F. Sionil Jose Quotes
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In the '50s, I was traveling alone all over Mindanao, Basilan, all the way to Tawi-Tawi with just a camera and a notebook. I always stayed in the houses of Moros.
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I am for poetry that is admired by peasant and aristocrat alike.
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In the visual arts, particularly painting, I distrust all those abstractions, those artificial constructions. I have a very simple way of judging them: if I can do them, they are not art.
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We are shallow because we are 'mayabang,' ego driven, and do not have the humility to understand that we are only human, much too human to mistake knowledge for wisdom.
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Literature - Eastern and Western - abounds with stories, myths, legends about the search for youth, for eternal life.
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This is the harsh truth about us: not only do Filipinos ignore books, literature - we do not understand how important the arts are - not just to those of us who work at it, but to the nation as a whole.
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Industrialization starts with the formation of capital - it does not matter how. It can be created by saving, by the state enforcing its will on the people, by the very rich themselves.
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All dictators, the rich and famous, to the lowest security guard who holds a gun, easily forget that power is transitory.
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The past could liberate or imprison - it creates a nation's character, provides the nourishment or the poison a people imbibe in their very marrow.
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Writing is a solitary profession; you are really alone when you write. Then the emotions become well shaped and distinct. But their transition into words must be done deliberately and with rigid artistry.
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My wife and I often visit Rosales and the Ilokos as a matter of habit or whim induced by nostalgia, homesickness - whatever draws pilgrims to worshipped sanctuaries. Or, perhaps, what compels moths to seek the votive flame.
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November is auspicious in so many parts of the country: the rice harvest is already in, the weather starts to cool, and the festive glow which precedes Christmas has began to brighten the landscape.
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I write entirely in English; Tagalog chauvinists chide me for this. I feel no guilt in doing so. But I am sad that I cannot write in my native Ilokano. History demanded this; if it isn't English I am using now, I would most probably be writing in Spanish like Rizal, or even German or Japanese.
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Always remember: the alleviation of poverty is never a political or economic issue - it is moral.
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The Japanese bureaucracy is unique. It is also very powerful, although it is now the object of so much criticism. Many of Japan's brightest made it a pillar of strength and continuity.
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I can imagine the writers of China, England and France, crippled and unsure of themselves when they feel that the ghosts of Confucius, Mencius, Chaucer and Shakespeare and Victor Hugo are looking over their shoulders.
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Like so many poor Ilokanos, my grandparents left their village, for it could no longer sustain them. The Ilocos is a narrow coastal plain where, so often, the mountain drops to the sea. Land hunger had always afflicted the Ilokanos and made them migratory.
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What is needed in the theater, in fact for all our art forms, is a vibrant critical tradition.
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Professional societies are sooner or later fractured by the ego of their leaders. Everyone wants to be president, chairman, CEO; no one wants to be a mere follower.
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For them who delay aging, who infuse decrepit bodies with youth and beauty - they must rejoice in the fullness of their deeds.
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I was a senior high school student at the Far Eastern University when the war with Japan broke out in 1941.
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You should live in a manner that should enable you to devote time to writing and contemplation. As is often said, the writer is at work even when he is simply looking out the window.
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In a much larger sense, the problem of Sabah is directly influenced by the duplicity of imperial Britain. For whatever devious reason, the dismantling of the British empire created divisions and violence due to ethnic and religious differences.
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Contemplation is a luxury of the middle class, the very rich.