Thanks to your support, Randy is the first in his family to graduate university. 

Multi-awarded illustrator Sergio Bumatay III relates to us his story of creating May Darating na Trak Búkas, a poetry book written by Rio Alma (pen name of National Artist for Literature Virgilio S. Almario).

Some of Sergio’s works include Naku, Nakuu, Nakuuu!, Tuwing Sabado, Ay, Naku!, and Tight Times. Many of these are awarded with local and international honors, such as the Philippine Board on Books for Young People –Alcala Illustrator’s Prize, the National Children’s Book Award, and the International Board on Books for Young People-Sweden Peter Pan Prize. 

May Darating na Trak Búkas is one his latest offerings. Now,  a Sambat Trust school library has a copy of this book, thanks to Sergio's kind donation.

It says on your blog that the book started with Rio Alma writing a poem based on one of your works. Can you briefly explain the process that followed? 

It actually started with one of my sketches. We experimented on the “reverse process” of creating a book: coming up with images first as inspiration for the story. In this case, I made several drawings, from which I outlined the imagery to form a storyline. Then the publishing team asked Sir Rio, which I’m very grateful that he found time, to write a poem inspired from the imagery.  

What were the pleasures and challenges in the process? And was there a difference between illustrating a poetry book and storybooks?

It was a pleasure creating the book because I was given a lot of room for creative expression. That independence means I can offer a lot of ideas to make the book more beautiful.

Illustrating a poetry book can be a bit more experimental than picture storybooks. For me, that is more fun.

Poetry is really fun! But there are only a handful of poetry books for Filipino children. How does May Darating na Trak Búkas contribute to the growth of this genre?

I think that by offering a beautiful book, both inside and out, many kids might learn to appreciate the power it has to transform and inspire imagination, and hopefully treasure a book forever.

What book projects can we expect from you? Are we going to see more poetry book illustrations?

Hopefully, I can make more poetry books or books with lesser words. I would like to come up with my own wordless book someday.

And any message to the teachers, students, and librarians who have now access to your wonderful book?

I’m just grateful that they appreciate my perspective in illustrating. I hope that they will be able to share that magic to many kids and people in general as possible.

Thanks again! 

Day 1

This year’s AFCC opened with Candy Gourlay’s keynote address on why Asia needs more writers for children. Ani Almario also talked about Adarna House’s experience in publishing children’s books in five Philippine languages, while Andrea Pasion-Flores introduced Jacaranda Agency in a panel on working with literary agents.

During the breaks, I chatted with Cheeno Marlo Sayuno, Rommel Joson, Jhoan Medrano, and Maria Gabriela Aparentado. The four of them were participants in the Writers and Illustrators Retreat, which happened at Bintan, Indonesia days before the conference. 

I spent the rest of my day listening to Fred Chao’s sharing on producing comics with 'mature' themes; Michael Heyman’ lecture-workshop on nonsense literature; and Ying Chang Compestine’s experience in working with several literary agents.

And the day ended with a celebration of Singaporean creators and books for children since Singapore is celebrating its 50th year of statehood.

Day 2

I started my second day with Sarah Odedina and Allison Norrington’s talk about transmedia publishing. They looked at the trends in digital publishing and social media and how these affect creators for children. Then I listened to Anushka Ravinshakar, who reacquainted us with the uses of humour in children’s works. 

Day 3

On the third day, I decided to listen to several YA authors. AJ Betts shared her experience in writing about love without the cliché and the melodrama; Elaine Forrestal presented her process of writing the historical YA fiction, Straggler’s Reef; and Reenita Maholtra Hora and Suzanne Kamata talked about writing across cultures.

Renowned Filipino author of children’s books Augie Rivera recently released his new title, Isang Harding Papel. Through his generous donation, Sambat Trust beneficiaries are now enjoying this wonderful story set during the Martial Law Period.

Augie Rivera is a founding member of Kuwentista ng mga Tsikiting, a group of Filipino writers for children and young adults. Some of his books include Alamat ng Ampalaya, Magnificent Benito and His Two Front Teeth, Alamat ng Sibuyas, Batang Historyador series, Elias and His Trees, Ang Lihim ni Lea, Mantsa, and XILEF. His works, including translations, are recognized by several award-giving bodies.

He was Head Writer for several educational children’s shows like the award-winning and long-running Batibot and Art Angel. He also wrote for the political parody news program May Tamang Balita, children’s fantasy drama series, One Day, Isang Araw, musical variety show Party Pilipinas, and educational game show Picture! Picture! Currently, he is Head Writer for various programs of GMA 7/GMA News TV, including the award-winning and long-running infotainment show Ang Pinaka, review show Pop Talk, profile show Tunay na Buhay, and science show AHA!

Firstly, thanks for donating copies of Isang Harding Papel. 
Can you tell us the story behind this story? 

I originally wrote this story in 2000 for a series of historical fiction for children called Batang Historyador (published by Adarna House and UNICEF in 2001; still available in bookstores) featuring stories of Filipino children from five significant eras in our history: Pre-Spanish, Spanish Occupation, American Occupation, Japanese Occupation, and Martial Law years.

Isang Harding Papel was supposed to be my story for ‘Martial Law’ but I changed my mind and opted to write a new story instead, set before Martial Law or the First Quarter Storm (FQS). This was Si Jhun-jhun, Noong Bago Ideklara ang Batas Militar. It’s a story of Jhun-jhun and his older brother who was involved in rallies and demonstrations before the declaration of Martial Law.

So the Hardin story has slept in my ‘baul’ (wooden chest) for 14 years. Last year, I read it again, did some revisions, and submitted it to Adarna House. They showed it to the EDSA People Power Commission (EPPC) and this became their next book project.

What important aspect or insight from that period that you think kids nowadays should know? How is this reflected in the book?

One of the most important skills that children need to develop is the coping skill necessary in dealing with changes and unexpected events in life. In Isang Harding Papel, the child character Jenny has to grow up separated from her mother. She has to make sense and learn to cope with all these difficult changes happening in her life, of course with the support of her mother and grandmother.

As this story is a historical fiction, how did you manage being descriptive of the period’s milieu while making it accessible or relatable to present child readers?

When I wrote Isang Harding Papel, there was a conscious effort to make the story not too hardcore or in-your-face ‘taas-kamao’ but rather focus more on the character, to make Jenny believable and childlike, so other children can easily relate and empathize with her. Through Jenny’s story, I hope that the present day child reader will get curious and will want to know more about the history and the conditions and struggles of children during this dark period in our past.

How is this book different from your other historical fiction works, especially from Si Jhun-jhun, Noong Bago Ideklara ang Batas Militar?

The inspiration for Jhun-jhun was an imagined scenario—a street scene after a violent rally dispersal vis-à-vis the children’s street game of ‘tumbang preso.’ Isang Harding Papel, on the other hand, is loosely based on the real life experiences of Jenny Cortes, a cousin-in-law whose mother was a political detainee during the Martial Law years.

As with my other historical fiction for children, a lot of research went into the making of this book. Aside from interviewing my cousin who gladly shared her experiences with me, I also interviewed other people who grew up during Martial Law, and read several books on the topic, before I developed my story. 

I’ve always been a history buff, so I really enjoy writing stories like Isang Harding Papel. Plus I also grew up during Martial Law so it was an opportunity for me to look back at my own experiences and use them as details to add more nuances and texture to the story.

The style, medium, and technique used in the illustrations of Isang Harding Papel are superb. How did you work with the illustrator?

I just had an initial meeting with Rommel Joson, the illustrator, and Adarna House to discuss the story, where I brought a prop— a sample makeshift flower made from tissue paper by my wife. Other than that, there wasn’t much collaboration. Rommel pretty much did his own thing. I know he did a lot of research too, and it shows, and I’m very happy with the new layers and meanings his illustrations gave to my story.

And any words for the teachers, students, and librarians who have now access to your book?

Actually, one of the reasons why I decided to revisit the story and submit it for possible publication is in reaction to the many revisionist takes in our history being spread now on social media, i.e. that Martial Law wasn’t so bad etc, etc. One way to counter this is by educating our children about history.

We should stop ranting that children nowadays have ‘no sense of history.’ As Martial Law babies who are now grownups and some are now parents too, it is our responsibility to let them know about our history. Ikuwento natin sa kanila ang kasaysayan.

I think that in the K-12 curriculum, as early as grade 2, lessons on nationalism, human rights, and even Martial Law are now included. That’s good. This book hopes to do its share by giving teachers, parents, and librarians a springboard when discussing with children what actually happened during this most difficult time.  The lessons of the past will help young readers develop a deeper love of country and love for history.