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Birth Date: August 21, 1944
Birth Place: Manila
Her mother was one of the first Filipino women journalists.
Married to Antonio Hidalgo
Mother of three daughters
an award-winning fictionist, critic
and pioneering writer of creative
nonfiction. She is currently
Professor Emeritus of English &
Comparative Literature at the
University of the Philippines
Diliman and Director of the
University of Santo Tomas (UST)
Center for Creative Writing and
Literary Studies
High School
High School Valedictorian at St Paul College, Quezon City
Started off as a staffer then literary editor before becoming editor-in-chief of the school paper
On her junior year, she wrote an article published in The Filipino Home Companion
On her senior year, she was invited to join the staff of Young World Magazine
College
Graduated Magna Cum Laude in Bachelor of
Philosophy (Faculty of Philosophy and Letters)
in the University of Santo Tomas (UST)
Apprenticed under Joe Burgos in The Blue Quill
(PhiLets College Paper)
Sophomore year, applied to The Varsitarian
She was invited to write a column for the Youth
section of Manila Chronicle
Taught an undergraduate literature course while
studying at the UST Graduate School, working as
assistant editor for women’s section of The
Graphic Magazine, Editor-in-Chief of
Varsitarian
Finished MA in Literature at UST Graduate
School in 1967
Received a Ph.D in Comparative Literature from
the University of the Philippines Diliman in 1993.
At 25 or 26 y/o, she wrote her first story, “The Ghost”, published on Graphic by the young Ninotchka Rosca
Married to Antonio Hidalgo, a teaching staff of PUP and a political writer for Graphic
She and her husband lost their jobs during the martial law
Travelled abroad for 15 years, where she wrote autobiographical travel books, after her husband accepted a job with UNICEF in 1975
Valuable lessons:
an awareness of the existence of specific readers with their own tastes and biases
an awareness of the importance of clarity & economy, a respect for facts and a respect for deadlines
Valuable lessons:
She has five story collections one of which is Ballad of a Lost Season & Other Stories (1987) which contains 6 stories
Went back to the Philippines by the year 1990
Wrote Tales of the Rainy Night(1993)
Where Only the Moon Rages: 9 Tales (1994)
conventions of the tale were implied by the narrator - the telescoping of time, the dreamlike ambiance, and the blending of fantasy to reality.
Catch a Falling Star (1999)
The book is made up of 12 stories -- the idea of the first story her childhood diaries.
Two novels: Recuerdo (1996)
and A Book of Dreams (2002)
5 characters search for faith through dream narratives interwoven with straightforward narration & pages from the notebook of one of the characters, consisting of tales, sketches and fragments of poetry etc.
Wrote a literary criticism entitled Over a Cup of Ginger Tea: Conversations on the Literary Narratives of Filipino Women (2006)
"mongrols of a sort"--part personal essay and part literary commentary or criticism.
Writer and co-editor of
several anthologies, literary
criticism, non-fiction
stories and literature
textbooks
Credentials
Past Vice President for Public Affairs of the University of the Philippines and an associate of the UP Institute of Creative Writing
Associate for Fiction at the U.P. Institute of Creative Writing
Member of the Philippine Literary Arts Council (PLAC)
Past Director of the U.P. Institute of Creative Writing
Past Director of the University of the Philippines Press
Coordinator of the Creative Writing Program at the U.P. Department of English and Comparative Literature, College of Arts and Letters
Hidalgo's critical essays, which reflects her interest in fictional
writing by Filipino women, serves a much-needed contribution to a
developing body of feminist scholarship in the country today.
Carlos Palanca Memorial Awards for Short Fiction, Essay and the Novel
Philippine Graphic Awards for Fiction
Philippines Free Press Awards for Fiction
Focus Awards for Fiction
National Book Awards from The Manila Critics' Circle
British Council Fellowship to Cambridge
U.P. President's Award for Outstanding Publication
U.P. Gawad Chancellor for Artist of the Year
U.P. Gawad Chancellor for Outstanding Teacher (Professor Level)
Ellen F. Fajardo Foundation Grant for Excellence in Teaching
Outstanding Thomasian Writer Award
U.P. Gawad Chancellor Hall of Fame Award
U.P. System International Publication Awards
Henry Lee Irwin Professorial Chair in Creative Writing, Ateneo de Manila University
Chapter 1 of “Filipino Woman Writing: Home and Exile in the Autobiographical Narratives of Ten Writers”)
In this country, autobiographical writing
a) is not quite recognized as a literary
genre
b) not included as a category for literary
awards
c) not a separate division in library
catalogues
d) did not even find its way into academic
curricula
Until World War II, autobiographies
were studied chiefly as sources of
information on the lives of the
authors. (History, not literature.)
With the “waning of formalism”…
critics began to see autobiography in
a new light.
“Genre assumptions” of classical autobiography
theory:
1) the self is the center of interest
2) objective is the “imposition” of a pattern on life to
make a coherent story, specifically the establishment
of a certain consistency of relationship between the
self and the outside world
3) the life is to be viewed from a standard point
which emphasizes the autobiographer’s actual social
position and acknowledged achievement
4) the best autobiographies suggest the power of the
personality over circumstance
Today, theorists and critics of the
autobiography can no longer be
comfortable with these assumptions,
as these have been seriously
undermined by contemporary
theories of knowledge and language.
Today, the autobiographical text has come
to be regarded simply as a narrative which
privileges an identity or subject which is
no different from a fictional character but
which does not exist outside of language
Autobiography in our time is increasingly
understood as both an act of memory and
an act of imagination (Eakin 1985, 6)
Women writing their autobiography
is one way to address the
marginalization of women in
literature and in life.
“In writing of her life, woman gives
this life form and meaning; she
rescues it from confusion or oblivion.”
Linda Anderson:
“The woman who attempts to write
herself is engaged, by the nature of
the activity itself, in re-writing the
stories that exist about her…. She is
resisting or changing what is known
about her…”
Even today, criticism of
autobiographical works persists in
either erasing or marginalizing the story
of woman. When it is taken seriously at
all, it is analyzed and judged according
to masculine standards, which insist on
fitting women within the tradition of
male autobiographical writing. –
Jelinek 1986
the author’s self-image is often of a
person searching, groping, rewriting
as much as writing herself, trying to
define her space, her positionality, and her role in society
the focus is often on personal
relationships and details of domestic
life, rather than on social or political
forces, historical events and so on.
there seems to be a preference for the
discontinuous forms, and the
episodic, cyclical, fragmentary
structure, rather than the linear,
chronological, unified development,
which is seen as possibly reflecting
the author’s life pattern and perceived roles and goals.
the tone or attitude toward the
reader tends to be ambivalent. There
is a tendency to be self-deprecatory,
defensive, or apologetic about the
author’s divergence from the
traditional roles, even while
asserting, through the very act of narration, her right to be different.
there is an apparent awareness of
the author as a representative of
women, rather than as a mere individual
For Filipino women writing, they do
not just have to contend with being
marginalized, excluded from the
center, and regarded as “minority”,
they also laso have to contend with
the fact of having come from a “Third
World”, ”Post-Colonial World” or
“Neocolonial World”.
Deterritorialization of women –
displacement of identities, persons,
and meanings that is endemic to the
postmodern world system (Kaplan
1990)
1. more than for men, the home for women
is the center and focus of existence
2. romantic love continues to occupy a
large part of her dreams
3. despite the more flexible arrangements
arrived at by many modern couples most
girls know that they will have prime
responsibility for that home, as they will
have prime responsibility for the children
so, when she writes, HOME will loom
large
4. responsibility for providing for its
material stability may be chiefly her
husband’s, but the responsibility for its
respectability, its beauty, its ability to
withstand emotional stress is hers
so, for the Filipino women,
DETERRITORIALIZATION may
mean
* Physical banishment from home
* Psychological alienation from it
* Both
Dislocation of Alfon and Nakpil – result of
Japanese occupation as actual
displacement
Gonzalez break-up of marriage – results in
her leaving home
Cecilia Manguerra-Brainard – permanent
removal from her childhood home (to
study, and to get married)