Amado V.

Hernandez, poet, playwright, and novelist, is among the Filipino writers who practiced
committed art. In his view, the function of the writer is to act as the conscience of society and
to affirm the greatness of the human spirit in the face of inequity and oppression. Hernandezs
contribution to the development of Tagalog prose is considerable he stripped Tagalog of its
ornate character and wrote in prose closer to the colloquial than the official style permitted.
His novel Mga Ibong Mandaragit, first written by Hernandez while in prison, is the first Filipino
socio-political novel that exposes the ills of the society as evident in the agrarian problems of the
50s.

Hernandezs other works include Bayang Malaya, Isang Dipang Langit, Luha ng Buwaya, Amado
V. Hernandez: Tudla at Tudling: Katipunan ng mga Nalathalang Tula 1921-1970, Langaw sa Isang
Basong Gatas at Iba Pang Kuwento ni Amado V. Hernandez, Magkabilang Mukha ng Isang Bagol
at Iba Pang Akda ni Amado V. Hernandez.

AMADO V. HERNANDEZ: AN INTRODUCTION

By general consensus, Amado V. Hernandez (1903-1970) is the most serviceable Filipino

revolutionary artist of the twentieth-century whose poetry, fiction, and plays in Filipino (the
national language of 80 million Filipinos) continue to inspire the popular struggle for national
democracy and genuine independence against U.S. imperialism.

Born in Tondo, Manila, on September 13, 1903, Hernandez began his career in journalism in the
twenties when the initial massive Filipino resistance against U.S. military rule had declined. He
became editor of the Manila daily Mabuhay from 1932 to 1934. In 1939 he won the Philippine
Commonwealth Award for a nationalist historical epic, Pilipinas; in 1940 his collection of mainly
traditional poems, Kayumanggi, won a Commonwealth Award. During the Japanese occupation
of the Philippines (1942-45), Hernandez served as an intelligence officer for the underground
guerilla resistance, an experience reflected in his major novel of neocolonial dependency and
revolt, Mga Ibong Mandaragit.

After the war, Hernandez assumed the role of public intellectual: he organized the Philippine
Newspaper Guild in 1945; and he spoke out on national issues as an elected councilor of Manila
in 1945-46 and 1948-51. It was during his presidency of the Congress of Labor Organizations
(1947), the largest federation of militant trade unions in the country, that Hernandez graduated
from the romantic reformism of his early years to become a national-democratic militant.
Meanwhile, the establishment of a U.S. neocolony in the Republic of the Philippines in 1946
extended the Cold War in the repression of local nationalist, progressive movements. It
intensified the feudal landlord exploitation of the peasantry and reinforced the impoverishment
of workers and middle strata, leading to the Huk uprising in the late forties and early fifties. An
allegorical representation of the sociopolitical crisis of the country from the thirties up to the
fifties can be found in Hernandezs realistic novel, Luha ng Buwaya, and the epic poem of class
struggle, Bayang Malaya, for which he received the prestigious Balagtas Memorial Award.

Owing to his anti-imperialist work, Hernandez was arrested on January 26, 1951 and accused of
complicity with the Communist-led uprising. During the time in which he was imprisoned in
various military camps for five years and six months, Hernandez wrote most of the satiric,
agitational poems in Isang Dipang Langit and the pedagogical drama, Muntinlupa. His singular
achievement is what I would call the invention of the Filipino concrete universal, the dialectical
representation of socially typical situations that project the contradictions of ordinary life in a
neocolonial formation, with its peculiar idioms and idiosyncratic nuances. Stories like Langaw Sa
Isang Basong Gatas (see San Juan 1974) and poems like Mga Muog ng Uri, Bartolina, Ang
Dalaw, and Kung Tuyo na ang Luha Mo exemplify this dialectical poetics in the service of what
Mao calls in the Yenan Forum the twin tasks of partisan art: the uplifting of standards and the
popularization of revolutionary ideas.

From 1956 to 1960, Hernandez wrote countless stories under various pseudonyms for the
leading weekly, Liwayway; he also wrote columns for the daily Taliba, and edited the radical
newspapers Ang Makabayan (1956-58) and Ang Masa (1967-70). But it was his participation in
the Afro-Asian Writers Emergency Conference in Beijing, China, in June-July 1966, followed by
his active intervention in the International War Crimes Tribunal (organized by Bertrand Russell,
Jean Paul Sartre, and others) in November 1966, that demonstrated Hernandezs renewed
commitment to the advance of the internationalist struggle against global capitalism. His
numerous honors culminated in the Republic Cultural Heritage Award (1962) and National Artist
Award given posthumously in 1973, a recognition of his life-long service to the cause of
liberatory poetics and social justice. Up to the day (March 24, 1970) he died, Hernandez was
involved as a leading protagonist in mass rallies against imperialism, feudalism, and bureaucrat-
capitalism, for democratic socialism and national independence.

Selected Bibliography

Hernandez, Amado V. Bayang Malaya. Introduction by Teodoro Agoncillo. Quezon City: Ateneo
de Manila University Press, 1969.

-. Isang Dipang Langit. Manila: International Graphic Service, 1961.

-. Luha ng Buwaya. Quezon City: Ateneo de Manila University Press, 1963.

-. Mga Ibong Mandaragit. Manila: International Graphic Service, 1969.

-. Panata sa Kalayaan ni Ka Amado. Ed. Andres Cristobal Cruz. Manila, Philippines: Atang de la
Rama Hernandez, 1970.

-. Rice Grains. Translated by E. San Juan, Jr. New York: International Publishers, 1966.

Malay, Rosario S. Mga Ibong Mandaragit and the Second Propaganda Movement. General
Education Journal 17 (1969-70): 107-117.

San Juan, E. Social Consciousness and Revolt in Modern Philippine Poetry. Books Abroad
(Autumn 1965): 394-399.

-. Ang Sining ng Tula. Quezon City: Alemar-Phoenix Publishing House, 1975.

-. Introduction to Modern Pilipino Literature. New York: Twayne Publishers, Inc, 1974.

-. Only By Struggle: Reflections on Philippine Culture, Politics and Society. Quezon City: Giraffe
Books, 2002.

. Toward A Peoples Literature. Quezon City: University of the Philippines Press, 1984.

Yu, Rose, Torres, ed. Amado V. Hernandez: Tudla at Tudling [Anthology of Published Poems 1921-
1970]. Quezon City: University of the Philippines Press, 1986.

Amado V. Hernandez: Peoples Writer

Because of the sharp and stirring literary expression of the social causes he pursued, Amado V.
Hernandez is rightly considered a prime example of the writer as agent of social change and
purveyor of peoples culture.

BY ALEXANDER MARTIN REMOLLINO

Bulatlat.com

I distinctly remember that in one of our college classes in literature, our professor asked the
following question: Should literature be for its own sake, or should it espouse social causes? As
our professor herself would later on explain, the question was a way of asking whether the
writer should be concerned with form or with content.

We can be sure that if the late writer Amado V. Hernandez, whose centennial birth anniversary
will be celebrated on Sept. 13, were asked that question, he would have answeredwithout a
moments hesitation, without batting an eyelashthat writers have a responsibility to involve
themselves in society. As he said in his speech when he accepted the 1964 Manila Cultural
Award (which is just one of the many awards he received), The days are gone when the artist
was like Narcissus, adoring his own image. Today the artist is witness to and part of the
immediate present.

As his very writings prove, in the manner that one of his literary idols, Jose Rizal, proved decades
before him; and another writer, Eman Lacaba, would start to prove while he was still alive
espousing social causes does not have to diminish the aesthetic quality of ones literary output.

Society as truth

In his essay The Filipino and the Man, which he wrote as a college freshman at the Ateneo de
Manila University, Eman Lacaba said: The responsibility of any writer in the world is to write
truthfully and comprehensibly about the world he lives in, the world he remembers and
continues to know, the world he experiences.

Hernandez, who was born decades before Lacaba, also knew this. And his prolific and diverse
writings attest to his vast knowledge of the reality of human experience.

Hernandezs grasp of the scope of human reality was so deep that he was well aware that
society and social phenomena, like romantic affairs which comprise the greater bulk of subjects
in the worlds body of literature, are also parts of human reality. In fact to Hernandez, society
and social phenomena play the most prominent parts in the human drama: he knew perfectly
well that all human beings are inevitably affected by society since they are all part of it.

Thus, even as he would sometimes write of a woman wooed with orchids, of a lovers Rip van
Winkle heart, he wrote infinitely more of the battle between the oppressor and the oppressed
and because he knew that rectitude can never side with the oppressor, he in his writings showed
unequivocal support for the oppressed and undeniable hatred for the oppressor.

Hernandez wrote clearly and eloquently of enslavement in the hands of a colonial power, of
workers in unspeakable penury amidst unimaginable abundance, of peasants stripped of their
lands, of children begging on the streets, of people eaten by the prisons for refusing to bow
before iniquity, of the heroism of fighters for freedom and justice. His poems, articles, novels,
short stories, and one-act plays contained such lucid expositions of the social issues of the times
in which he lived (issues that are still very much with us), and were so splendidly written, that he
became (and still is) an icon for many a succeeding generation of cause-oriented writers.

Among the people

One of Hernandezs distinguishing marks is the fact that unlike so many politicians who in their
campaign speeches tell sob stories of how as boys they had to catch frogs for supper because
there was nothing else to eat, he stayed by the side of the people of whom he was bornand
served them to his very last breath.

Hernandez was born on Sept. 13, 1903 but it is not quite clear where; the conventional wisdom
is that he was born in the slums of Tondo, where he grew up, but a short story by Jun Cruz Reyes
implies that his origins can be traced to a town in Bulacan.

He took his pre-college education in public schools in Manila. After high school he began the
study of Fine Arts at the University of Santo Tomas, where fellow cause-oriented writers Bien
Lumbera and Rogelio Sicat also studied. However, he did not finish his course, and instead
settled for a course under the American Correspondence Schools.

Afterwards he entered the worlds of journalism and literature. He would climb the ladder and
eventually become editor of Mabuhay in 1934, a post he held until 1941. Even at the earliest
days of his career he was already writing against U.S. imperialism and social injustice.

When the Second World War broke out, he refused offers to collaborate with the Japanese. He
took to the hills and became an intelligence officer of a guerilla unit.
In 1945, he co-founded the Philippine Newspaper Guild and the Congress of Labor Organizations
(CLO). He would become chairman of the CLO. These organizations were in the forefront of
struggles not only for press freedom and better economic conditions for workers, but also
against U.S. economic domination and military intervention.

Hernandez was arrested in 1951 amidst a crackdown by the Quirino administration on both legal
progressive organizations and the underground Partido Komunista ng Pilipinas-Hukbong
Mapagpalaya ng Bayan. For five months he was held in solitary confinement, after which he was
charged with rebellion complexed with murder and other crimes. He was convicted by the
lower court and sentenced to imprisonment for five years and six months. In 1956 he won
temporary liberty, and after eight more years was acquitted, with the Supreme Court ruling that
there is no such crime as rebellion complexed with murder.

After that, he became editor of the progressive newspapers Makabayan and Ang Masa, and
continued to write poetry, fiction, and short drama. He also resumed active participation in the
peoples movement.

Aside from his work as writer and activist, he had a brief stint in teaching, and also served four
terms as a Manila councilor.

He died of heart attack in March 1970.

The writer as hero

Amado V. Hernandez definitely has a place in the countrys pantheon of heroes, along with
Emilio Jacinto, Apolinario Mabini, and Aurelio Tolentinolike whom he was a brilliant writer
with unswerving dedication to the fight for freedom and justice. Like Mabini and Tolentino, he
suffered for his refusal to accept a status quo characterized by a rule of a small elite and their
foreign masters, but held fast to his convictions to his last breath.

Because of the sharp and stirring literary expression of the social causes he pursued, he is rightly
considered a prime example of the writer as agent of social change and purveyor of peoples
culture.

He may not be as well-known as he deserves to be, as activist artist Nanding Josef lamented in a
recent press conference, but that does not mean he is unworthy of admiration. In fact he is
infinitely worthier of admiration than the celebrities whose antics todays pop culture is heavily
drawn from. Bulatlat.com

Rolando Tinio is a Philippine National Artist for Theater and Literature. He was born in
Gagalangin, Tondo, Manila on March 5, 1937.[5] As a child, Tinio was fond of organizing and
directing his playmates for costumed celebrations. He was an active participant in the Filipino
movie industry and enjoyed working with Philippine celebrities who he himself had admired in
his childhood. Tinio himself became a film actor and scriptwriter. He is often described as a
religious, well-behaved and gifted person. Tinio graduated with honors (a "magna cum laude"
achiever) with a degree in Philosophy from the Royal and Pontifical University of Santo Tomas at
age 18 in 1955 and an M.F.A. degree in Creative Writing:Poetry from the State University of
Iowa.[1][2][3][5]

In Iowa, Tinio was known as a great writer that used English as the medium of the Filipino writer.
He wrote his poetic collection: Rage and Ritual which won an award from the University of the
Philippines. Bienvenido Lumbera, also an alumnus of the Royal and Pontifical University of Santo
Tomas, describes this collection as elegant and with a truly contemporary tone if taken from the
European literary critical view. At this point in time, Tinio believed that only English can hone the
themes that he wanted to communicate in his works. Once, in a conference, an author delivered
his belief in the value of the Tagalog dialect in Creative Writing. In response to this, Tinio
published an article in the scholarly journal Philippine Studies, which contained parts of English
poems translated into Tagalog. The articles purpose was to prove the inadequacy of Tagalog as
the writers medium. (Lumbera)

In the mid-1960s, however, Tinio decided to try writing in Tagalog and the product of this trial
was the collection of poems now called Bagay. Rolando Tinio was the sole inventor of Taglish in
Philippine poetry. Through this, he gave an authentic tone to the poetry of the native middle-
class Filipino. In 1972, Tinio wrote another poetry collection: Sitsit sa Kuliglig and this showed
the great contrast between his old and new advocacy. If in Rage and Ritual, portrayals of art and
the artist that are not closely associated with the Filipino lifestyle are communicated, Sitsit sa
Kuliglig clearly portrays the everyday experiences of a Tondo-grown individual now living in
Loyola heights. Heaven and earth; the gap between Tinios works in English and those in Tagalog.
(Lumbera)

Tinio was also an actor, director, and a set and costume designer. He served all these roles during
his stay with the Ateneo Experimental Theater. Tinio chooses the plays, designs the stage,
directs, creates the costumes and determines the musical score and other sounds. Productions
of the Ateneo Experimental Theater are completely his vision. In his production of Oedipus Rex,
he replaced the Greek costumes with modern renditions made primarily of metal pipes
supposedly to express the thought of industrial 20th century. (Lumbera)

His work with the Ateneo Experimental Theater expresses the concept of the actor being merely
one of the directors tools in shaping the stage; communicate his vision through all aspects of
the production. The last production of Tinios personal theater company was entitled ?. The
production was performed in a classroom rather than an auditorium and Tinio made the actors
mingle freely with the audience. There is no real meaning in the action and there is no definite
storyline. The meaning is hidden in the intentional actions of the actors and the unexpected
reply of the audience (Lumbera)

He published four seminal books of poems between 1972 and 1993, in which, along with his
longtime friend, Bienvenido Lumbera, helped modernize the traditionally sentimental Filipino
style. He had also worked on his own projects such as the Ateneo Experimental Theater
productions and other serious dramas in Filipino. His contribution to Philippine literature and
theater is immense.[1][2][3] His contributions include establishing the Filipino Department of
Ateneo de Manila.

Circa 1976, Tinio also wrote the lyrics for the six hymns of the "Misa ng Alay-Kapwa" the music
for which was composed by Fr. Eduardo P. Hontiveros, SJ. (The most popular of these hymns still
sung in Churches throughout the Philippines is "Buksan ang Aming Puso.) These hymns were
published in the now out of print, -Mga Awiting Pansamba-.
Rolando Santos Tinio was directing a musical when he suffered a heart attack in Manila on July 7,
1997. He died on July 8, 1997 at age 60. His wife, theatre and film actress, Ella Luansing had died
some years before. He was survived by his two children, Antonio and Victoria.[1][2][3]

Works[edit]

Poetry collections[edit]

"Sitsit sa Kulilig" (Whistling at Cicadas) or (Shusshing Cicadas) (1972)[1][2][3]

"Dunung-Dunungan" (Pedantry) (1975)[1][2][3]

"Kristal na Uniberso" (Crystal Universe) (1989)

"Trick of Mirrors" (1993)[1][2][3]

"Ang Burgis sa Kanyang Almusal"(1970)

Translated plays[edit]

"Laruang Kristal" (The Glass Menagerie) (1966)[1][2][3]

"Pahimakas sa Isang Ahente" (Death of a Salesman) (1966)[1][2][3]

"Paghihintay Kay Godo" (Waiting for Godot) (1967)

"Miss Julie" (1967)[1][2][3]

"Rama Hari" (Rama, King) (1980)

Essay collections[edit]

"A Matter of Language, Where English Fails" (1990)[1][2][3]

Newspaper columns[edit]

"Touchstones" for Metro Manila (1977)[1][2][3]

"Totally Tinio" for Manila Chronicle (19861987, 1990)[1][2][3]

"In Black and White" for Philippine Daily Globe (19871989)[1][2][3]

Achievements[edit]

Tinio was known for translating Western classics, which includes the works of Sophocles,
Shakespeare, Ibsen, Chekhov, Puccini and Verdi, into Tagalog. He did these translations in order
to advance the Filipino language. He was a prolific poet and writer who helped establish the
Filipino-language drama in the 1970s.[1][2][3][6]

He was made a National Artist of the Philippines for Theater and Literature in 1997.[1][2][3][7]

Other achievements of tinio[edit]

Ten Outstanding Young Men (1967) junior chaber international ph (jci)

Patnubay ng Sining at Kalinangan, City government of Manila (1967)

Gantimpalang Quezon sa Panitikan (1977)

Gawad CCP Para Sa Sining for Theater (1993)[1][2][3]

Famas Award for 'Sidhi'(1999)

Si Ang Kiukok (Davao, 1 March 1931-9 May 2005) ay isang Pilipinong modernong pintor na kilala
para sa kanyang mga dibuho na may mga nakakatakot at nakakaistorbong imahen sa estilong
cubist at expressionist. Noong 2001, itinuring siyang Pambansang Alagad ng Sining.

Ipinanganak si Ang sa Lungsod Davao. Nagmula sa Tsina ang kanyang mga magulang, si Vicente
Ang at Chin Lim, kaya unang sinusulat niya ang kanyang apelyido.

Nag-aral siya ng pagpipinta sa estilong Tsino habang nasa murang edad pa siya. Nag-aral siya ng
pagpipinta sa Unibersidad ng Santo Tomas noong 1952 hanggang 1954. Ilan sa kaniyang mga
guro ay ang mga kilalang pintor at iskultor na sina Vicente S. Manansala, Victorio Edades, Carlos
"Botong" Francisco, Galo B. Ocampo at ang Italyanong iskultor na si Francesco Monti.

Mga nilalaman [itago]

1 Karera

2 Ilan sa kanyang mga gawa

3 Mga Gantimpala

4 Mga reperensya

[baguhin]Karera
Una siyang nag-eksibit ng one-man show sa Contemporary Arts Gallery noong 1954. Maramin
siyang eksibit na sumunod. Noong 2000, ang Metropolitan Museum ng Manila ay nagkaroon ng
retrospektibong eksibit ng kanyang mga dibuho, na ginawa pa lang nila para sa dalawa sa mga
Pambansang Alagad ng Sining, si Fernando Amorsolo at Vicente S. Manansala. Namatay si Ang
noong siya ay 74 na taon, dahil sa kanser ng prostate.

[baguhin]Ilan sa kanyang mga gawa

1962 Pieta, na nanalo ng medalyang tanso 1st International Art Exhibition sa Saigon

1969 Geometric Landscape

1972 Last Supper

1974 Cockfight

1976 Crucifixion

1979 Seated Figure, na ibinenta sa auction ng Sotheby, Singapore

1987 Mother and Child

[baguhin]Mga Gantimpala

1961 Outstanding Overseas Chinese in Art Award

1976 Outstanding Citizen, mula sa Lungsod Maynila

1978 UST Outstanding Alumnus Award

1978 Patnubay ng Sining at Kalinangan Award, mula sa Lungsod Maynila

1980 Mobil Art Award

2002 Jose Rizal Award for Excellence, mula sa Manila Times at sa Kaisa Foundation

[baguhin]Mga reperensya

Duldulao, Manuel. A Century of Realism in Philippine Art. Quezon City: Legacy Publishers, 1992.

ang kiukok thumbnail photo

National Artist for Visual Arts (2001)

(March 1, 1931 May 9, 2005)

Born to immigrant Chinese parents Vicente Ang and Chin Lim, Ang Kiukok is one of the most vital
and dynamic figures who emerged during the 60s.. As one of those who came at the heels of the
pioneering modernists during that decade, Ang Kiukok blazed a formal and iconographic path of
his own through expressionistic works of high visual impact and compelling meaning.

He crystallized in vivid, cubistic figures the terror and angst of the times. Shaped in the furnace
of the political turmoil of those times, Ang Kiukok pursued an expression imbued with nationalist
fervor and sociological agenda.

Ang Kiukok-Thinking Man

Thinking Man, 1979, Watercolor on Paper

ang kiukok-cockerel

Cockerel, 1976, Watercolor on Paper

Some of his works include: Geometric Landscape (1969); Pieta, which won for him the bronze
medal in the 1st International Art Exhibition held in Saigon (1962); and the Seated Figure (1979),
auctioned at Sothebys in Singapore.

His works can be found in many major art collections, among them the Cultural Center of the
Philippines, National Historical Museum of Taipei, and the National Museum in Singapore.

Ang Kiukok died on May 9, 2005

Nick JoaquinAwards
Ramon Magsaysay Award for Journalism, Literature, and Creative Communication Arts

1996

Carlos Palanca Memorial Awards for Full-length Play

1976 The Beatas

Carlos Palanca Memorial Awards for Short Story

1965, 1958 Doa Jeronima, La Vidal

Nick Joaquin

From Wikipedia, the free encyclopedia

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Nick Joaquin

Nick Joaquin 2010 stamp of the Philippines.jpg

Joaquin on a 2010 stamp of the Philippines

Born Nicomedes Mrquez Joaqun

May 4, 1917

Manila, Philippine Islands

Died April 29, 2004 (aged 86)

San Juan, Metro Manila, Philippines

Occupation Novelist

Nicomedes Mrquez Joaqun (May 4, 1917 April 29, 2004) was a Filipino writer, historian and
journalist, best known for his short stories and novels in the English language. He also wrote
using the pen name Quijano de Manila. Joaqun was conferred the rank and title of National
Artist of the Philippines for Literature. He has been considered one of the most important
Filipino writers in English, along with Jos Rizal and Claro M. Recto.

Contents [hide]
1 Biography

1.1 Early life and education

1.2 Career

2 Adaptations

3 Works

4 Awards

5 See also

6 References

7 External links

Biography[edit]

Early life and education[edit]

Joaqun was born in Paco, Manila, one of ten children of Leocadio Joaqun, a colonel under
General Emilio Aguinaldo in the 1896 Revolution, and Salome Mrquez, a teacher of English and
Spanish. As a boy, after being read poems and stories by his mother, Joaqun read widely in his
father's library and at the National Library of the Philippines. By then, his father had become a
successful lawyer after the revolution. From reading, Joaqun became interested in writing.

At age 17, Joaqun had his first piece published, in the literary section of the pre-World War II
Tribune, where he worked as a proofreader. It was accepted by the writer and editor Serafn
Lanot. After Joaqun won a nationwide essay competition to honor La Naval de Manila,
sponsored by the Dominican Order, the University of Santo Tomas awarded him an honorary
Associate in Arts (A.A.) and a scholarship to St. Albert's Convent, the Dominican monastery in
Hong Kong.

Career[edit]

After returning to the Philippines, Joaqun joined the Philippines Free Press, starting as a
proofreader. He soon attracted notice for his poems, stories and plays, as well as his journalism
under the pen name Quijano de Manila. His journalism was both intellectual and provocative, an
unknown genre in the Philippines at that time, and raised the country's level of reportage.
Nick Joaquin is interred at the Libingan ng mga Bayani.

Joaqun deeply admired Jos Rizal, the national hero of the Philippines, paying him tribute in
such books as The Storyteller's New Medium Rizal in Saga, The Complete Poems and Plays of
Jose Rizal, and A Question of Heroes: Essays in Criticism on Ten Key Figures of Philippine History.
He translated the hero's valedictory poem, in the original Spanish Mi Ultimo Adios, as "Land That
I Love, Farewell!"

Joaqun represented the Philippines at the International PEN Congress in Tokyo in 1957, and was
appointed as a member of the Motion Pictures commission under presidents Diosdado
Macapagal and Ferdinand E. Marcos.

After being honored as National Artist, Joaquin used his position to work for intellectual freedom
in society. He secured the release of imprisoned writer Jos F. Lacaba. At a ceremony on Mount
Makiling attended by First Lady Imelda Marcos, Joaqun delivered an invocation to Mariang
Makiling, the mountain's mythical maiden. Joaqun touched on the importance of freedom and
the artist. After that, Joaqun was excluded by the Marcos regime as a speaker at important
cultural events.

Joaqun died of cardiac arrest in the early morning of April 29, 2004, at his home in San Juan,
Metro Manila. He was then editor of Philippine Graphic magazine, where he worked with Juan P.
Dayang, the magazine's first publisher. Joaqun was also publisher of its sister publication, Mirror
Weekly, a womens magazine, and wrote the column Small Beer for the Philippine Daily
Inquirer and Isyu, an opinion tabloid.

Adaptations[edit]

Tatarin (2001), a movie based on Joaquns short story "The Summer Solstice", was directed by
Amable Tikoy Aguiluz. The screenplay was written by Ricardo Lee. Joaqun was consulted on
the film. The cast included notable Filipino actors Edu Manzano (as Paeng Moreta,) Dina
Bonnevie (Lupe Moreta), Rica Peralejo (Amada), and Raymond B. Bagatsing.

Works[edit]

May Day Eve (1947)

Prose and Poems (1952)

The Woman Who had Two Navels (1961)

La Naval de Manila and Other Essays (1964)

A Portrait of the Artist as Filipino (1966)

Tropical Gothic (1972)

A Question of Heroes (1977)

Joseph Estrada and Other Sketches (1977)

Nora Aunor & Other Profiles (1977)

Ronnie Poe & Other Silhouettes (1977)

Reportage on Lovers (1977)

Reportage on Crime (1977)

Amalia Fuentes & Other Etchings (1977)

Gloria Diaz & Other Delineations (1977)

Doveglion & Other Cameos (1977)

Language of the Streets and Other Essays (1977)

Manila: Sin City and Other Chronicles (1977)

Pop Stories for Groovy Kids (1979)

Reportage on the Marcoses (1979)

Language of the Street and Other Essays (1980)

The Ballad of the Five Battles (1981)

Reportage on Politics (1981)

Tropical Baroque (1982)

The Aquinos of Tarlac: An Essay on History as Three Generations (1983)

Almanac for Manileos

Cave and Shadows (1983)

The Quartet of the Tiger Moon: Scenes from the People Power Apocalypse (1986)
Collected Verse (1987)

Culture and History: Occasional Notes on the Process of Philippine Becoming (1988)

Manila, My Manila: A History for the Young (1990),

The D.M. Guevara Story (1993),

Mr. F.E.U., the Culture Hero That Was Nicanor Reyes (1995).

Rizal in Saga (1996)

ABE: A Frank Sketch of E. Aguilar Cruz (2004)

Awards[edit]

Jos Garca Villa's Honor Roll (1940)

Philippines Free Press Short Story Contest (1949)

Ten Most Outstanding Young Men of the Philippines (TOYM), Awardee for Literature (1955)

Don Carlos Palanca Memorial Literary Awards (19571958; 1965; 1976)

Harper Publishing Company (New York, U.S.) writing fellowship

Stonehill Award for the Novel (1960)

Republic Cultural Heritage Award (1961)

Patnubay ng Sining at Kalinangan Award from the City of Manila (1964)

National Artist Award (1976).

S.E.A. Write Award (1980)

Ramon Magsaysay Award for Literature (1996)

Tanglaw ng Lahi Award from the Ateneo de Manila University (1997)

Several ESSO Journalism awards, including the highly covetedJournalist of the Year Award.

Several National Book Awards from the Manila Critics' Circle for The Aquinos of Tarlac: An Essay
in History as Three Generations; The Quartet of the Tiger Moon: Scenes from the People Power
Apocalypse; Culture and History: Occasional Notes on the Process of Philippine Becoming; The
World of Damian Domingo: 19th Century Manila (co-authored with Luciano P.R. Santiago); and
Jaime Ongpin: The Enigma: The Profile of a Filipino as Manager.Si Nicomedes Mrquez Joaqun,
na kinikilala ng karamihan bilang Nick Joaquin, ay isang Pilipinong manunulat, mananalaysay ng
kasaysayan at mamamahayag at kilala sa pagsusulat ng mga maikling kuwento at nobela sa
wikang Inggles pagkatapos ng Ikalawang Digmaang Pandaigdig. Dahil sa maraming karanasan
noong panahon ng digmaan, ang paksa ng kanyang mga tula ay iba-iba ukol sa makatotohanan at
buhay na buhay kaya malapit sa karanasan ng mga mambabasa. Kinikilala rin siyang Quijano de
Manila bilang pangalang-panulat.

Siya ay ipinalalagay na isang higante sa larangan ng pagsusulat. Ang wika ng kanyang panulat ay
malambing at masining.

Mga nilalaman [itago]

1 Talambuhay

2 Tatarin

3 Mga likha

3.1 Ang kanyang mga aklat

4 Mga parangal

5 Sanggunian

6 Mga panlabas na kawing

Talambuhay[baguhin | baguhin ang batayan]

Isinilang si Joaquin sa Paco, Maynila. Siya ay anak ni Leocadio Joaqun, isang abogado at koronel
sa Himagsikang Pilipino at Salome Marquez. Hindi nagtapos ng mataas na paaralan at
naghahanapbuhay nang di karaniwan sa may baybayin ng Maynila sa kung saan man. Tinuruan
sa sarili sa pamamagitan ng malawakang pagbabasa sa Pambansang Aklatan ng Pilipinas at sa
aklatan ng kanyang ama kung saan lumawak ang kanyang hilig sa pagsusulat. Unang inilathala
ang likha ni Joaquin sa bahaging pampanitikan ng Tribune, isang pahayagang bago sumiklab ang
Ikalawang Digmaang Pandaigdig sa ilalim ni Serafin Lanot, isang manunulat at patnugot.

Larawan ni Nick Joaquin na iginuhit ni BenCab

Pagkatapos ng pagkapanalo sa pangmalawakang-bansang paligsahan ng pagsusulat ng sanaysay

sa La Naval de Manila na pinamahala ng Dominikano, iginawad ng Pamantasan ng Santo Tomas si
Joaquin ng pandangal na Kolega sa Sining (A. A.) at pagpapaaral sa Kolehiyo ng St. Albert, ang
monasteryong Dominikano sa Hong Kong. Gayumpaman, hindi niya itinuloy pagkatapos ng halos
isang taon. Pagkauwi niya sa Pilipinas, sumanid siya sa Philippines Free Press, nagsimula bilang
manunuri sa pagbabasa. Sa katagalan, nakilala siya ukol sa kanyang mga tula, kuwento at dulaan,
ganundin ang kanyang pamamahayag sa ilalim ng kanyang panulat na pangalang Quijano de
Manila. Ang kanyang pamamahayag sa pagsusulat ay nakatatak nang pangkatalinuhan at
mapang-akit, isang di-nakikilalang uri sa Pilipinas sa panahong iyon, inaangat ang antas ng
pagbabalita sa bansa.

Naglingkod si Joaquin bilang kasapi ng Lupon ng mga Tagapuna para sa mga Gumagalaw na
Larawan sa ilalim ng Pangulong Diosdado Macapagal at Pangulong Ferdinand E. Marcos. Ayon
kay Marra PL. Lanot, isang manunulat, hindi ginagalaw si Joaquin ng kamay na bakal ni Marcos.
Ang unang hakbang ni Joaquin bilang Pambansang Alagad ng Sining ay maging panatag sa
pagpapalaya ng nakulong na manunulat na si Jose F. Lacaba. Sa isang seremonya sa Bundok
Makiling na pinangunahan ng Unang Ginang Imelda Marcos, nagpahayag si Joaquin sa
panawagan ng Mariang Makiling, isang alamat na dalaga ng bundok. Nadama niya ang
kahalagaan ng kalayaan at ang artista. Bilang bunga, hindi na siya inanyayaahan na magpahayag
ng anumang mga mahahalagang kaganapang pangkultura.

Sumakabilang-buhay si Joaquin dahil sa atake sa puso sa umaga ng 29 Abril 2004 sa kanyang

tahanan ng San Juan, Kalakhang Maynila. Sa kapanahunan ng kanyang kamatayan, siya ay
patnugot ng magasing Philippine Graphic at tagalathala ng pahayagang Mirror Weekly, isang
magasing pangkababaihan. Sumulat din siya ng mga lathalaing Small Beer para sa Philippine
Daily Inquirer at Isyu, isang tabloyd na pang-opinyon.