The Middle Period— 1930 to 1960

Filipino writers in English began by mastering vocabulary, learning the mechanics of grammar, and imitating established Western writers. Indeed, the early period of Philippine Literature in English was a time of learning by trial and error. But by 1925 the extent and quality of writing had greatly improved. Perhaps it is wrong to say that the early period ended in 1930. For it really faded out around the mid 20s and the middle period of Philippine Literature began somewhere in the early 30s. The transition was gradual and it overlapped.

Leopoldo Yabes has called the years 1930 to 1944 “. . . the most productive of distinctive work in the half century of Filipino writing in English.” There were several factors which encouraged writers at this time. Led by Francisco Arcellana and inspired by Jose Garcia Villa, a group formed “The Veronicans.” The writers chose this name because they wanted their work to bear the imprint of Christ’s face. Around the same time, some women writers formed “The Bachelorettes.” Among their number were Teresa Arzaga, Luisa Barrera, Sally Barrera, Nelly X. Burgos, Olivia Galumpang, Corazon Juliano, Carmen Perez, and Trinidad L. Tarrosa. Both groups explored new dimensions in literary forms. Some of their works appeared in the quarterly Expression and in The Leader, which was edited by Federico Mangahas.

Another important outlet for writers in the 39s was the Graphic Weekly. With Alfredo EIfren Litiatico as literary editor, new writers such as Estrella Alfon, Nick Joaquin, and Ligaya Victorio Reyes were discovered and encouraged.

The Philippine Commonwealth Government was established on July 4, 1935. This event encouraged writers to freely search for a national identity. On October 28, 1936, the Philippine Book Guild was organized. Its early leaders included Manuel E. Arguilla, Carlos Quirino, and Arturo B. Rotor. Their purpose was to create a wider reading public for Filipino writers by printing low-cost books. Among other projects they published Rotor’s The Wound and the Scar.

In 1937 a Brief history of the Philippine Literature was published by Teofilo del Castillo. This book was of special importance since it was one of the first authoritative and objective studies of Philippine Literature.

A few years later, on February 26, 1939, the Philippine Writers League was formed. This was a highly influential organization during its brief existance. Its aims were to provide a center for the cultural activities of Filipino writers, to uplift cultural standards, to stimulate the social consciousness of the writer, to arrange for lectures and conferences, to establish friendly relations with writers for other countries, and to defend freedom of thought and expression. Its first president was Federico Mangahas, while Salvador P. Lopez, Jose A. Lansang, and I. P. Caballero served as Vice-Presidents.

At this time one of the outstanding spokesman for more social consciousness in literature was Salvador P. Lopez. He defined proletarian literature as “The interpretation of the experience of the working class in a world that has been rendered doubly dynamic by its struggles.” He stressed that the writer must champion the cause of the proletariat and interpret the experience of the working class in the world. Lopez directed the writer’s attention to the real Philippines so that he saw and described things which had never been notice or portrayed before.

In 1940 the first Commonwealth Literary Awards were granted by President Quezon. In the English division the winners were: essay—Salvador P. Lopez for Literature and Society; short story—Manuel E. Arguilla for How My Brother Leon Brought Home a Wife and Other Stories; poetry—R. Zulueta da Costa for Like the Molave; and novel—Juan C. Laya for His Native Soil.

The recognition that these awards provided was an excellent stimulus for all writers. Hopes were high for further developments in Philippine literature. But these hopes were shattered on December 7, 1941, when Japan bombed Pearl Harbor and war began in the Pacific. A period of uncertainty and fear began as the Japanese entered Manila on January 3, 1942. Martial law was immediately proclaimed. Most writers left the city and fled to the mountains. Many joined the army and fought in Bataan and Corregidor

. Some died in prison camps or were executed. Among the promising writers who died during the war years were Manuel E. Arguilla, A. G. Dayrit, A. E. Litiaco, and Francisco B. Icasiano.

Victoria Abelardo has described Filipino writing during the Japanese occupation as being pessimistic and bitter, There were sonic efforts at escapist literature, but in general the literary output was minor and insignificant. Because of strict censorship, few literary works were printed during the war years. However, some publications were allowed such as The Tribune, Philippine Review, Pillars, Free Philippines, and Filipina.

On February 28, 1945, the long-exiled Commonwealth Government was reestablished in Malacanang. As the country recovered from the war, its writers turned first to journalistic efforts and then to creative works. The Filipino writer observed a country that was devastated by war, shattered economically, and struggling politically. Many journalists freely described what they saw and commented on necessary changes. It was a time of revaluation and rebuilding. There was a sudden growth of periodicals such as The Manila Post, The Evening News, The Philippine-American, The Manila Times, and The Manila Chronicle. At the same time Philippines Free Press and the Philippines Herald resumed publication. Once again various college journals appeared such as Literary Apprentice (University of the Philippines), Varsitarian (University of Santo Thomas), National (National University), and Advocate (Far Eastern University). Among the new journals were Crossroads (Far Eastern University), Sands and Coral (Silliman University), Standard (Arellano University), and Dawn (University of the East).

With the proclamation of Philippine Independence on July 4, 1946, most writers felt a new sense of responsibility and freedom. The writers seemed more perceptive of their country and the world around them. At first, a number of guerrilla and liberation stories appeared: Stevan Javellana’s Without Seeing the Dawn was the first postwar Filipino novel published in the United States. In 1946 the Barangay Writers Project was organized to publish books by Filipino writers in English. N. V. M. Gonzalez served as first president. Within a few years, they published Heart of the Island (1947) by Manuel A. Viray, Philippine Cross Section (1950) by Maximo Ramos and Florentino B. Valeros, and Philippine Poetry Annual (1950) by Manuel A. Viray.

At this time literary awards provided further encouragement for creative writing. Delfin Fresnosa and Manuel A. Viray began in 1947 to publish annual honor roles for the best short stories and poems. The Free Press in 1949, resumed its annual short story awards with first place going to Nick Joaquin fur his “Guardia de Honor” In 1950 the Carlos Palanca Memorial Awards for Literature were created. Juan T. Gatbonton’s “Clay” won first prize in the English Short Story division.

The early l950s were a time of political unrest and even warfare as the government struggled with the Hukbalahap guerrillas. The writers read each others works as well as the works of American and European models. Their study of techniques and thematic treatments resulted in a literature that was varied in form and content. N. V. M. Gonzales explored his Mindoro land, while Nick Joaquin wrote old Manila legends in modern form.

Signatures, the first Philippine poetry magazine in English, began publishing in 1955. It was founded by Clemente Cancio, poet and neurosurgeon. The first editors were A. G. Hufana and R. V. Diaz. In that same year, a new Philippine Writers Association was organized with N. V. M. Gonzalez as its first president.

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Interview with EVP

Maybe we may have encountered the name Bienvenido Santos. But we have nothing information about him except of his name and being a writer.

It is grateful to know that we have her daughter here in our university. She will be our instrument to know Bienvenido Santos better. Therefore, we conducted an interview about him from a daughter’s memory of his late father

Mr. Bienvenido “Bening” Nuqui Santos was born in Tondo, Manila on March 22, 1911. He was married to Beatriz Nidea Santos of Albay, Bicol. Ben and Beatriz were blessed with four children: 3 daughters and a son who inherited his father’s expertise in writing and currently studying at Colorado State University.

Bening was an elementary classmate of the late Philippine President Diosdado Macapagal and he also became Dean of Arts and Sciences here in our university while his wife is Dean of Graduates Studies.

Their youngest daughter, were proud that she’s our Executive Vice President, Madam Lourdes S. Anonas, gladly she accepted our invitation for an interview about his late father, famous writer, Bienvenido Santos.

Q: How can you describe Mang Bening as a father, a friend and a husband?

A: My father is a very sentimental person. He is humorous, fun loving, funny and a very generous man. He is excellent in everything and a good lecturer to all his children. He was opposite to my mother’s attitude of being very serious considering that she is 6yrs older to him. My father possesses beautiful eyes. He is fond of embracing and he is a very good friend. He was very friendly and demonstrative. He used to say that,”when I love, I love…” Perhaps, I inherited that from him.

Q: When did he start writing? Does he have any ways and “rituals” in writing his pieces?

A: It was at the age of 12 when he started his fondness in writing. His teacher used to see him reading most of the time at the public library. At the age of 16, he had started writing at the University of the Philippines- Phil. Collegians. He has a favorite typewriter but most of his writings are written in long hand such as his novel, his autobiography and memories fiction. His favorite characters in his writings were people he knew in life. Everyday, be would ask for four newspapers: The Manila Standard, Inquirer, Manila Bulletin and The Philippine Star. He would read it from cover to cover. The funny and amazing thing about him is after an hour, he had already finished reading all the four newspaper given to him. My father has an extraordinary love and talent for writing. He writes anytime and he can write poems in just one sitting.

Q: Can you give us a brief history of Mr. Bening before or during the World War II broke out and how he handles his life being away from his family?

A: He went to US for his master’s degree in English at Columbia State University. That was before the World War II broke out in 1940. At the time of Pearl Harbor in 1941, He became a Pensionado and in 1946, he came back home. All throughout the war, he used to write letter for us everyday but were never sent because of the war. Those letters were given to my mom. He didn’t fail to give birthday cards to us, his children. When he was in the country, he used to stay at La Salle since he was a member of La Salle Brothers. In 1958, he went back to us for scholarship. Most of the time he was in US but still he never failed to think about his family in the Philippines.

Q: How did those who love Bening showed how great person and writer he is while he’s living and when he passed away?

A: My mother, though she died in the year 1981, had kept everything he wrote – from his letters to cut outs or copies of his writings in publications. Our university used to keep his memorabillias but it was donated at La Salle University. Also in La Salle, they established a B.N. Creative Writing program.

Q: Can you recall any of his thoughts about writing?

A: For him. “Rewriting is writing, for as your rewrite, you improve your writing”.


Thank you Madam!!!

BUENAOBRA, ABEL V.

LOVE is eternal. there are inspired message, but they are temporarily; there are gifts of speaking in strange tongues, but they will cease; there is knowledge, but it will pass;


Hi! im Abel Buenaobra, i like the story of "DEAD STAR" by Paz Marquez Benitez because I've realized that when you fall in love with someone be sure that your fellings are real and not just mere infatuation because no matter what happen, if he/she is destined for you then he/she is your partner not a lover. not a lover because a lover can defined as a crush, puppy love, unlike partner, you can be with him/her for a lifetime and forever be in love with each other.
In the situation of Alfredo, we all known that Alfredo fall in love with Julia but he marry Esperanza, it means no matter what happen the fellings of Alfredo, if Esperanza can never be changed until the end of time.

BUENAOBRA, ABEL V.

mOviE pOsteR

Kharen Villadarez

I am able to relate with the story because there are chances in my life when I have to choose whether to do the right or to choose what I want to do(but not with the love affair of Alfredo because I am haven't been in such situation). I know how hard it is to decide whether to be righteous or to be selfish in doing what I think would really make me happy. But for me its just an ordinary story about two people who are getting married soon and there comes a time before their wedding that they would doubt what they feel. In the story, Alfredo's feelings with Julia is just an infatuation and not really love because if it is it will not fade just within 8 years. Though he chooses to marry Esperanza, we cannot tell that she is the one that he loves because, he just do it as an obligation to keep his promise and not because he really wants it.