Some of his short stories are Frankie, The Man Who Would Be Poe, Death in a Factory, Lina, A Clown Remembers, Divided by Two, The Mats, and his poems being The Other Woman, This Being the Third Poem This Poem is for Mathilda, To Touch You and I Touched Her, among others. He was born in the old district of Pacò in Manila, Philippines, on September 15, 1917, the feast day of Saint Nicomedes, a protomartyr of Rome, after whom he took his baptismal name. His father, Leocadio Joaquín was a procurador (lawyer) and a colonel under General Emilio Aguinaldo in the 1896 Revolution; and his mother, Salomé Marquez was a teacher of English and Spanish. There were ten children in the family, eight boys and two girls, with Nick as the fifth child. Being read poems and stories by his mother, Joaquin taught himself by reading widely at the National Library of the Philippines and the library of his father. This developed further his interest in writing. After winning a Dominican Order-sponsored nationwide essay competition for La Naval de Manila, the University of Santo Tomas awarded Joaquín an honorary Associate in Arts (A.A.) and a scholarship to St. Albert's Convent, the Dominican monastery in Hong Kong. Upon his return to the Philippines, he joined the Philippines Free Press, starting as a proofreader. Soon, he was noticed for his poems, stories and plays, as well as his journalism under the pen name Quijano de Manila. His journalism was markedly both intellectual and provocative, an unknown genre in the Philippines at that time, raising the level of reportage in the country. Among his voluminous works are The Woman Who Had Two Navels, A Portrait of the Artist as Filipino, Manila, My Manila: A History for the Young, The Ballad of the Five Battles, Almanac for Manileños, Cave and Shadows. Since starting his writing career in 1949, José has written more than 35 books, translated into more than 20 languages and published worldwide. He has also been involved with international cultural organizations, notably International P.E.N., the world association of poets, playwrights, essayists and novelists, whose Philippine Center he founded in 1958. José has worked as a journalist, and has founded a bookshop, publishing house and art gallery. In 1966, he established Solidarity, a monthly magazine of "current affairs, ideas and the arts," whose contributors included Southeast Asia's leading writers, poets, statesmen, scholars and political activists. During his freshman year in the University of Arizona, Roces won Best Short Story for We Filipinos are Mild Drinkers. Another of his stories, My Brother's Peculiar Chicken, was listed as Martha Foley's Best American Stories among the most distinctive for years 1948 and 1951. Roces did not only focus on short stories alone, as he also published books such as Of Cocks and Kites (1959), Fiesta (1980), and Something to Crow About (2005). Of Cocks and Kites earned him the reputation as the country's best writer of humorous stories. It also contained the widely anthologized piece "My Brother's Peculiar Chicken". Fiesta, is a book of essays, featuring folk festivals such as Ermita's Bota Flores, Aklan's Ati-atihan, and Naga's Peñafrancia. A poet, fictionist, teacher and literary critic are one of the finest Filipino writers in English whose works are characterized by a remarkable fusion of style and substance, of craftsmanship and insight. She was born on April 22, 1919 in Bayombong, Nueva Vizcaya. Her poems are intricate verbal transfigurations of significant experiences as revealed, in two of her much anthologized pieces, "The Little Marmoset" and "Bonsai". As fictionist, Tiempo is as morally profound. Her language has been marked as "descriptive but unburdened by scrupulous detailing." She is an influential tradition in Philippine literature in English. Together with her late husband, Edilberto K. Tiempo, she founded and directed the Silliman National Writers Workshop in Dumaguete City, which has produced some of the country's best writers. also known as Rio Alma, is a Filipino artist, poet, critic, translator, editor, teacher, and cultural manager. He is a National Artist of the Philippines and currently serves as the chairman of the Komisyon sa Wikang Filipino (KWF), the government agency mandated to promote and standardize the use of the Filipino language. On January 5, 2017, Almario was also elected as the chairman of the National Commission for Culture and the Arts. His life as a poet started when he took master's course in education at the University of the East where he became associated with Rogelio G. Mangahas and Lamberto E. Antonio. He revived and reinvented traditional Filipino poetic forms, even as he championed modernist poetics. In 34 years, he has published 12 books of poetry, which include the seminal Makinasyon and Peregrinasyon, and the landmark trilogy Doktrinang Anakpawis, Mga Retrato at Rekwerdo and Muli, Sa Kandungan ng Lupa. In these works, his poetic voice soared from the lyrical to the satirical to the epic, from the dramatic to the incantatory, in his often severe examination of the self, and the society. After World War II, he became a member of the Philippine Newspaper Guild and his writings increasingly dealt with the plight of the peasants and laborers. Influenced by the philosophy of Hobbes and Locke, he advocated revolution as a means of change. In 1947, he became the president of the Congress of Labor Organization (CLO). His activities and writings led him to imprisonment from 1951 to 1956. Even in prison, he was still a leader and artist, spearheading education programs and mounting musical productions, plays and poetry reading. It was during his incarceration that he wrote one his masterpiece, Mga Ibong Mandaragit (Predatory Birds). Moreover, Hernandez wrote plays based on prison experiences: Muntinglupa, 1957; Hagdan sa Bahaghari (Stairway to the Rainbow), 1958; Ang mga Kagalang- galang (The Venerables), 1959; and Magkabilang Mukha ng Isang Bagol (Two Sides of A Coin), 1960. He has written many essays, among them, "Si Atang at ang Dulaan" (Atang and the Theater), "Si Jose Corazon de Jesus at ang Ating Panulaan" (Jose Corazon de Jesus and Our Poetry), and "Pilipinismo: Susi sa Bayang Tagumpay" (Filipinism: Key to a Successful Country), among others. In these works, he exposed what he perceived to be the neocolonial nature of Philippine Society and pushed for nationalist and progressive agenda to end the long history of the workers' and people's oppression. His prison writings were smuggled out by his wife, zarzuela star Honarata "Atang" dela Rama, who would become our National Artist for Music and Theater Carlos P. Romulo's multifaceted career spanned 50 years of public service as educator, soldier, university president, journalist and diplomat. Essentially though, Romulo was very much into writing: he was a reporter at 16, a newspaper editor by the age of 20, and a publisher at 32. He was the only Asian to win America's coveted Pulitzer Prize in Journalism for a series of articles predicting the outbreak of World War II. Romulo, in all, wrote and published 18 books, a range of literary works which included The United (1951), I Walked with Heroes (1961), I Saw the Fall of the Philippines (1943), Mother America (1974), and I See the Philippines Rise (1946). As a poet, he introduced to Tagalog literature what is now known as Bagay poetry, a landmark aesthetic tendency that has helped to change the vernacular poetic tradition. He is the author of the following works: Likhang Dila, Likhang Diwa (poems in Filipino and English), 1993; Balaybay, Mga Tulang Lunot at Manibalang, 2002; Sa Sariling Bayan, Apat na Dulang May Musika, 2004; "Agunyas sa Hacienda Luisita," Pakikiramay, 2004. Lumbera is now widely acknowledged as one of the pillars of contemporary Philippine literature, cultural studies and film, having written and edited numerous books on literary history, literary criticism, and film. He also received several awards citing his contribution to Philippine letters, most notably the 1975 Palanca Award for Literature; the 1993 Magsaysay Award for Journalism, Literature, and Creative Communication Arts; several National Book Awards from the Manila Critics Circle; the 1998 Philippine Centennial Literary Prize for Drama; and the 1999 Cultural Center of the Philippines Centennial Honors for the Arts. He is currently the editor of Sanghaya (National Commission on Culture and the Arts), Professor at the Department of English in the School of Humanities of the Ateneo de Manila University, Emeritus Professor at the Department of Filipino and Philippine Literature, College of Arts and Letters, U.P. Diliman, and Professor of Literature at De La Salle University. For a time, he also served as president of the Alliance of Concerned Teachers (ACT), a national organization of more than 40,000 teachers and employees in the education sector. His works in poetry include Summer Suns (with Albert Casuga, 1963), The Cave and Other Poems (1968), The Archipelago (1970), Charts (1973), Telex Moon (1981), Sugat ng Salita (1985), Kirot Ng Kataga (1995),Sunlight On Broken Stones (2000), Tinik Sa Dila: Isang Katipunan Ng Mga Tula (2003), The Trilogy Of Saint Lazarus (2001), Believe and Betray: New and Collected Poems (2007),Third World Geography, Two works in fiction are the following:, Stories (1990), Galaw ng Asoge (2004). who lived in Singalong, Manila is considered as one of the finest contemporary poets regardless of race or language. He has been known for the reversed consonance rhyme scheme, including the comma poems that made full use of the punctuation mark in an innovative, poetic way. Villa explained that the commas "are an integral and essential part of the medium, regulating the poem's verbal density and time movement, enabling each word to attain a fuller tonal value and the line movement to become more measured." On reversed consonance, which has never been used in the history of English poetry, explains that the last sounded consonants of the last syllable or the last principle consonants of a word are reversed for the corresponding rhyme. "Have Come, Am Here," his first poem, received critical recognition after appearing in New York in 1942 that marked the beginning of different honors and fellowships that were heaped on him: Guggenheim, Bollingen, the American Academy of Arts and Letters Awards. He used Doveglion as his pen name, short for dove, eagle, and lion, the very characters he credited to himself, the same ones E.E. Cummings explored in "Doveglion, Adventures and Value," the poem he wrote for Villa. He is also known for the tartness of his tongue. Villa's works have been collected into the following books: Footnote to Youth,Many Voices, Poems by Doveglion, Poems 55, Poems in Praise of Love: The Best Love Poems of Jose Garcia Villa as Chosen By Himself, Selected Stories,The Portable Villa, The Essential Villa, Mir-i-nisa, Storymasters 3: Selected Stories from Footnote to Youth, 55 Poems: Selected and Translated into Tagalog by Hilario S. Francia. He joined the Philippine Educational Theatre Association where he met its founder Cecille Guidote, which led to the making of his first film, 1970's Wanted: Perfect Mother, a box-office hit based on The Sound of Music, the only film he has made that was not heavy on social injustice and drama. From then on, Brocka's films became more personal, his filmography depicting the plights and suffering of the Filipino people. Some of his best works are Insiang (1978), a revenge tale of a girl's rape by her mother's lover, which became the first entry by a Filipino filmmaker at the Cannes Festival, earning him the prestigious Palm d'Or. Manila: In The Claws of Darkness (1976) explores the prostitution of provincial girls and their hand-to-mouth existence in the city, Jaguar (1980) is about a kind hearted country boy named Poldo who works in the city as a security guard and is drawn into the seedy underbelly of city life., and Bayan Ko (My Country, 1984) were also nominated for the award, further cementing his reputation as one of the greatest directors to come out of South East Asia. Brocka's films are very character driven, magnifying the oppression and neglect of the common citizen, the poor everyman barely scrapping by while fighting off abuse from the system. He often cast unknown actors to focus more on the story and not on the celebrity. Actors such as Bembol Roco, Hilda Koronel and Laurice Guillen are amongst the unknown actors that worked with him repeatedly for years, eventually becoming stars in their own right. Alongside his socially conscious films Brocka also discussed themes of sexuality, which filmmakers during his time tended to avoid. Despite his Mormon faith, Brocka was openly gay and homosexual themes were often a big part of the narratives of his films, as was showing sexually confident and strong-spirited women. Brocka's films highlight the marginalised and ignored sectors of society- the slum dwellers, prostitutes, street hustlers, as well as those who were discriminated against simply because of gender or sexuality - subjects that no other director dared to touch, especially while under the Marcos dictatorship. De León, who was born Gerardo Ilagan, was a member of the Ilagan clan of Philippine motion pictures, which includes Robert Arevalo, Conrado Conde, Angel Esmeralda, Eddie Ilagan, Ronaldo Valdez, musical scorer Tito Arévalo, and his daughter Liberty Ilagan. De León was a medical doctor by profession, but his ultimate love for film has won him over. He made eight more films as an actor before he became a director. He made his directorial debut with Bahay-Kubo (1939), starring Fely Vallejo, who later became his wife. One of his unfinished projects was Juan de la Cruz (1972) with Fernando Poe, Jr..