April 3, 2014

A few weeks ago, we had a Cirilo Bautista tribute as part of the Naga City Public Poetry Project. Only a few was able to attend as readers. There were only five of us there. But still, we pushed through. Afterwards, we had a meeting. You see, we are planning to apply for grants. I made a video of the event and started sending the YouTube link to FB friends. I wanted to involve as many people as possible, even those who failed to attend. The result was amazing. People did show interest and watched the video. Joel Pablo Salud, the editor-in-chief of Philippines Graphic even wanted me to write an article on the poetry gigs that I have been organizing in Naga City. So I did. And now the article is out, printed in Page 36-37 of the April 7, 2014 issue of said magazine. Please do buy (and grab) a copy at your nearest news stands, National Bookstore and 711 outlets. Here’s the picture of the pages. Nice lay-out!





The next session is going to happen on April 25, 2014, again at the Raul Roco Public Library. I hope we could replicate the WG/VerSosimo/Bikol Slam projects as per attendance. Summer, summer, poems of summer. More updates coming!



August 26, 2012

One Inquirer columnist rightfully called it “collective grief.” And true enough it is indeed deadening. Deadlier than collective anger. So it is a welcome development that there will be an investigation on the hows and whys of the Robredo tragedy. I am also happy that Abrazado will have the chance to air his take on the plane crash. Actually, I have been waiting to hear it from him since the day of the crash. His silence is rather odd.

One can’t help but be a little bit pessimistic because of what happened. Robredo has always been that figure at the back of our heads, occupying our collective consciousness, symbolizing good governance–that everything will be ok so long as he is around. Now, everybody seems so unsure.

From my vantage point, which is the Philippines. It is really hard to trust politicians. For a country so left out in the Asian economic race, we spend so much money during elections, so much that our preoccupation seems to be nothing but politics.

For one, even the literary sector is so politicized. One writer commented that we are so engrossed about other things–awards and literary barkada, except writing itself. It is easy to get disheartened if your heart is not in the right place. If you are a writer simply trying to communicate through your art, you will meet lots of opposition–from the academe, even from your fellow writers. But then real writers won’t really care. And the more opposition and antagonism, the better.

Anyway, so much of this lest we invite negative vibes.

I’m just happy to have received copies of the Far Eastern University English and Literature Journal (Volume 5-2011) where six of my poems in English appear. Published in 2012 by FEU Publications, the volume is edited by Ariel R. Valeza, Maurie M. Nivales, Romulo P. Villanueva and Danny T. Vibas. Content includes works by Ferdinand Lopez, Grace Reoperez, Ralph Semino Galan, Gary Devilles, Maurie Liza M. Nivales, Alejandro S. Bernardo, Augusto Antonio A. Aguila, Bong Lavarias, Simeon Dumdum Jr., Gerry S. Rubio, and Bill Shmidt.

The various institutes and departments of FEU regularly publish academic journals. For more info about the journal FEU is at Nicanor Reyes St., Sampaloc, Manila, The Philippines. Telephone: (632)7360039. Email: Special thanks to cacodaemon poet Miel Ondevilla.

Two new poems today in Sunday Times Magazine. The first one is about taxation law, second one is something about fatherhood. Here’s the link.

Enjoy the poems. I enjoyed writing them. At the end of the day, it’s just between you and the voice of the poem.

Here’s an update on the upcoming anthology by MOV. This time, we have the name of the authors and the poems included, and the book cover. Launching will be at Ayala Museum on September 2, 2011, at 6PM. I can’t wait for the anthology to come out. It’s a must-have. Here it is:

1 Anne Carly Abad: December 18, 2008

2 Diego José Abad: The Unfaithful Men


4 Anina G. Abola: In Place Of Emotion

5 Jose Marte Abueg: I, Pontius

6 Ericson Acosta: Ika-anim na Sundang: GABUD [Sixth Knife: WHETSTONE]

7 Arbeen Acuña: eraserase002

8 Jim Pascual Agustin: Sea Fireflies Of Mindoro

9 Arnold O. Aldaba: Fruit Of Knowledge

10 Kislap Alitaptap: Wala Na Sa Quiapo Ang Nazareno [The Nazarene is not in


11 Rio Alma: Seaman

12 Jovsky Almero: Train Dodge

13 Tofi Alonte: SHOES

14 Donato Mejia Alvarez: Apat Na Larawan Mula Sa Tagaytay Ridge [A Short Quartet

From Tagaytay Ridge]

15 Panch Alvarez: Pointing According To Heraldina

16 Angelo B. Ancheta: BIR-IT, JAN-NY!

17 Mark Angeles: F/LIGHT

18 Rebecca T. Añonuevo: Anumang Leksiyon [Whatever Abides]

19 Roberto T. Añonuevo: Dalawampung Minuto [Twenty Minutes]

20 Teo T. Antonio: Sa Dulo Ng Malay [At the Edge of Waking]

21 Lystra Aranal: Hands Down

22 Mesándel Virtusio Arguelles: EROS

23 Cesar Ruiz Aquino: THREE VARIATIONS

24 A.M. Azada: The Lion

25 Mads Bajarias: Entropy & The Shrike

26 Desiree L. Balota: manoy

27 Romulo P. Baquiran, Jr.: LABERINTO [LABYRINTHE]

28 Joi Barrios: Mga Tala Sa Isang Pagpatay [Notes On A Political Execution]

29 Melissa Villa-Real Basmayor: Futura



31 Dave Buenviaje: Because Pandesal is never the same in another country

32 Regine Cabato: Touch Me Not

33 Jose Wendell P. Capili: Carnivalesque

34 Ronan B. Capinding: Pagdidilig

35 Ronaldo Carcamo: Ha-ha-ha

36 F. Jordan Carnice: Stones

37 Lito Casaje: Tsunami Blues

38 Ian Rosales Casocot: The Smallness Of The Everyday

39 Marella Castro: Hinatak Sa Kahulugan [A Catch Of The Infinite Pull]

40 Jose Jason L. Chancoco: Barber Shop Brainstorming

41 Ayrie Ching: Learning Curve

42 Frank Cimatu: THE YOYO ROUTINE

43 Mikael de Lara Co: Kundiman

44 Kristian Sendon Cordero: Stabat Mater

45 Michael M. Coroza: MAGNANAKAW [THIEF]

46 Keith Cortez: The Current

47 Lope Cui, Jr.: Multiple Choice

48 Dakila Cutab: P’wera Contra

49 Jose Y. Dalisay, Jr.: Bound For Saudi

50 Ramon Damasing: On the Feminine

51 Carlomar Daoana: Brutalism

52 Mes De Guzman: Ang Katiwala [The Caretaker]

53 Ainne Frances dela Cruz: Speed

54 Christa I. De La Cruz: After Impeng Negro

55 Khavn De La Cruz: ang dalawa ang puso [the twice-hearted]

56 Noelle Leslie dela Cruz: Absence Muse

57 Nikki De Los Santos: aporia

58 Karl R. De Mesa: Preparations For History

59 Iñigo de Paula: Paramdam

60 Ricardo M. de Ungria: The Ambivalence Of Staying A Tree

61 Lourd Ernest H. De Veyra: SUPREMACY OF THE TEXT

62 Noel del Prado: Rebolusyon [Revolution]

63 A Despi: Social Blowtorching Transcends Scab Worship

64 Glenn Diaz: Definition Of respite

65 Lav Diaz: IN MEMORIAM

66 Alain Russ Dimzon: Tinkling

67 Jan Brandon Dollente: The What

68 Jacob Walse-Dominguez: folding boxes

69 Simeon Dumdum Jr.: The Last Rain of Summer

70 Marjorie Evasco: In Baclayon, Reading Levertov’s For those whom the Gods love less

71 Israfel Fagela: Siberia

72 Bendix M. Fernandez: english lyrics to a japanese seduction

73 Boni Fojas-Almirante: Erotica

74 Luis H. Francia: SMOOCH KING

75 Marc Escalona Gaba: Blinds

76 Eric Gamalinda: Hydrazine

77 J. Neil Garcia: Coda

78 German Villanueva Gervacio: Procorpio’s Night

79 Lolito Go: What Else

80 Eva B. Gubat: Blind Date

81 Ramil Digal Gulle:

82 Asterio Enrico Gutierrez: Death Poem Exercise 64

83 Luisa A. Igloria: What I Don’t Tell My Children about My Hometown

84 Neal Imperial: Tandang Sora

85 Marne L. Kilates: Morion

86 Phillip Yerro Kimpo: How The Americans Liberated Northern Luzon, 1945

87 Jeanilyn Kwan: The Revolution Will Be Printed, Not Televised

88 Jose F. Lacaba: Tagubilin At Habilin [Will and Testament]

89 Mookie Katigbak-Lacuesta: Tampuhan

90 Marra PL. Lanot: Ina [Mother]

91 Christine V. Lao: What Ol’ Injun told the carnies

92 Gian Lao: Here, at your grave

93 Elaine Lazaro: O

94 John Francis C. Losaria: NPA mula sa Tatlong Daang Salita at Dalawang

Pulgadang Pagitan [from Three Hundred Words and Two Inches in Between]

95 Bienvenido Lumbera: Kartolinang Ibon [Craft-Paper Bird]

96 Soleil Erika Manzano: Ganoon dumating ang balita— [How the news broke—]

97 Carlo Angelo V. Marcelo: A Better Good Morning

98 Edgar B. Maranan: The life and times of a seditious poet

99 Luchie Maranan: Estranged

100 Pia Montalban: Saleslady

101 V.E. Carmelo D. Nadera Jr.: BALIMBING

102 Joanna Nicolas-Na: On The Way To Market

103 Homer B. Novicio: Dark Birds In Winged Chapel

104 Emil Os: hyperlink

105 Voltaire Q. Oyzon: Mag-aabroad inin akon mga buhok [My hairs will travel


106 Doms Pagliawan: Philippine Eagle

107 Don Pagusara: Alibangbang Sa Ulan [Butterflies In The Rain]

108 R. Torres Pandan: Ars Poetica, As Actually Practiced

109 Ned Parfan: Disturbances

110 Allan Justo Pastrana: The Soul Of The Town

111 Carlos M. Piocos III: Prehistoria

112 Axel Pinpin: Nang Salakayin Mo Ang Aking Pananahimik [The Night You

Assaulted My Deep Silence]

113 Zosimo Quibilan, Jr.: Vers.

114 Jun Cruz Reyes: Bunso [Lastborn]

115 Fidel Rillo: Sa Ganang Akin Po Naman Ay Ito Lamang Ang

Ipinamamanhik [Thus Do I Humbly Express Myself]

116 Virgilio A. Rivas: Eternal Juju Recurrence

117 Deedle Rodriguez-Tomlinson: Euston Road on an Autumn Afternoon

118 Patrick Rosal: Despedida Ardiente

119 Darylle Rubino: Today After Time Immemorial

120 Roger B. Rueda: Carabaohood

121 Jose Leonardo A. Sabilano: SpaMusic

122 Joseph de Luna Saguid: CORRESPONDENT

123 Joel Pablo Salud: Meandering

124 Edgar Calabia Samar: Vocabulario

125 Rafael Antonio C. San Diego: Poem About Nothing

126 Benilda Santos: Púgot [Beheaded]

127 Oscar Tantoco Serquiña, Jr.: Massacre

128 Tanya Sevilla-Simon: Balikbayan Box

129 Danny Castillones Sillada: Yang Pagtagád Kang Alyana [Waiting For Alyana]

130 Bebang W. Siy: Ang Bisita [The Visitor]

131 Bert Sulat Jr.: I Love Poetry

132 Ramón C Sunico: HOW TO ENJOY A CONCERT: Mula sa Concert Notes ng

Francisco Santiago Hall ng PCI Bank [From the concert notes of Francisco

Santiago Hall of PCI Bank (now defunct)]

133 Christian Tablazon: BLUEPRINT

134 Alyza Taguilaso: Leviathan

135 J.I.E. Teodoro: Banal na Buntis [Pregnant, Holy]

136 Andrea B. Teran: Weight without gravity



138 Ricky Torre: An Appointment, And Variation On Federico Alcuaz (or Monologue

as Portraiture)

139 Denver Ejem Torres: where my Barbie was safe, lest, if it came out in the open

140 Charles Bonoan Tuvilla: Sa Panahon [On Seasons]

141 Roberto Ofanda Umil: Ang Tiwalag [The Defected]

142 RM Urquico: The Blues

143 Czeriza Shennille Valencia: Every dawn you dig your own grave

144 Eric Tinsay Valles: Independence Day In Hong Lim Park

145 Joel Vega: NIMBUS

146 Eliza Victoria: Crime Scenes

147 Santiago Villafania: Rekindled

148 Michael Carlo C. Villas: Vestibular

149 Arlene J Yandug: I think therefore I Ant

150 Alfred A. Yuson: The Ten Most Memorable Moments with D. Thus Far, & Why I

Can’t Let Her Go

Book Design: Piya Constantino

Cover Art: W Don Flores

“Reported Incidents, 9/27/09 to 9/29/09 2”

Acrylic on canvas

24 in. x 32 in.


Translations by: Piya Constantino, Eduardo Dayao, Mikael de Lara Co, Paula Maria Diaz, U Z. Eliserio, Ryan Fuentes, Luisa A. Igloria, Cecilia B. Imperial, Marne L. Kilates, John B. Labella, Aila Lenard, Paolo Manalo, Mark Pangilinan, Chuckberry Pascual, Sue Prado, Nonilon V. Queano , D.M. Reyes, Sandra Nicole Roldan,

Writers ought to be aware of the rules regarding copyright infringement. Here’s something about copyright infringement and plagiarism as explained by the Supreme Court in the case of Habana v. Robles (July 19, 1999 GR 131522).

Petitioners are authors and copyright holders of books on the English language (College English for Today—Book 1 and 2, and Workbook for College Freshman English). They were revising their books and were scouting for other books of similar subject matter when they chanced upon the books of Respondents published by Goodwill Trading Co. Inc. (Developing English Proficiency—Books 1 and 2). Upon further perusal they discovered that the content of said books was very much similar to theirs, and in fact several pages were even identical. Some illustrative examples were exactly the same. However, while herein Petitioners researched on said examples by foreign authors and made due acknowledgement, Respondents made use of the same and never cited the authors. They did not even cite the Petitioners as the first to use said example.

Petitioners tried to settle the matter extra-judicially by asking Respondents to cease and desist from selling and distributing the books and by claiming for damages due to lost profit. But said demands were ignored. So they filed action for Infringement and or/ Unfair Competition with damages before the RTC against Respondents and Goodwill.

The trial court ruled in favor of Respondents and dismissed the claim against Goodwill. It subscribed to the arguments of Respondents that there was no plagiarism resulting to Infringement because the examples were by foreign authors and for educational purposes subject to fair use. It also agreed with Respondents that the similarities were brought about by the fact that the books dealt with the same subject matter and adhered to the same presentation format prescribed by the Philippine Colleges of Arts and Sciences (APCAS). Goodwill was also said to be absolved because it was not privy to the plagiarism and in their contract with Respondents, there was a guaranty that the work was original and the publisher will not be liable in case Infringement claims. The trial court also subscribed to the notion of Respondents that Petitioner was motivated by bad faith in filing the case due to professional jealousy. This is because the assailed books replaced Petitioner’s as official textbook of the FEU Graduate Studies Department.

Petitioners appealed before the CA. But just the same, the appellate court ruled in favor of Respondents opining that the topics said to be plagiarized were also topics or matters also found in earlier books on college English, even including foreign books. But it ruled that Petitioners were not in bad faith in filing the claim. Hence Petitioners filed for Review on Certiorari (Rule 45) before the SC.

The issues in this case are twofold:

  1. Is there copyright infringement given that the books dealt with the same subject and subscribed to the same presentation format, and only some parts were similar and identical?
  2. Is the defense of fair use tenable?

The Court rules:

  1. Yes, there is plagiarism resulting to copyright infringement in this case. Under RA 8293 copyright holders have copy or economic rights including the exclusive right to carry out, authorize or prevent reproduction of the whole work or even just a substantial portion of it. One limitation to this right is that quotations of a copyrighted work may be included in other publication when compatible with the Fair Use Doctrine (i. e. by way of illustration for teaching purposes) as long as the author is cited as source. In this case, even if the books dealt with the same subject and subscribed to the same format, and even if only some parts were similar and identical, there is still infringement. It need not be a reproduction of the entire work, or even a large portion of it. If so much is taken that the value of the original work is substantially diminished or the labors of the original author are substantially and to an injurious extent appropriated, there is infringement. In this case, not only the discussions were lifted, but also the examples. And this was done without due acknowledgement to Petitioners.
  2. Fair Use cannot be a defense in this case. True, both Petitioners and Respondents used works by foreign authors as illustrative examples for educational purposes. But Petitioners cited or acknowledged the authors, Respondents did not. Petitioners labored to do research to find the best examples and gave citations for it. Respondents copied the same and did not at least acknowledge Petitioners or even the foreign authors of said examples. There must be citations.

There you go. And also if you are accused of copyright infringement and plagiarism and you think you have a good defense, do not withdraw the subject publications from the bookstores. The act could be used against you as ‘indica’ of guilt as the High Court ruled in this case

Ever since I took my writings seriously the Sunday Inquirer Magazine (SIM) has always been part of my writer’s date. The year was 1999, and I was a college student staying at the now defunct and demolished 1940’s apartment 517-A Gastambide, Sampaloc, Manila. I was writing for FEU Advocate and just won a Transition literary prize. I was inspired. I would read poetry in my room while eating Japanese-made chocolates that I would buy from a robbery prone and bullet-riddled 711 nearby. I would read poetry from earlier volumes of the Transition, I would read Nick Joaquin’s Joaquinesque, Jose Garcia Villa commas, Shakespearean sonnets and weekly magazines with literary section: Panorama, Free Press, Graphic, Pilosopong Tasyo, Liwayway, Homelife. I would read them before I would take on my science-oriented academics that would keep me awake till dawn. Poetry was sort of an energizer for me.

Pilosopong Tasyo was then edited by veteran makatang modernista Lamberto Antonio. I also wrote in Filipino, so I sent some poems. The first time I got printed nationally was with Pilosopong Tasyo and it was a set of surrealist poems in Filipino or Tagalog. This first taste of getting printed made me want to write and send some more. So I kept track of the weeklies.

Sunday was Inquirer and Bulletin day, with Sunday Inquirer Magazine and Panorama for dessert. It was also ROTC and writer’s date day. So I would wake up at 5am (ROTC would start at 600 hours), and grab the newspapers on my way to the campus. After the marching and rifle training (we used real rifles because FEU was a WWII arsenal), the tactical lectures would follow and we were required to sit under the shades and listen. Not quite tough because I would take out my newspapers and read behind the broad backs of my co-cadets. Then after the training day, I would proceed to my writer’s date, sometimes still in combat shoes. I would go to different poetic places in Metro-Manila like the National Museum, Luneta Orchidarium, Intramuros, Paco Park, CCP, Malate, Makati (Filipinas Heritage Museum, Greenbelt area, Ayala Museum etc.), Katipunan, UP Diliman, Quezon Memorial Circle, Visayas Ave, Libis, SM North (yes, poetic for me), Scout Limbaga, Antipolo, Binondo, etc. Even Gastambide was very poetic, even the FEU campus and the Recto area.

Needles to say I would see these places in the light of the poems I read in the Inquirer. And it inspired me to also write. It is safe to say the one of my motivations for writing was to get printed in the Inquirer, in the poetry section of the Sunday Inquirer Magazine. Not for any other reason, but as underpinning for the poetic vision given me by my writer’s dates while entranced by the poems I read in the pages of said magazine. It made me feel the pulse of the city—the city of my birth, its life and perplexities.

So I would bring a map, take a few rides and then walk. I had with me some provisions: water, food, and some money. I had no camera yet, no laptop, just my memory and my senses. I would stroll the streets, look at the sights, examine the culture of the place, talk to people, eat street foods. Later, I would ensconce myself in a secure area to rest, read and write. At times I would head for theaters and watch plays. Or film festivals and watch art films, or really odd places with great culture and exotic food. And yes, the magazines were with me. Some books too. All in a day’s walk with the poet in me.

I still keep my old Jansport backpack until now.


March 26, 2010

Article 142 of the Revised Penal Code of the Philippines is another law that concerns writers. The statute provides that one of the three ways or acts of committing Inciting to Sedition is by writing, publishing, or circulating scurrilous libels against the Philippine Government or any of the duly constituted authorities thereof, which to end to disturb the public peace (Part 3 of 3, see the entire proviso). It is important to note that in this form of Inciting to Sedition, the purpose of the offender need not be to accomplish any of the objects of Sedition under Article 139. What is required is that the scurrilous or vulgar libel tends to: 1. Disturb or obstruct any lawful officer in executing the functions of his office; or 2. Instigate others to cabal and meet together for unlawful purposes; or 3. Suggest or incite rebellious conspiracies or riots; or 4. Stir up the people against the lawful authorities or to disturb the peace of the community, the safety and order of the Government.

Premier Filipino playwright Aurelio Tolentino was found guilty of this crime when the Supreme Court held that his play “Kahapon, Ngayon at Bukas,” exhibited at Teatro Libertad, tended to instigate others to cabal and meet together for unlawful purposes and to stir up the people against the lawful authorities and to disturb the peace of the community and the safety and order of the government (US v. Tolentino, 5 Phil. 682).

Tolentino was considered caught in flagrante delicto and was arrested right during the staging of the play on May 14, 1903. Virgilio S. Almario writes of the play: “Bukod sa isang pailalim na paglalarawan ito ng malungkot na karanasan ng Pilipinas sa kamay ng iba’t ibang mananakop, may isang bahagi sa dula na kailangang hablutin at dapurakin ng tauhang Taga-ilog ang bandilang Amerikano. Ayon sa ulat, ang aktor na na gumaganap na Taga-ilog ay pinanghinaan ng loob nang makita ang mga Amerikano sa lipon ng mga manood kaya’t si Tolentino mismo ang pumasok sa tanghalan para isagawa ang naturang tagpo. Dahil sa napanood, nagsiklab ang mga naroong Amerikano at lumikha ng kaguluhan sa loob ng teatro. Inaresto si Tolentino at ang ibang kasali sa pagtatanghal. Inihabla si Tolentino sa salang sedisyon at pinarusahan ng dalawang taong pagkabilanggo at bayad-pinsalang $7,000.” (Balagtasismo Versus Modernismo, p. 41)

As said earlier, the work of literature need not result to actual disturbance or disorder. It is enough that there be a “Clear and Present Danger.” For instance, there is already a manifest and widespread discontent of government by the citizens, and anytime there could be an uprising. But here you are, an author of great influence, staging a play or publishing literature that adds fuel to the fire. You could very well be liable for Inciting to Sedition.

Prior to the adoption of the “Clear and Present Danger Rule” we had the “Dangerous Tendency Rule.” Under this doctrine, there need not be an actual and manifest outrage against the government. You could be liable for Inciting to Sedition just by publishing materials that tend to create a danger of public uprising. The rule is rather astringent, hence very much frowned upon by libertarians. This was the dictum applied by the Americans in the Tolentino Case.

Rest assured my dear writer-friends that the 1987 Philippine Constitution guarantees Freedom of Expression. It provides that “No law shall be passed abridging the freedom of speech, of expression, or of the press, or the right of the people peaceably to assemble and petition the Government for redress of grievances.” (Art. 3 Sec. 4) Corollary to this right is our freedom from prior restraint or censorship and from subsequent punishment (Chavez v. Gonzales, Feb. 18, 2008). The above discussion on Inciting to Sedition is simply a reminder that Freedom of Expression, even if inherent upon the individual (Universal Declaration of Human Rights, Art. 19-20), is not plenary.

Crowns and Oranges

We have been forewarned about the new voices for the new age. Now here they are. The Crowns and Oranges: Works by Young Philippine Poets published by Anvil. It’s now available even in National Bookstore-Naga. It’s edited by Cirilo Bautista and Ken Ishikawa.  And it includes three of my poems. Hear them or be late and sorry!

I have launched my first book on Bikol poetics published through a grant from the National Commission for Culture and the Arts-National Committee on Literary Arts (NCCA-NCLA). I think this book is important because it is the first ouvre on Bikol poetic aesthetics written in the Bikol language. So that non-Bikols could understand its gist and purpose, I saw it fit to write the foreword in English.

As they say:

“Chancoco’s book enlightens us on important aspects of Bikol poetics. It is a great contribution to Philippine literary scholarship.”
–Dr. Cirilo F. Bautista, Philippine Panorama

“We could not fault Chancoco’s craftmanship”
–Dr. Leoncio P. Deriada, Homelife Magazine

“Jose Jason L. Chancoco’s pioneering and scholarly work, Pagsasatubuanan: Poetikang Bikolnon, is a koh-i-noor in the canon of Bikol poetics and literary criticism. A rare achievement!
–Santiago Villafania, Dalityapi Unpoemed

“An “Pagsasatubuanan” ni Chancoco sarong pagtukar kan Bikolnon na poetika sa paaging strukturalista-pormalista, sa paaging ini, an libro minakapot kan tropeo bilang enot na pagrurip sa pagrarawitdawit sa Bikol.”
–Victor Dennis Nierva, Vox Bikol

“Creating his own devices to articulate terminologies in Bicol translation, Chancoco uses Bicol in its formal form, proving that studies and researches can be articulated in the native language.”
–Juan Escandor, Jr., Philippine Daily Inquirer

Copies of the book are available (PhP250 only) at Museo de Caceres (inside the Holy Rosary Minor seminary), Kulturang Bikolnon (first level of the CBD Hotel Building) and Basilica Souvenir Shop (Basilica Compound) in Naga City. Orders may also be placed by sending an E-mail to tarusan22(at)yahoo(dot)com or via SMS to 09199470406 and copies will be sent by courier.

Naga City—August 15, 2009 will be a date to remember in Bicol’s literary history as Bikol writers release five books and a literary magazine. Dubbed as “An Pagbungsod” it will be held 6PM at the alfresco area of the Avenue Square in Magsaysay Avenue, Naga City.

The grand launch will feature “Yudi Man: Mga Osipon para ki Nunuy asin ki Nini,” a collection of short-stories for children by Premio Tomas Arejola para sa Literaturang Bikolnon winners as edited by Carlos A. Arejola and Lorna A. Billanes, and illustrated by Boyet Abrenica; “Pagsasatubuanan: Poetikang Bikolnon,” a book of literary criticism on Bikol poetics by Jose Jason L. Chancoco; “Tigsik,” a compilation of tigsik(s), a Bikol ethnic poetic form by Aida B. Cirujales; “Sayod Kong Tataramon/Tuwiran Kong Sasabihin,” a collection of stage and screenplays by Carlos A. Arejola; “Bagyo sa Oktubre,” a collection poems in Filipino by Honesto M. Pesimo, Jr.; and “Bangraw kan Arte, Literatura asin Kultura,” a Bikol literary magazine edited by Estelito Jacob, Jun Pesimo and Marissa R. Casillan with Manny Salak as lay-out artist.  All of the titles are published by the National Commission for Culture and the Arts (NCCA) and printed by the Goldprint Publishing House.

Carlos A. Arejola has been called the poster boy of Bikol Lit. in lecture circuits. He convenes an annual Bikol writers’ workshop, chairs a region-wide literary competition, and has, along with other stout-hearted Bikol artists, initiated other projects to win wider adherence for Bikol writings. His drama and poetry have won the Palanca Awards and other national literary prizes. He works for the Camarines Sur Provincial Capitol.

Lorna A. Billanes edits, translates, and teaches language and literature at Miriam College in Quezon City. Her fiction has won prizes from the Amelia Lapeña-Bonifacio Literary Awards and the PBBY Salanga Wrters’ Prize. She holds an M.A. degree in Creative Writing from UP Diliman where she is currently pursuing a Ph.D. in English Studies. She co-edits Yudi Man Mga Osipon para ki Nunuy asin ki Nini with Carlos Arejola.

Jose Jason L. Chancoco has won national awards and fellowships for his poetry, essay and fiction in English, Filipino, Bikol Naga and Iriganon. He won two gold medallions in a single year (2005,for stories for children and 1-act play for children categories) in the Tomas Arejola para sa Literaturang Bikolnon, a feat so far unduplicated. He is currently pursuing a law degree.

Tigsik Queen Aida B. Cirujales teaches at the Gainza Central School and was a finalist in the rawitdawit (poetry) category of the Premio Arejola in 2007.

Honesto M. Pesimo, Jr. has won national awards for his poetry and was cited in the rawitdawit category of the Premio Arejola in 2004 and 2007. He teaches at the Concepcion Pequeña High School and Mariners’ Polytechnic College.

Estelito Jacob, Jun Pesimo and Marissa Reorizo-Casillan co-edits Bangraw kan Arte, Literatura asin Kultura. Issa Casillan was the gold medallion winner of the osipon (fiction) category of the Premio Arejola in 2007. Esting Jacob is an award-winning poet and fictionist and is an avid painter.  Apart from his poetry prizes, Jun Pesimo is an award-winning photographer.

Boyet Abrenica is one of the region’s most notable young visual artists today. He has designed literary titles and books of history and is the art director of Biggs Food Corporation.

Manny Salak is a senior graphic designer of Goldprint Publishing House. He was a finalist in the 25th National Shell Painting Competition.

The grand launch is in coordination with the Development Institute of Bicolano Artists Foundation, Inc., Premio Tomas para sa Literaturang Bikolnon, Kabulig-Bikol and the Avenue Plaza Hotel. The Naga College Foundation Cultural Arts Center will render performances during the launch. Noted Bikol writer and scholar H. Francisco V. Penones will be the keynote speaker.