there weren’t a lot of rules, and there
was a large and supportive community. Many
of them succeeded. Most of them didn’t.
Those who succeeded either got there because
they wrote something that resonated with
an audience, or filled a gap in that audience.
There will always be a space for the print
novel, the literary novel. But if a writer refuses
to broaden their horizons, that doesn’t mean
that the horizon isn’t there.”
The Canadian company behind Wattpad
counts millions of subscribers and visitors
coming from all over the world, mostly
comprised of younger netizens. Like a social
media network, one can create an account
and curate their reading lists bookmarked
from available materials within the platform.
Readers could remain readers in
this venue. Practicing or aspiring
writers who are in this venue
also have the option to publish
their works. But, similar to the
Prof. Heidi Eusebio Abad teaches writing
for children and writing for young adults
courses at the undergraduate and graduate
levels. Some of the children’s books she
authored are Polliwog’s Wiggle, Big World
For Little People, and the award-winning
Abot Mo Ba Ang Tainga Mo? (author photo
courtesy of Ms. Abad)
blog, it has earned criticism from observers
who find a lack of “literariness” in the
published materials on the site, with this kind
of criticism coming from some prominent
figures in the local literati.
But as writers who are also teachers, both
Lee and Abad—coming from two distinct
generations—share the same opinion
about this issue. Lee, in particular, is very
encouraging to fellow writers trying this
outlet, as she could relate to this process.
“If they really want to write, good for them.
‘Literariness’ can be learned by reading more,
writing more, and failing more. I began my
writing career online, writing fanfiction.
Learned about plot, characterization, use of
language, and all the other elements of writing
good stories on the Internet before I even
stepped into a creative writing classroom. You
write where you can, and wherever you can
get readers. And if you really want to shoot for
the moon, then you will.”
Abad also recognizes the value of these
developments. “I’ve heard of the debates
on how the quality of writing suffers from
this freedom to publish one’s work online. I
choose to look at the brighter side by saying
that at least, more people are now writing and
reading AND learning to be more critical
of what is out there. As a published writer, I
know it makes me more vulnerable to scrutiny

of the more daring themes. I’ve observed,
in my twice attendance of the Asian Festival
of Children’s Content and twice attendance
of the Asia Pacific Writers and Translators
Conference, that our ideas about, practice of,
and potential for further developing CL/YA
lit in the country are, in fact, at par with our
Asian neighbors. On my part, I try to address
whatever gaps through my own works and by
holding workshops and teaching the courses
in university. I am happy when the works
done by my students get published later on
or even win literary awards. I am especially
proud of Sophia Lee, Cyan Abad-Jugo, Raissa
Rivera-Falgui, Aneka Rodriguez, and Carlos
Malvar, because their writing projects in my
class had something ‘different’ from the rest.”
In addition, Abad notes that, through time,
growth is also manifesting in the local
publishing world. “Our local publishers have
been generally supportive of the genre. Aside
from the earlier established publishing houses
1312
and criticism. What the writing and reading
public should still learn to do is to be more
critical of the things they write and read, but
in a constructive and educational way. I prefer
to keep away from mere bashing, trolling,
bullying, or whatever else you may call it.”
For a writer who’s also a publisher, Matias
is very much into this scene, having his
own young adult novels publicized in the
site. Furthermore, he encourages writers to
connect via these venues in order to reach
out more to their target audience. “Hanggang
ngayon ay nakakatulong pa rin ang pag-i-
engage o pakikipag-connect sa mga readers sa
pamamagitan ng iba’t ibang klase ng social media.
Sa pamamagitan nito, nakakatulong ito sa sales
ng libro. Ito ay napatunayan ng Wattpad.” (Up
to now, it helps to engage and connect with
readers through various social media. This
helps with book sales. Wattpad proved this.)
Publication risks and risqué themes
for kids and teens
When the world is your audience and the
Internet is your publisher, it seems that the
sky’s the limit when it comes to choosing
themes to write and exhibit online. And when
you’re a writer who was burdened by earlier
sanctions because this or that publisher found
your manuscript as “too risqué for children or
teens,” then perhaps this explains why sites
like Wattpad boomed, as it provides a breath
of fresh air to stifled scribes.
In a predominantly Catholic country like
the Philippines, one that still adheres to
conservative dogma and therefore influencing
the conservative pedagogy found in basic
educational systems, both the society at large
and the schools within it could be serving as
covert culprits in shushing writers who want to
push the envelope further. And this unspoken
rule might also be influencing publishing
houses to choose materials carefully, and
conservatively. Are we “babying” our youth
too much? When do we expect them to grow,
then, as readers and thinkers? And how?
Abad points to specific topics that Philippine
publishers still treat as “not for kids” in
this digital age. “As of now, the strongest
example of what I know to be still risqué
for established publishers is the LGBT issue.
Bernadette Neri wrote what I consider to be
a poignant story of family love, Ang Ikaklit sa
Aming Hardin (Sunflower in our Garden), but
she had to self-publish this book.
There is also Rhandee Garlitos’
heartwarmingly funny Ang
Bonggang Bonggang Batang Beki (The
Fierce and Fabulous Boy in Pink).
I would not push the issue, though,
with publishers, since they either
have their own mission/vision for
their publishing house, or they still
have to consider the business side
of publishing. I honestly believe
that a good story will eventually
get published, as long as the author
does not give up.”
And as an author who doesn’t give
up, Lee could vouch for being
strong and true to one’s material,
no matter what. “Sexuality and
the body are two of the themes
I’m interested in, and obviously
they are problematic given the
broader movements of kid lit/YA since there’s
the obvious self-censorship as well as systemic
censorship from parents and schools. I feel
that the idea behind this is because of: the
conservative nature of Philippine society;
the idea of ‘protecting’ impressionable young
minds from these so-called ‘bad influences,’
and; market-driven forces behind the sales
of YA books. However, I am of the personal
opinion that it is dependent on the author on
how they handle the topic they chose, and if
they are willing to stand by it. Perfectly great
books have been censored for a whole host of
reasons, and most of them having to do with
either the parents/teachers not reading the
book, or censoring the book for a superficial
reason.”
In the past issue of Bookwatch, this discussion
was also mentioned when Adarna House
gave the example of the Janus Silang series
being pulled out from certain private schools.
Edgar Samar’s best-selling Filipino YA novels
apparently didn’t earn brownie points with
educators who found his teenage protagonist
Janus’ swearing as risqué. Yes, schools have
standards and there’s the “good manners and
right conduct” grade to uphold, but what
about literature mirroring what’s happening
in real life? Yes, there are kids who are angelic
and there are kids who use cuss words. So are
we really “babying” the young Filipino reader
too much?
Abad provides insights as an educator. “If what
you mean by ‘babying’ is that the children are
given ‘safe and sanitized’ stories, there’s a bit
of truth in it in the publishing industry, but
more strongly in the choice of books to be
read in the schools. In my classes, though, I
am more lenient, tolerant, and daring—even
if as a person, I am generally conservative
hahaha!”
Considering that this is children and young
adults we’re talking about—and writing
for—writers and publishers of these genres
still have to hold on to one glaring truth, as
highlighted by Abad. “I would not want to go
to the extreme of exposing the children to all
these depressing scenarios, violent situations,
morally perplexing conflicts, and unresolved
stories without providing an element of
solace or security. They ARE children, after
all, who are still in the process of becoming
their own persons, and of figuring out this
strange, chaotic world of ours. Writers for
children have to care about and take care of
their readers. Not all writers may agree with
me but I still stand by my belief that writers for
young readers have that added responsibility
to provide hope, even in stories that deal with
the ugliness in this world; to suggest ways by
which to make this world a better place; and
even to guide the young readers into making
‘good’ life choices along the way.”
Take it from a publisher when he also
encourages writers to write, risqué topics
be damned. Matias adds, “Wala dapat limit
sa concepts. Dapat ay open magsugal ang isang
publisher sa kahit na anong topic at genre.”
(There should be no limit in concepts.
A publisher should be open to gamble on
any topic and genre.)
And for someone who has had exposure
to the CL and YA lit scene outside of the
country, Abad also notes that, regardless of
the existence of limitations, the Philippines
is not that far behind its Asian counterparts.
“I think we aren’t too far behind in terms
of the topics that have been tackled already,
though it may be difficult to publish a few
From online to offline: digital
words find space and a new life
in the print arena, thanks to their
primary exposure and garnered
popularity in sites like Wattpad
and zines that cater to teens such as
CandyMag.Com.
TV scriptwriter-turned children’s book
writer /publisher Segundo Matias Jr. and
his YA series written in Filipino called
Moymoy Lulumboy about a teen who
discovers that he’s not an ordinary mortal
but a descendant of influential figures in a
parallel fantasy world populated by familiar
Philippine mythological folk creatures.
(author photo courtesy of Mr. Matias)
Wala dapat limit sa
concepts. Dapat ay open
magsugal ang isang
publisher sa kahit na
anong topic at genre.”
(There should be no limit
in concepts. A publisher
should be open to gamble
on any topic and genre.)
- Segundo Matias Jr.
“ “

Fully Booked
Top Ten bestsellers (April to May 2016)
Philippine Cookery: From Heart To Platter by Tatung Sarthou
The Rise of the Pinoy by Mike Grogan
12:01 by Rusell Molina and Kajo Baldisimo
After Eden by Arnold Arre
Wounded Little Gods by Eliza Victoria
Zsazsa Zaturnnah: Sa Kalakhang Maynila Blg.2 by Carlo Vergara
Lost by Rob Cham
Imelda Romualdez Marcos -The Verdict by Carmen Pedrosa
Jose Rizal -El Filibusterismo 2015 Edt. by Leon Ma. Guerrero
Where Should You Invest by Marvin Germo
1
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3
4
5
6
7
8
9
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also like Becky Bravo’s children’s stories in
English because of her witty sense of humor,
and Carla Pacis’ dedicated works in the YA
novel. I am impressed by Lara Saguisag’s
poetry for children because she is still able to
make it ‘sound and feel’ Pinoy in spite of her
use of English.”
Writers also learn from each other, and
there should also be a healthy exchange and
dialogue. Thanks to efforts like the National
Children’s Book Day and similar events, the
discourse is alive. Within the classroom and
outside of it, the discussion should continue
and be encouraged, as Abad highlight in her
recollection. “Of course, I have to mention
Mailin Paterno’s maturity in the craft of
writing for children. From her, I first heard
the advise to learn how to ‘distill the essence
in language’ especially when writing for
younger children. Every word, every line
should count. This is what most writers who
are used to ‘showing off their rhetoric’ find
difficult when they venture into writing for
children.”
Indeed, Philippine children’s literature and
young adult literature have come a long way.
And with writers, publishers and readers
supporting the genres, CL and YA lit will
definitely travel farther, and further.
collection of short stories previously published
by the older generation of writers who wrote
about childhood tales and experiences such
as our National Artist for Literature NVM
Gonzalez, Gregorio Brillantes, Tita Lacambra
Ayala, Kerima Polotan Tuvera, and other
luminaries. Volume 2 features stories written
by a younger generation of writers like Luis
Katigbak, Lakambini Sitoy, Vicente Groyon,
and Tara FT Sering, among others.
Independent publishers are also growing, with
writers combining efforts to taking advantage
of online publication venues. One such project
is Sola Musica: Love Notes from A Festival (2014)
containing four beach fest-set stories by Ines
Bautista-Yao, Mina Esguerra, Chinggay
Labrador, and Marla Miniano, available in
digital format and paperback format.
Even Filipinos are writing from abroad.
As previously mentioned, Fil-Am Cecilia
Brainard came out with Growing Up Filipino:
Stories for Young Adults (2003) composed of
stories written by Filipinos based in the US and
in the Philippines. It was first published in the
US by her independent publishing company
and was also published in the Philippines later
on by Anvil Publishing. She came out with
a second volume called Growing Up Filipino
II: More Stories for Young Adults in 2010. Both
volumes are available as print books and are
also sold via Amazon.Com.
Want to discover more? Abad adds to the list,
mentioning literary greats worth revisiting and
current examples worth discovering. “I have
great respect for the works of Rene Villanueva
and Augie Rivera, who both write in Filipino.
They can tackle light and whimsical topics
(given their trailblazing work in the children’s
TV show Batibot), or very serious and sensitive
issues (e.g. child abuse or Martial Law). I
1514
P.S. Some of Prof. Heidi Eusebio Abad’s
published children’s books include Abot Mo
Ba Ang Tainga Mo? (2001, Gintong Aklat
Awardee for Children’s Literature 2002
given by the NBDB-Book Development
Association of the Philippines), Polliwog’s
Wiggle (2004, Gintong Aklat Award Finalist
for Children’s Literature 2006), and Big World
for Little People (2014), to name a few. She also
won second prize in the Poetry Written for
Children category at the 59th Carlos Palanca
Memorial Awards for Literature in 2009.
Gabby Lee co-wrote the bilingual (English-
Filipino) book entitled La-On and the
7-Headed Dragon (2002) with her mom,
artist Marcy Dans Lee, who also provided
the illustrations. She specializes in writing
speculative fiction for young adults and has
been published in several local anthologies in
the Philippines, US, and Australia. Her first
collection of short stories entitled Instructions
on How to Disappear (2016) published by
Visprint Inc. includes her YA stories.
Segundo Matias Jr. is a Palanca award-
winning literary writer who was also a
prolific writer of TV drama series. His book
entitled Ang Papag ni Tatang (2012) won an
honorable mention citation at the Philippine
Board on Books for Young People’s 2012
PBBY-Salanga Prize honoring the children’s
book author. As a publisher, he is affiliated
with Precious Pages/Lampara Publishing Inc.
He just finished writing the third book in his
YA series Moymoy Lulumboy.
like Adarna House, Lampara Books, Tahanan
Books, and OMF-Hiyas, more publishing
houses, even of textbooks, have branched
out into the CL and YA genre. Even the
number of literary contests on the genre has
increased.” But, like with the boom that’s
happening online, this publication boom
also yields similar concerns, as Abad pointed
out. “I welcome this growing number of
publishing opportunities. It’s a different
concern, however, when it comes to quality
control in the choice of manuscripts, editing,
and book production. Stakeholders in the
children’s book industry in the Philippines
have to be less ‘onion-skinned’ when their
works are scrutinized on a more professional,
literary, scholarly, or artistic level.”
Filipino CL and YA moves forward,
page by page
Whether materials are published by
established university or scholastic presses or
bytradebookpublishersandevenindependent
presses, one thing’s for sure: Filipino writers
are getting more encouragement to create
and publish materials for young readers, as
they expand their scope and reach within the
genres we call children’s literature and young
adult literature. Never mind that there’s
still some form of song-and-dance routine
needed to be hurdled by writers who want to
turn their creative push into a creative shove.
The Filipino is as wise as she/he is creative,
so there will always be ways to circumvent
obstacles towards the path to publication.
Aside from the encouragement of garnering
awards and winning writing grants, writers
who choose to tell tales for the young are
also hoping that readers would support local
endeavors more. And for those who are just
discovering recent works, Lee recommended
several titles to begin with, especially in the
YA lit genre which she also writes. “Salingkit
by Cyan Abad-Jugo, Janus Silang at ang
Tiyanak ng Tabon by Edgar Calabia Samar,
What Things Mean by Sophie Lee, Sula’s
Voyage by Catherine Torres, the Filipino
Fiction for Young Adults series edited by Dean
Alfar and Kenneth Yu. Good books, great
stories, and a good overview of what people
have been writing for the past few years.”
Efforts within the academe are still present as
ever. The University of the Philippines Press
(UP Press), for instance, came out with what
they called “UP Jubilee Student Edition”
books in 2002 which aimed to bridge gaps
between the Filipino student and the Filipino
author by (re)publishing literary works in
smaller books cheaper for an average college
student to afford. Two books in the project
are The Children’s Hour: Stories on Childhood
(2007) with volume 1 edited by Gemino
Abad and volume 2 edited by Cristina
Pantoja Hidalgo. Volume 1 includes a
ListsBestseller
Flipside Publishing Services, Inc.
As of April 2016
The King of Nothing to Do: Essays on Nothing & Everything
by Luis Joaquin M. Katigbak
Bayaning Lamanlupa by U Z. Eliserio
Imelda Marcos: The Rise and Fall of One of the World’s Most
Powerful Women by Carmen Navarro Pedrosa
Philippine Speculative Fiction Volume 10 edited by
Dean Francis Alfar and Nikki Alfar
Day Devoid and Other Stories by Luis Joaquin M. Katigbak
The Untold Story of Imelda Marcos
by Carmen Navarro Pedrosa
A History of the Philippines by Samuel K. Tan
1001 Reasons to Stay in the Philippines
edited by Isagani R. Cruz and Lydia B. Echauz
Kubori Kikiam: Strips for the Soul #1 by Michael David
Kubori Kikiam: Best Things in Life #1 by Michael David
1
2
3
4
5
6
7
8
9
10
National Bookstore
Non-Fiction
Stupid is Forevermore by Sen. Miriam Defensor-Santiago
‘Day, Hard!: Lakas ng loob, Kapal Mukha by Annabelle Rama
The Best of the Morning Rush Top 10 with Chico, Delamar and
Gino Volume 3 by Chico, Delamar and Gino
Heart Detox by Bo Sanchez
Paano ba ‘to?! How to Survive Growing Up by Bianca Gonzalez
Dear Alex, We’re dating. Tama, Mali?! Love, Catherine
by Alex Gonzaga
Everyday Kath: 365 Ways to be a Teen Queen
by Kathryn Bernardo
Conversations Pa More with Ricky Lo by Ricky Lo
#Basa by Brod Pete
Direk 2 Da Poynt by Wenn Deramas
1
2
3
4
5
6
7
8
9
10
Young Adult
You Know Me Well by Nina Lacour and David Leviathan
The Crown by Kiera Cass
All The Bright Places by Jennifer Niven
Hello, Goodbye, and Everything in Between by Jennifer Smith
This is Where the World Ends by Amy Zhang
United as One by Pittacus Lore
The Fall of Butterflies by Andrea Portes
The Rose Society by Marie Lu
Cruel Crown by Victoria Aveyard
13 Little Blue Envelopes by Maureen Johnson
1
2
3
4
5
6
7
8
9
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Fiction
Move on, Walang Forever by Marcelo Santos III
The Wrong Message by Queen Elly
Habang Wala Pa Sila by Juan Miguel Severo
Attack on Titan 12 (Philippine Edition) by Hajime Isayama
In Case You Come Back by Marla Miniano
and Reese Lansangan
KenCasey by Ethyl Dela Peña
Hai(na)ku by A.A. Patawaran
Fairytail 12 (Philippine Edition) by Hiro Mashima
Vince & Kath by Queen Elly
Zsa Zsa Zaturnah sa Kalakhang Maynila 2 by Carlo Vergara
1
2
3
4
5
6
7
8
9
10
Children’s
The Trials of Apollo: The Hidden Oracle by Rick Riordan
Finding Dory from Disney’s My Busy Books
National Geographic Kids Almanac 2017 from National
Geographic Kids
Tsum Tsum Collector’s Guide from Disney
Equestria Girls: Rainbow Rocks from My Little Pony
Disney Descendants’ Secrets of Auradon Prep: Insider’s
Handbook by Matthew Sinclair Foreman
Thea Stilton #21: Thea Stilton and the Lost Letters
Return to the Isle of the Lost: A Descendants Novel
by Melissa Dela Cruz
Thea Stilton Mouseford Academy #5: The Secret Invention
Color Me Creative: Unlock Your Imagination
by Kristina Webb
1
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3
4
5
6
7
8
9
10
BookwatcH Vol. 20 No. 2

16 17
opportunities to get to know people from
other towns, or from other parts of the
world, who speak and act differently from
them. They may learn about the characters,
setting, tradition, food, clothing, and
manner of speaking from these books, and
parents and teachers can help in discussing
the similarities and differences. That way,
children get to see through the eyes of other
people, in entirely new perspectives or points
of view. This contributes to the nourishment
of children’s experiences of other cultures.
In the children’s book Shelah Goes to Da-
ngah, Baguio-based writer and anthropologist
Padmapani Perez wrote the story in English
and it was translated by Sheila N. Aniban to
Kalanguya, a language spoken in Benguet
Province. Perez’s Alam-am Publishing
independently published the book. The
main character named Shelah, who is from
the Kalanguya community in Tawangan
in Benguet, participates in a da-ngah. In
an interview by xizuqsnook.com, Perez
says, “The da-ngah belongs to the forms of
cooperative labor around the Philippines
that we know as bayanihan (coming together
to help each other). When a person needs
assistance in completing or quickening a
difficult task such as carrying timber for a
house from the pine forests, or even setting
the foundation for building a new house,
then this person can call for a da-ngah.”
The story was set in contemporary times
to show that a da-ngah is a living practice
valued by the community. We get to know
Shelah, a Kalanguya child, while she actively
participates in community work. Children
who belong to another community with
a culture and a language of his/her own
might find affinity with Shelah upon reading
the book. Shelah is “inquisitive, assertive,
independent, has a mind of her own” as
described by author Perez of the character she
created—characteristics easily identifiable to
children.
Reason #1: Language is key to understand one’s
culture. Bilingual books open children’s minds
to different ideas and opinions. Reading
another language, children get to understand
Some Filipino writers who have authored
bilingual books for children are Padmapani
Perez (top), Early Sol Gadong (above), and
Rhandee Garlitos (below). (Photos courtesy
of the authors; Perez’ photo was taken by
Raizulli Nolasco.)
Ilocano writers who
contributed to the anthology
The Best Ilokano Short Stories for
Children, Volume One include
Anna Liza Gaspar (above),
Ariel Tabag (below), and Cles
Rambaud (far below).
Reading another language,
children get to understand
and appreciate how another
community creates meaning
with the way they form
words into sentences, and
sentences into stories.
BIG BENEFITS
FOR CHILDREN
OF
BILINGUAL
BOOKS
By BEVERLYW. SIY
A look at children’s books sold in the Philippine capital of
Metro Manila shows a number of them carrying the story both
in English and Filipino. Other writers from the regions are also
doing the same thing to reach a wider audience as they translate
their region’s languages into Filipino or English. Get to know
some of these publications and authors.
Bilingual books are books that use two languages; one
language is a translation of the other. They are also known
as dual language books, and are usually available across genres
and age groups, including children’s books.
Children, nowadays, are exposed to this kind of books. Those
written in Filipino usually come with an English translation, or
vice versa. However, there is a false belief that books with two
languages make the other language inferior to its translation. Yet
the proliferation of these books seems to counter this notion,
especially in a country with so many beautiful languages.
Why should books come in two languages? Is it a publisher’s
ploy to cut the cost in producing separate books in different
languages? As a parent, guardian or teacher, why should you
give a child a bilingual book? How does a child benefit from
reading a story told in two languages, in the first place?
Here are three reasons:
Reason #3: With bilingual books, children are exposed to different
languages. These books serve as bridges for children to read
and hear languages other than that which he/she uses at home.
Children may be introduced to words distinct to a language
and culture that may widen their vocabulary. They would learn
how to pronounce and even spell words they don’t have in their
own language.
A good example came out in 2005, Hagdan/Agdan (Stairs),
which was written and published by an award-winning Ilocano
writer, Sherma Benosa, and illustrated by Bianca D. Fuentes.
Hagdan/Agdan (Stairs) is the first children’s book in the country
that was presented in a comic-strip format. It is written in
Filipino with a translation in Ilocano. Filipino and Ilocano
words about the parts of the house are introduced in the book.
Reason #2: With bilingual books, children get immersed in different
cultures. These books serve as a meeting place, an intersection
even, of two different cultures and people. Children get

18 19
With bilingual books,
children could learn not
to discriminate other
languages, other cultures,
or other people.
that make up the community, society and the
world in which they live” so that children may
learn to identify stereotypes and biases when
they encounter them in the real world.
Philippine children’s literature has examples
that illustrate this encouragement. Rhandee
Garlitos’ Si Faisal at si Farida, written in
Filipino and English, begins with Christian
children Adrian and Nerissa’s perceptions
of newcomers Faisal and Farida, who are
both Moslem children, and unfolds on how
the friendship among the four children are
forged despite their differences.
Children are not the sole beneficiaries of the
existence of bilingual books. With the advent
of bilingual books, the need for such books
naturally widen readership; therefore, more
doors are opened for writers and publishers
to produce more materials.
We are seeing this reality now in the
Philippines. Writers and publishers from
the outskirts of Manila are usually the first
to identify this need, like some members
of the largest organization of writers in the
country called GUMIL Filipinas (Gunglo
dagiti Mannurat nga Ilokano iti Filipinas)
or the Ilocano Writers Association of the
Philippines. In 2015, they published a
collection of children’s stories in Ilocano, a
language largely spoken in Northern Luzon.
They named the collection Dagiti Napili a
Kapipintasan a Kabukbukodan a Sarita a Para
Ubbing Umuna a Libro (The Best Ilokano
Short Stories for Children, Volume One).
This photograph taken by Baguio-based author
Padmapani Perez shows how elders and children
keep the tradition of reading alive in their
communities, as the books they share aim to
keep the culture of their traditions alive through
the pages.
Hagdan/Agdan (Stairs) is a children’s book that
explores what parts of a house could be thinking
about, with the stairs as the central character. It is
written by Sherma Benosa (left) and illustrated by
Bianca D. Fuentes (right). (photos courtesy of MJ
Tumamac of Xi Zuq’s Nook xizuksnook.com)
and appreciate how another community
creates meaning with the way they form words
into sentences, and sentences into stories.
They’ll be able to appreciate a community’s
behavior and customs as encapsulated in
language. As suggested by the U.S. dual-
language book publisher Language Lizard
in their website, “(Dual-language books)
are helping children feel comfortable with
cultural diversity.” By using bilingual books,
we foster understanding and respect of other
cultures in our children.
Reading these books could also be a way of
informally teaching children the updated
values they need to be exposed to in the
21st century. With bilingual books, children
could learn not to discriminate other
languages, other cultures, or other people.
Discrimination, as defined by Amnesty
International, means “treating someone
differently simply because of who they are
or what they believe. Discrimination doesn’t
only mean a lack of equality, it actually
perpetuates harm.” By being exposed to
various cultures and languages, not only does
the child become intrinsically curious about
“new things” but they also learn how to
remove discrimination and nurture respect.
But parents and teachers should be careful in
selecting bilingual books for children. The
U.S. child’s rights program Partners Against
Hate, in their website, says we should make
sure that there are “accurate and positive
representations of the many cultural groups
An example of a bilingual book layout in Hagdan/
Agdan (Stairs) featuring Ilocano text with a
Filipino translation. (photos courtesy of MJ
Tumamac of Xi Zuq’s Nook xizuksnook.com)
Cles B. Rambaud, Mighty C. Rasing, Anna
Liza M. Gaspar, Godfrey Dancel, and Martin
T. Rochina are the writers in the collection.
Rambaud and Tabag, the editors, have also
made the translation of the works in Filipino
ready for non-Ilocano readers.
Hiligaynon writer Early Sol Gadong, based
in Western Visayas in central Philippines,
came out with a book entitled Si Bulan, Si
Adlaw kag Si Estrelya (Moon, Sun and Star)
published by Balay Sugidanon, Inc. in 2014.
The text of the book is in Kinaray-a, one of
the languages spoken in the Visayas region,
but Gadong also has her Filipino translation
ready for Filipino children to enjoy an old
story on why the sun, moon, and stars
separated.
The possibility to publish works in two
languages opens opportunities for writers,
especially those who write in their native
languages. They have more chances of
reaching more readers, and this is quite
important in an archipelago where people
are separated by waters and cultures. They
can contribute in fostering respect and
understanding of diversity to children,
and, most importantly, in developing
the confidence of children from different
cultural backgrounds.

to read. And they’re not reading Filipino
YA books, which is a problem. We have to
address that. It’s something that the PBBY
and all the local publishers are trying to work
on.”
Sabido also clarifies, “YA here is not
young. What makes it appear young is
the small number [of books available]. In
terms of development and availability,
there’s so much more room for growth and
underdeveloped potential. But that’s what
makes it so exciting!”
Indeed, as YA isn’t exactly young, there
have already been recognized YA novels
and materials published in the last couple
of decades in the country. While Kabanata
is a recent project for the PBBY, a project
prior to that was the Pilar Perez Medallion
for Young Adult Literature contest.
Organized by The Filipinas Heritage
Library, Adarna House, Candy Magazine,
National Bookstore, and Powerbooks, the
contest launched in 2001 in honor of its
namesake, a children’s librarian from Pasig,
and to help boost the availability of local YA.
The contest called for original manuscripts
targeting an audience of children 10-14 years
old to further boost the presence of YA in
the Philippines at the time. The contest was
short-lived, however, because the winning
published novellas were said to be difficult
to sell at a time, according to an e-mail from
a junior writer and researcher of Adarna
House on a query from Zarah Gagatiga, a
librarian and blogger for “School Librarian
in Action.” Only four manuscripts won the
medallion the short time it existed: Jacobo’s
Ghost by Annette Flores Garcia, Mga Ako by
Amalia Salamat, ‘Sup by Maria L.M. Fres-
Felix, and Anina ng mga Alon by Eugene
Evasco.
Contests or no contests, there are writers
who still write, of course. One recognized
writer of YA novels is Carla M. Pacis whose
works include OCW: A Young Boy’s Search
for His Mother (2001), Birdflight (2000), and
Enrique El Negro (2002), to name a few. Pacis
also co-edited Bagets: An Anthology of Filipino
Young Adult Fiction with Eugene Evasco,
published by UP Press in 2006. The short
stories were written in both English and
Filipino, and covered a number of themes
common in YA, from growing pains, to
young love, and finding one’s place in a
2120
iF inolip s
AYWhat is to
By mia marci
When young adult (YA) literature is
mentioned, recent international hits
as Harry Potter and The Fault in Our Stars are
some of the titles that come to mind. But for
Tarie Sabido, a longtime blogger of local and
regional children’s literature and chairperson
of the Philippine Board on Books for Young
People (PBBY), the nonprofit organization
which leads the celebration of the National
Children’s Book Day, YA in the Philippines
has spun off from the way it’s defined by
western publishers, booksellers, and readers.
Filipinos, Sabido observes, tend to apply
the western definition, but the local reality
is very different. “When we say young adult
novels, we mean novels for those aged 8-12
and 13-18, a much wider range compared
to American YA books. In the UK and US,
publishers cater to the 8-12 year old crowd
with the use of chapter books or what they
call middle grade novels, separate from the
YA genre geared towards 13-18 year old
readers.”
This approach is seen in the marketing of
Tall Story, a novel penned by UK-based
Filipino author Candy Gourlay, published
in 2010 by David Fickling Books (DFB) in
the UK and also by Cacho Hermanos in the
Philippines. Sabido mentions it in light of
this differentiation. “Tall Story in the United
States is not labeled as a young adult novel;
it’s a middle grade novel. But here in the
Philippines, we are calling it a young adult
novel.” She also corrects the misconception
that because teens like a book, it must already
be YA. “It’s YA when it was written for the
teen audience in mind or marketed specifically
to a teen audience.”
Over an e-mail interview, award-winning YA
author Candy Gourlay pointed to this author-
audience relationship as well, especially since
there’s a difference once the audience is in the
writer’s mind. “Children’s authors are unlike
writers for adult readers in that we know who
our readers are. I know that many writers like
to insist that they write for themselves. I can’t
say that. From the moment I begin telling a
story, I am thinking of my reader. But YA is
not just about writing,” she continued, “It’s
not even just about marketing even though
it first emerged as a marketing category. It
has become a culture that embraces both
the creators (the writers) and the consumers
(readers, bloggers). One does not exist without
the other; the successful YA books are the ones
that have a strong social media relationship
with their readers. It’s a give and take.”
Aside from this relationship, Gourlay also
reminds us of crucial facts. “We must not
forget that YA is a relatively new phenomenon!
Even here in the UK, publishing houses are
still trying to figure it out. It is a category of
the writing of our time.” She further points
to a parallelism of how the category and its
intended audience evolved. “A while back,
I wrote [in my blog] about the invention of
the teenager in the 1940s - when ‘teenagers’
emerged as an economic and cultural force to
reckon with. YA, I believe, is similar.”
A former journalist turned YA novel
author, Gourlay remembers a time when
the Philippine publishing scene was bereft
of titles and characters that young Filipinos
could connect with. “[As a writer] I am
always aware of the Filipino child reader
because once upon a time, I was exactly that.
And I remember growing up in the 1960s
and 1970s wondering why there were no
Filipino characters in the books that I read
voraciously.” She even wrote about it for
the UK news website, The Guardian, in
an editorial titled “Growing up I thought
Filipinos Weren’t Allowed in Books.” It was
in being conscious of the young Filipino
reader that she wrote Tall Story which was
published in the Philippines in 2010. “I want
Pinoy kids to read my books and say, ‘That is
me... and hey, I really like what I see.’”
Tall Story was a 2012 National Children’s
Book Award winner in the Philippines, and
also received acclaims abroad such as the
first Crystal Kite Awards for Europe, The
UKLA Children’s Book Prize, and National
Geographic Kids Brilliant Summer Books.
But even Gourlay isn’t so sure what the exact
appeal of her novel is to attract such readers
and accolades not just in the Philippines but
around the world. “If I knew the answer to
what makes a reader fall in love with a book,
my life would be so much easier! I didn’t set
out with a plan to win acclaim. I just
wanted to write a story.”
UK-based Filipino author Candy
Gourlay’s award-winning YA novel Tall
Story is about a Fil-Brit teenage girl who
meets her Filipino half-brother for the first
time as he steps into foreign soil to be with
their family.
For Sabido, the challenges to YA in the
Philippines aren’t limited to the genre alone.
“One challenge is actually getting writers who
are going to write full-length novels. A lot of
Filipino writers write short stories but you
only have a few who write full-length novels.
But it’s also because of economics, isn’t it? I
think there are only very few people here who
can just write fulltime like John Greene, and
sometimes you need that kind of commitment
to write a novel.”
She continues, “I also think publishers
have a hard time finding good quality YA
manuscripts. It’s not a secret that they are
looking for YA manuscripts to publish, and
they do receive manuscripts. But are the
manuscripts good enough for them? Does it
fit their editorial vision? Will it appeal to their
target market? Or does it meet the vision of
their publishing house? Kasi ang hirap e – it’s so
hard! That’s several challenges in one!”
Recently, the PBBY launched the Kabanata,
a program that selects 10 YA manuscripts to
develop for publishing. Says Sabido, “The
number of submissions wasn’t mind-blowing.
We had like 30-40 submissions. That’s not a
lot. If that had been a call for short story entries,
there would have been a big difference.”
She also finds that even with readers willing
to spend for books, it’s not the norm for them
to just pick a title by a Filipino writer off the
bookshelf. Teens tend
to buy Filipino books
when they are required
by a teacher or come as
highly recommended
by someone they trust.
But contrary to what a
lot of adults say, Sabido
stresses, “Filipino teens
read. They’re just not
reading what their
parents want them
to read or what their
teachers want them
YA is not just about writing. It’s not even just about
marketing. It has become a culture that embraces both
the creators and the consumers.
- Candy Gourlay
“ ”
Bagets: An Anthology of Filipino Young Adult
Fiction, edited by renowned children’s/YA book
writer-professors Carla Pacis and Eugene Evasco,
contains eight YA stories written in Filipino and
8 written in English.
In a country where half the population is below 24 years of age, and about a third of that
percentage is teens, is Philippine YA lit addressing this readership?

criticism on Wattpad’s popularity among
the teens, it’s a positive venue and avenue for
Sabido. “Reading is reading. If it compels
young people to read, then yay! So I’m all
for Wattpad. Hello, they’re reading stories,
they’re writing stories, they’re commenting
on each other’s stories, they’re sharing
stories. That’s not a problem to me. That
is wonderful.” Perhaps it’s also notable to
mention that award-winning authors and
recognized writers have also experimented
with publishing their works in this site.
As reading advocates and the local publishing
scene create efforts to encourage readers
to patronize local novels, writers should
also be brave enough to explore new ways
of publication and writing experiences of
growing up that readers could relate with.
The important thing is to create, as Gourlay
concludes. “If you love to read a certain
kind of YA, know that yes, you can write
it without being derivative. Remember
that form, genre, cast, and setting are just
jumping off points. Focus on bringing your
characters to life. And the art of the story
can mean saying the ‘unsayable,’ asking the
‘unaskable,’ turning the knife in a wound
that is already festering, challenging beliefs
that have always been ‘the way.’ Our nation
is new, troubled, and very conservative. Do
you have the courage to tell it like it is?” she
challenged.
One look at the crop of YA novels then and
now, we could say that yes, courage is there
- and being published.
publications in the site. The ones that get the
most attention in this space are stories with
the classic formula of guy, girl, and the not-
so-straightforward path to love. The year 2014
was witness to this with the fan frenzy over
She’s Dating the Gangster by Bianca Bernardino,
which first got attention on Wattpad before
getting published on CandyMag.com’s Teen
Talk section. This was further fueled by the
subsequent movie adaptation
by Star Cinema, starring the
studio’s hot new love team
of the time, Daniel Padilla
and Kathryn Bernardo. Since
then, studios and publishers
alike have been on the lookout
for the next big Wattpad title
that they can adapt for TV
and movies. Meanwhile,
Summit Media Books
expanded their offerings with
the Pop Fiction imprint that
publishes Wattpad titles in
pocketbook form.

While there has been
2322
the
illustrated
word
Illustrators in the Philippines, especially those who focus on illustrating
works for young readers, describe their creative processes and personal rewards
on why they draw what they draw.
By MYTA SANTIAGO
Illustration nowadays has been an evolving art form, visible from
award-winning backgrounds in games to thought-provoking book
covers. Today, it covers far more than conventional types of art. Many
an artist today can be considered an illustrator of some sort, and they
have their own expertise. However, their field is as competitive as any
other in the “real world,” with a few who have turned heads.
Graphic novels, for one, have always caught the eye of collectors,
using shadows and textures so
deep and pronounced that the
superheroes and villains of the
Marvel or DC universes seem
to pop out of the panels. But
another kind of literature—a
lighter, softer and cheerful
sort —has been getting slightly
more popular: children’s
books. These eye-openers
for young minds require a
balance of details, from the
types of color utilized to how
the image matches the letter.
Those who master the art of
getting a child’s attention with
great illustrations garner both a
parent’s trust and a publisher’s
return call.
Audience appreciation
Most of the time, large
publishers and self-publishers
have a big pool of illustrators
to choose from. With the
right amount of research and
interviews, publishers work
with individuals who realize
exactly the vision of the
book. For both publisher and
illustrator, the audience is very
important.
Dione Kong, a 2D illustrator with a passion for children’s books, took
note of this. “It is important to know the audience involved. I take note
of their age.” Kong illustrated the children’s book entitled Heavenly
written by Camille Canicosa-Pangantihon.
Having a clearer idea of what your audience is also necessary to guide
you through a project. Another illustrator, Yas Doctor, quipped, “Yes,
audience is important. Whenever I illustrate, I try to get my ideas across
without straying away from the story.”
Doctor’s philosophy is evident in her portfolio such as the illustrations
she did for LG&M Publishing titles like Noah and Great Flash Flood
written by Krissie Zamora-Martinez and Olive Ridley Comes Home
written by Rhandee Garlitos. She also illustrated Masaya Ako! (I Am
Happy!) published by Adarna
House. Her illustration work
for Eugene Evasco’s book
Rizaldy won the 2011 Alcala
Prize for illustrations awarded
by the Philippine Board on
Books for Young People
(PBBY).
How publishers pick
Publishers often look at
communities or groups
of illustrators and talk to
those they know specialize
in children’s books. In the
Philippines, one such group
is Ang Ilustrador ng Kabataan
(Ang INK) or the Children’s
Book Illustrators group.
Many illustrators of varied
levels display their works in
the organization’s website
(of course, they have their
own websites). Publishers
then screen portfolios, learn
more about the illustrator-
candidate, and finally choose
an artist.
Once that stage is done, the
illustrators work closely with
the publishers. Most traditional companies require art notes that specify
what they want, in case the illustrator needs a guide or idea on what
to do. For example, in the story Cinderella, the Prince runs after the
mysterious princess who he has fallen for. She leaves one of her glass
slippers. The writer may simply say, “Show Cinderella leaving her shoe
as she runs down the stairs.” For the illustrator, less is more.
confusing teenage world.
Newer YA titles, meanwhile, cover period-
based fiction such as Woman in a Frame
(2012) by Raissa Rivera Falgui about the
discovery of a love triangle in 1896, and
Salingkit (2012) by Cyan Abad Jugo, set
during the era of the 1986 EDSA People
Power Revolution. Gourlay’s second YA
novel entitled Shine (2013) is about a girl in
a small superstitious town suspected of being
some kind of monster. Writers in Filipino
are also contributing to the collection, such
as the award-winning novel series by Edgar
Samar entitled Si Janus Silang at ang Tiyanak
ng Tabon (2014) and its sequel Si Janus Silang
at ang Labanang Manananggal-Mambabarang
(2015), both published by Adarna House,
about a teenage boy encountering characters
from Philippine lower mythology. Another
similarly-themed novel but more elaborate
in scope and mythical presentation (think
Lord of the Rings but it’s in Philippines soil,
not Middle Earth) is author-publisher
Segundo Matias Jr.’s Moymoy Lulumboy: Ang
Batang Aswang (2014) and its sequel Moymoy
Lulumboy Book 2: Ang Nawawalang Bertud
(2015), both published by Lampara Books.
Another title is Mga Tala sa Dagat (2014) by
Annette Acacio Flores, published by Adarna
House, about a boy from a fishing family and
the sacrifices he has to make in life for the
sake of love and fate.
The next wave of YA comes from digital
self-publishing platforms like the Toronto-
based website called Wattpad.Com, where
anyone of any age can upload their own
stories for others to read. They also have a
downloadable app where you could access
your account and create a list of your favorite
Raissa Rivera Falgui’s YA
novel Woman in a Frame is
about a girl getting intrigued
with a painting of a woman,
so she sets out to discover
the story of how this painting
came about, leading her to a
historical narrative.
Philippine Board on Books for Young
People (PBBY) chairperson Tarie Sabido
notes many YA short stories being written,
but not enough YA novels.
Filipino teens read. They’re
just not reading what their
parents or teachers want
them to read. And they’re
not reading Filipino YA
books, which is a problem.
We have to address that.
- Tarie Sabido
“ ”

Devoted to the project
Illustrators shower hours, day in and day
out, to turn a thousand words into a simple
illustration. It’s not simply a matter of
drawing lines and coloring them in. Time
is needed to think, develop characters, and
draw, redraw, and redraw some more.
Frances Alvarez, illustrator of Adarna House-
published titles such as Hating Kapatid (Fair
Share) written by Raissa Rivera-Falgui and
Can We Live Without Trees written by May
Tobias-Papa, shared with us her process.
“Most of the time, I do as much research
as I can before drawing. I read about the
assignment and look for ideas I can develop
visually. After I have my references and
sketches ready, my studies approved, and
after I’ve decided on what medium to work
with, I start drawing and painting.”
There are many opinions on
how Philippine children’s books
are and should be illustrated. In
general, it’s difficult to explain
what could be considered a good
kind of illustration for kids and
teens—except that it should
engage them in some way.
“ “
Book illustrator Yas Doctor and her cover
art for the book entitled Noah and Great
Flash Flood (left) written by Krissie Zamora-
Martinez. She also creates and sells art prints
online, such as the piece on the previous page
entitled Matalas Ang Mata (Sharp-eyed).
Feedback is very important, as Alvarez noted.
“I also try to get feedback from my fellow
illustrators when I get stuck in a rut and
feel that I need to see my assignment from a
different perspective. Sometimes when I’ve
been working on a project for too long, I miss
tiny details along the way.”
Indeed, both her process and attitude on how
to tackle her work pay off handsomely at times.
Aside from garnering more clients, Alvarez also
garners citations. Hating Kapatid, for example,
was awarded at the 2014 National Children’s
Book Awards as one of the Best Reads for
2012-2013, a feat that both honors the author
and the illustrator. She has also done book
illustrations for publications by WWF (World
Wildlife Fund) like Pangangasiwa sa Ating Mga
Basura (Managing Our Garbage) and Daloy ng
Pag-Asa (Flow of Hope) both written by Isobel
Resurreccion.
Two illustration layout samples created by Brent Sabas
for Eugene Evasco’s book (left) entitled May Lakad Kami
ni Tatay (A Trip with My Father) and Ang Singsing-Pari
Sa Pisara (The Millipede on the Blackboard) co-written by
Evasco and Chris D. Martinez (above).
24 25

On children’s books
There are many opinions on how Philippine
children’s books are and should be illustrated.
Doctor mentioned that, in general, it’s difficult
to explain what could be considered a good
kind of illustration for kids and teens—except
that it should engage them in some way.
Brent Sabas, fellow Ang INK member and
Visual Communications graduate of the
University of the Philippines in Diliman,
also had the same thought. “The styles in
children’s illustration are evolving. For me,
it’s hard to pinpoint what makes it effective
for kids and teens. With the existence of the
Internet, I believe kids are more accepting
towards visually dynamic illustrations.” Sabas
illustrated children’s book author Eugene
Evasco’s book entitled May Lakad Kami ni
Tatay (A Trip with My Father) and the Palanca
award-winning story Ang Singsing-Pari Sa
Pisara (The Millipede on the Blackboard) co-
written by Evasco and Chris D. Martinez
published by Lampara Books.
Alvarez added, “Good illustrations are the
ones that do their jobs well, and selflessly
offer themselves up for the reader to ingest,
take apart, and turn into something of their
own. Good illustrations are generous with
emotion and details that no matter how
many times the reader opens a book, he or
she will always find something new to
look at.”
Frances Alvares and her illustration (above)
for Hating Kapatid (Fair Share) written by
Raissa Rivera-Falgui and published by
Adarna House.
Good illustrations are generous with emotion
and details that no matter how many times the
reader opens a book, he or she will always find
something new to look at.
“ “
Groups are important
Illustrators, just like any artist, need a
community where they can get constructive
criticism and new ideas from the sages of the art
world. This is handy for those who dabbled in
something else before realizing that illustration
was their dream job, just like Doctor.
“I wasn’t an art major so being in Ang INK
really helped developed my skills. What I really
like about the organization is that you get to
meet and surround yourself with people who
are very creative and productive, which I think
is very important for anyone who wants to
fulfill their passion,” Doctor asserted.
Kong had a laugh when she narrated her
thoughts on the matter. “Ang INK is like
a place where you can breathe in fresh air.
When I joined the organization, I met new
artists who are down to earth, passionate and
enthusiastic. Their ideas are fresh but concrete.
Everyone is different and the same. Ang INK
helped me by simply inspiring me to continue
making artworks. It’s also a gateway to market
yourself—to tell people what you can do and
maybe land an illustration project.”
Furthermore, the illustrators agree that Ang
INK serves as a portal to a wide range of
opportunities for illustrations to be seen.
“Ang INK has a lot of great talented artist
members,” Brent mentioned. “And when you are
constantly surrounded by such caliber of talents,
somehow you acquire their aesthetics and apply it
on your own works which levels up your drawing
game. The org also opens a lot of opportunities for
us to make our art reach more people, like exhibits
and publications.”
Illustrators create images that summarize the
stories of writers. In the world of children’s books,
it poses a challenge as illustrators devote so much
time and talent to create the perfect picture that
young minds can enjoy and learn from.
From the words of the illustrators featured, while a
picture paints a thousand words, it takes a thousand
hours to make one picture. We should thank
these visionaries who never stop creating a world
full of color—straight from their own childlike
imagination.
26 27
Diane Kong (right) and samples of
her illustrations (far right, below) for
the book Heavenly written by Camille
Canicosa-Pangantihon

the graphic revival
of the
The first recognized Filipino comics creator is none other than the
country’s national hero, Dr. Jose Rizal. From that first attempt, the
comics industry has seen its highs and lows in the 20th century.
Discover the Philippine scene today via the latest incarnation called
the graphic novel.
By Mia marci
Philippine komiks historians describe the ‘50s and ‘60s as the “golden
era” of this kind of publication, marked with the Philippines
being one of the largest comic-producing markets, the birth of classic
characters such as Mars Ravelo’s Darna and Lastikman, and the import
of local artists to draw for popular DC and Marvel comic titles. But
even when the industry tragically dwindled by the end of that era, the
industry is far from dead.
After the ‘60s, comic writers and authors charged on, whether as
comic illustrators for publishers abroad or as cartoonists for editorials
or the comic section for the local paper. It also paved the way for the
local “graphic novel,” a term first coined by American comic writer
Will Eisner in 1978 to differentiate one-shot long-form stories told
through comics from the funnies and superheroes. Some notable local
titles that fit Eisner’s definition were Pol Medina Jr.’s Pirata in 1995, an
independent one-shot graphic novel centered on the canine character
Polgas of his popular Pugad Baboy series, and Arnold Arre’s Mythology
Class in 1999, which went on to win at the National Book Awards
bestowed by the Manila Critics’ Circle and NBDB.
Image: Rob Cham’s
graphic novel entitled Light
published by Anino Comics
(an imprint of Adarna House)
In the Philippines, the line blurs between comic and graphic novel. Ace
Vitangcol, creative director of Studio Studio and the writer of comic
series like Love in a Bag, Angel Crush, and My Celestial Family, explains.
“Comics creators are careful about labeling something as a graphic novel,
typically reserving that title for bigger story lines. But like Alan Moore
[writer of graphic novel Watchmen], some just call all comics as comic
books.”
For Rob Cham, who wrote and drew Light published by Anino
Comics, that thin line and the birth of the local graphic novel may have
also stemmed from artists who had to slowly work their way to being
published in print. Artists drew a series of short comics before compiling
them and sending them to a publisher, the way Pol Medina Jr. did with
Pugad Baboy. ”Pol Medina always collected his strips, made his own
comics, and self-published ever since.”
Cham cites the Trese series by Budjette Tan as another example of a
concept being sold to the publisher (Visprint) that expanded into a series
over time. It sells because it is a visual medium, with something for almost
28 29
The reason why it’s such a niche
thing is because people think
of comics as kids’ things or
collectors’ things but there’s so
much of it that’s art or actually
talks about greater cultural
goings-on in the Philippines.
everyone. “The visual appeal is very strong
with comics. It can show off ‘badassery’ (and
romance, drama, comedy, etc.) unlike any
other medium,” added Vitangcol.
And who’s reading? There’s a popular
notion of the niche audience—comic book
“nerds” who collect comics and anything
and everything related to them. But Cham
and Vitangcol have different ideas of who
reads local comics and graphic novels. “As
the industry covers a very wide spectrum,
from grassroots ashcans that are printed
in very small quantities and sold only at
conventions, to more mainstream titles like
Trese, Kikomachine (by Manix Abrera), the
books by (Adarna House imprint) Anino
Comics, and my own work (which found
Rob Cham (or an illustration of himself) and
two of his graphic novels entitled Light (on
previous page) and its follow-up Lost could
be read online for free at lost-comic.com.
(images courtesy of Rob Cham)
popularity among young girls), it’s hard to say
what ‘niche’ is,” says Vitangcol.
“It’s a niche within a niche,” says Cham, who
also cites local comics convention attendees
like Komikon crowds as a gauge to assess the
audience. “There are people who read comics
and people who read independent comics
within that niche. So when you go to Komikon,
it’s always kind of the expected crowd. There
are the collectors, then you have the people
who are into the zine scene, the ones who are
interested into stories from our own culture.
I feel like that’s one niche. But you also have
people who don’t go to Komikon, such as
Manix Abrera and his fans; his readers come
from many different demographics.”
Cham further explains his theory on comics
being a niche. “The reason why it’s such
a niche thing is because people think of
comics as kids’ things or collectors’ things
but there’s so much of it that’s art or actually
talks about greater cultural goings-on in the
Philippines.”
Vitangcol narrates his own observations.
“Local readers are hungry for local graphic
novels. If you look at the books that are
stocked at bookstores, there’s been a
significant boom in the number of titles.
Komikon attendance also continues to grow
steadily. While graphic novels aren’t as
mainstream as other media like superhero TV
shows and movies, you will see that they’ve
embedded themselves in pop culture.” An
example is how Trese has embedded itself
as part of Philippine Lore and how Zsa Zsa
Zaturnnah has been adapted into a movie and
for the stage, among others.
Whether it’s through the publishers or
online, the Philippine comics and graphic
novels scene is alive, well, and bustling.
Vitangcol has worked with other comic
illustrators and artists at Ateneo de Manila
University (ADMU) where comics writing,

creation, and design are taught under their
Fine Arts Program. Artists and writers are
starting to organize through groups such
the ADMU organization BLINK (Blue
Indie Komiks) and art groups such as Studio
Salimbal and The Desk.
The easy accessibility of an audience through
online channels, especially Facebook, is a
game-changer in terms of distribution. For
Cham, it’s what helps those who opt for or
start with the self-publication route. “The
best example of that happening is online web
comics, such as Uy Si Crush (by Richard
Mercado and Gaby Taylo) and Libreng
Komiks (by Toto Madayag).”
While both titles won’t be so easily found
in your neighborhood bookshop, their
popularity is undeniable: Uy Si Crush has
20,000 likes and counting on their Facebook
page while Libreng Komiks launched their
page online in 2013 and is now at 72,954 likes
and counting. Libreng Komiks in particular,
saw a sudden rise in their following after
their comic parodying the popular HBO TV
show, Game of Thrones, went viral.
30 31
Local readers are hungry for local
graphic novels. While graphic novels
aren’t as mainstream as other media
like superhero TV shows and movies,
you will see that they’ve embedded
themselves in pop culture.
Writer-illustrator
Arnold Arre’s award-
winning 1999 graphic
novel Mythology Class
(on opposite page)
gets a 2014 reissue.
Meanwhile, his 2015
graphic novel Halina
Filipina (above)
about a Fil-Am who
rediscovers Manila
is now out in the
market. (images
courtesy of Arnold
Arre)
But even with a very strong online presence,
print comics are still going strong. The 2014
reissue of Arnold Arre’s Mythology Class
has sold out in bookstores, Trese is up to
five volumes in print with a strong hint of
even more to follow, and Carlo Vergara has
announced plans for the continuation of the
three-part Zsa Zsa Zaturnnah: Sa Kalakhang
Maynila (with part 1 published in 2011 and
part 2 was just released this 2016).
But a big part of the fate of the comic
industry and how much more it can evolve
depends on how engaged creators can keep
its audience. “(Comics here) have to consider
the book reading population. I think comic
readers need reach out to them,” says Cham
as he pauses then shakes his head, laughing.
“It’s so hard!”
Vitangcol is more hopeful about the
challenge. “I think that people are more
keen to read comics and graphic novels now
because of the popularity of the superhero
genre in movies. While it started out the
opposite way (popular book adapted into
movie), you’ll see that the movies now affect
book sales. Just look at how Deadpool is
flying off the shelves these days. I’m hoping
that trend will be applicable to local books
someday.”
Ace Vitangcol and samples
of his popular comics series.
Author-illustrator Carlo
Vergara and his latest graphic
novel featuring his queer
character superhero Zsazsa
Zaturnnah.
Trese graphic novel series writer
Budjette Tan (left) and illustrator Kajo
Baldisimo (right) playing with masks
from the images of the Kambal (twins),
characters they created to serve as the
bodyguards of their heroine Alexandra
Trese.

32 33
Children’s Books
The National Book Development Board (NBDB) and the Philippine Board on Books for
Young People (PBBY) celebrated the 4th National Children’s Book Awards (NCBA) last
July 19, 2016 at the CCP Theatre Main Lobby.
The NCBA recognizes the best children’s literature published from 2014 to 2015. Out of
123 nominees, six books stood out to win Best Reads of 2016. The books were judged by
the panel composed of Kristine V. Canon, Portia P. Padilla, Alistair Troy B. Lacsamana,
Cecilia V. Picache, and Daniel Gabriel U. Matutina.
Here are the Best Reads winners for the year
and their citations from the judges.
Dumaan si Butiki
Written by Gigi Constantino
Illustrated by Ray Sunga
Published by Adarna House, Inc.
Sino ang mag-aakala na eksayting ang
paglalakbay ng isang butiki? Sobrang nakakaaliw
ang pagsulpot-sulpot kung saan-saang bahagi
ng bahay ng butiki sa kuwento. Ang simpleng
texto ay nagamit pa upang ituro ang konsepto ng
kabaliktaran, sa paraang kaaya-aya. Kung kaya,
hindi ka magsasawa sa pagsubaybay sa lahat ng
dinaanan ni Butiki. -Kristine Canon
Haluhalo
Illustrated by Eli F. Camacho
Ang aklat na ito ay kumpleto sa sangkap, puwera
lang sa salita. Marami itong iba’t ibang kulay,
siksik sa tamis at umaapaw sa aliw. Kung sa
bagay, ano pa ba ang kailangan sabihin kung
kitang-kita naman at madali maintindihan ng
bata man o matanda ang paggawa at pagkain
ng haluhalo? Haaay! Ang sarap ulit-ulitin ang
pagbabasa sa nalikhang aklat ni Eli F. Camacho
na Haluhalo. - Kristine Canon
Mang Andoy’s Signs
Written by Mailin Paterno
Illustrated by Isabel Roxas
Published by Ilaw ng Tahanan, Inc.
We see it everywhere. A crowd of funny, wise,
vulgar, ridiculous words and phrases rendered
in bold strokes and colorful letters. But as
the sight becomes too familiar, the messages
Salusalo para kay Kuya
Written by Ergoe Tinio
Illustrated by JC Galag
Masarap maging bahagi ng pamilyang Pilipino.
Malaki, maingay pero masaya. Para bang ibinalik
ako sa pagkabata ng Salusalo para kay Kuya.
Supremo
Written by
Xi Zuq
Illustrated by
Al Estrella
Published by
Adarna House,
Inc.
Supremo is an
engaging read.
This heart-
warming story
takes you back
to the good old
days when you
felt lucky to have
a best friend and you felt tingled upon seeing
your crush. Its flowing language, realistic
plot, and catchy illustrations come together
to give you one unforgettable ride. It makes
you laugh out loud; it makes you stop and
think; it even manages to make you shed
tears. And, just when you start thinking
you’ve had it all, it reminds you of your social
responsibility—without pushing it down
your throat forcibly. Kids will love this, and
adults will enjoy it, too. Supreme, indeed!
- Portia Padilla
Illustration by
Mark Lawrence Andres for
Makinang Makinang
Si Janus Sílang at ang
Tiyanak ng Tábon
Written by Edgar Calabia Samar
Si Janus Silang at ang Tiyanak ng Tábon is a captivating tale of a young boy’s
courage amidst the enveloping darkness in his life. Edgar Calabria Samar
pulls us into a world of mysterious events and frightening characters from
Philippine folklore. He expertly weaves in elements from role-playing video
games, a concept that connects with young readers (and to gamers of all ages).
This book takes us on a rollercoaster ride full of adventure, suspense, and
danger. Finally, a hero like Janus Silang claims his space in our imagination.
He rises above the challenges and gives hope—a bright star leading us out of
the darkness. - Dan Matutina
NCBA Best Reads 2016
bestname
NBDB PBBYand
they convey are soon ignored. Thus, it is
refreshing to read Mailin Paterno’s simple
story about a billboard maker who turned
harsh warnings into gentle reminders. Isabel
Roxas complemented it with her signature
whimsical illustrations using bright splashes
of color and chaotic spreads that actually
make sense. Together, they created Mang
Andoy’s Signs, a delightful book for both
children and adults. This book truly deserves
a sign of its own saying: “Simply marvelous!”
- Cecilia Picache
Naalala ko noong bata pa ako, kapag kaarawan ko
na ay sabik na sabik akong gumising nang maaga
para buksan ang aking mga regalo. Ramdam
mo rin ang pagmamahal ng isang kapamilya sa
kaanak sa kuwento. Sa bawat pahina ng kuwento,
nangungusap ang mga mapinpintog na pisngi ng
mga tauhan, abala sa isang salusalo, pero masaya
pa rin ang lahat. Ipinapaalaala na dapat tayong
maging katulad ni Bubuy Boy, na umiiyak ng
bahaghari, na kahit na parang may iniwan na
malaking butas ang ating kaanak kapag sila ay
pumanaw na, kailangan tayong maging malakas at
puno ng pag-asa at sariwain ang mga inspirasyong
iniwan nila. Salamat Ergoe Tinio, JC Galag, at
Adarna House sa mahusay na kuwento!
- Troy Lacsamana
This year’s Kid’s Choice Award went to
Made Perfect in Weakness, written by Didith
Rodrigo, illustrated by Patricia Lascano, and
published by The Bookmark, Inc.
The Kid’s Choice Award was decided upon
by two groups of Kid Judges. The first group
of kids aged 11-14 years old picked their nine
favorite books to pass down to the younger
group aged 7-10 years old.
The older group was composed of Pheonna
Heart Ragasa, Apriel Beltran, Horacio
Rafael de Peralta, Alon Fabros, and Rafael
Varela. The younger group consisted of
Ricmel Padon, Sean Kirby Cruz, Yasuyuki
Avendaño, Alizza Tolentino, and Althea
Hazel Fresno.
Kid’s choice award
The PBBY also awarded this year’s PBBY-
Salanga and PBBY-Alcala Prize winners.
The Salanga Prize calls for writers to submit
original stories, while the Alcala Prize
calls for illustrations for the Salanga Prize-
winning story.
The PBBY-Salanga Prize went to Genaro
Gojo Cruz for his story Makinang Makinang,
while Joseph Salazar, John Paolo Sandicho,
Leila Francesca Maligalig, and Jacqueline
Franquelli were named honorable mentions.
The PBBY-Alcala Prize went to Mark
Lawrence Andres, while Dominic
Ochotorena was named an honorable
mention. (photo courtesy of PBBY)
PBBY-Salanga and
PBBY-Alcala Prize

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