Philippine Genre Stories Now open for Submissions for 2024

Philippine Genre Stories is one of the foundational venues for publishing Filipino science fiction, fantasy, horror, and crime short stories. They are once more open for submissions so Filipino writers at home and overseas, now is your chance to get published!

Continuing as guest editor is the always awesome Mia Tijam, author of the 40th National Book Award Finalist for Short Fiction in English “Flowers for Thursday”, co-editor of Philippine Speculative Fiction Sampler, and editor for the Special Section for PWDs and PADs of the Cultural Center of the Philippines’ Literary Journal ANI 41: LAKBAY.

More details here.

Art by (L) Line Art: Ydunn Lopez; Colors: Jose Abantao, Jr from the story “Ewa and the Song from a Distant Star” by Keith Sicat; (R) Illustration by Shai San Jose from the story The Ones Who Linger by Celestine Trinidad

Very Late Post: Rachel’s Now Reading Review of TILAOS

This review was actually posted 5 years ago. I had meant to RT it but for some reason, it got buried under all my other work. I am rectifying this grievous error now.

Thank you so much to Rachel’s Now Reading for your kind words. Please subscribe to her page to get book reviews on a wonderfully eclectic range of reading material.

“This is a book review of Victor Fernando R. Ocampo’s The Infinite Library and Other Stories. It’s a book containing 17 speculative fiction short stories somewhat linked together to make a whole.

If you’re a sci-fi fan, this is definitely the book for you. The presence of queer elements helped as I always love an inclusive book. I thoroughly enjoyed reading this collection and hope you will too!”

You watch her great review here.

Take note that the Youtube link to purchase a copy is outdated. You can get one (and other fine Gaudy Boy Books) at Singapore Unbound instead.

Baby Steps with AI Art

A.I. generated art has been around for years. But tools released this year like DALL-E 2, Midjourney and Stable Diffusion — have made it possible for visual-art challenged people like myself to create fairly complex, abstract or photorealistic works simply by typing a few words into a text box.

These are my first attempts to illustrate some of my stories using Midjourney AI. Not incredible but not to shabby either. I could actually use some of these as e-book covers.

However, I am still on the fence about the ethics of A.I.-generated art. Are they a real emergent art form or a high-tech form of plagiarism? WDYT?

“Blessed are the Hungry” – this one came out the best. Funny how the rendered image looks like my youngest daughter.

“I ducked out of sight as soon as I saw the wolf-like mecha, shrouding my lantern with my shirt. Frightful as they were, I was mesmerized by their strange beauty. In the half-light of the Holosonic, their liquid-armor bodies shimmered purple, vermillion and bronze. I imagined these to be the colors of a sun that I had never seen, the burial clothes of a mother-star that we had abandoned so long ago.”

“Infinite Degrees of Freedom” – the blurry shape in the background is Midjourney unable to render a mythical sigbin monster in a spaceship corridor. Why does the kid from my story look like a young Rodrigo Duterte?

“From out of nowhere, Deo smelled an immensely foul odor, a rotting stench filled with the smell of death. A shape coalesced from the blackness, swiftly moving, gibbering, and utterly horrible. A sigben, a vicious half-dog/half-lizard chimera from ancient Philippine Myth had come for him. The impossible monster blocked his path and let loose a frightening roar-bark loud as a thunder clap.”

“Mene, Thecel, Pares” – My account expired before I could redo this with a steampunk Berlin in the background. The protagonist, Joseph Mercado (a fictionalized Jose Rizal) looks a bit cross-eyed.

“Joseph wished he didn’t have to remove his mask. Everywhere he went, people stared at him. Without his mask’s protection, the city’s xenophobic populace would peer from windows or point as he walked past whispering “fremde, außerirdische, ausländer, Asiaten, Japaner, Chinesischer Mann, Korean Mann” –- anything but his own ethnicity.”

“Carry That Weight” – This is supposed to be the older brother, Berto. The two blobs in the background are supposed to be megamouth sharks. Also, the boy’s hair shouldn’t look like that underwater. Must be industrial-strength aquanet.

The smaller boy watched as his brother fished out a pair of smart goggles from his shorts pocket and clipped his phone to his wristband. Berto’s body was dark and tightly muscled. He seemed naked save for the skintight nanotech body suit that kept his body warm and protected it from the sun’s radiation.

(Excerpt) The Roots of Speculative Fiction in the Philippines

As promised, here’s a teaser from my chapter of Mapping New Stars: A Sourcebook on Philippine Speculative Fiction  (Editors: Gabriela Lee and Anna Felicia Sanchez, UP Press pre-publication) – This is the first-ever collection of non-fiction essays and think pieces about about Philippine Speculative Fiction, written by many authors, academics and critics who are active in the field. My research on “The Roots of Speculative Fiction in the Philippines” grew from my 2014 attempt at documenting the early days of local Science Fiction (check out my original post here). For this chapter, I tried to identify the earliest known Filipino works that could be reasonably argued as Fantasy, Horror, and of course, Science Fiction.

Here’s the introduction:

Stories of the fantastic have existed in the Philippine Islands for as long as there have been people to tell them. From the earliest folk tales born in the depths of pre-Hispanic history, to the forms of literature that were introduced and evolved during the colonial period, to the rise of modernism and post-colonial writing that arrived after the birth of the republic, “speculative” fiction that explores the human condition through the unreal or the otherworldly continues to thrive and to grow because it speaks to something deep within readers that cannot be addressed by realism.

Cover of Doktor Kuba by Fausto J. Galauran M.D. Manila: Limbagan Nina Ilagan at Sañga, 1933

Contemporary “Filipino speculative fiction” as a category and domain of cultural activity can be said to have properly begun only in 2005, with the arrival of its first deliberate and sustained platform – the Philippine Speculative Fiction anthology series (edited by Dean Francis and Nikki Alfar). But what about texts that were not explicitly labeled “speculative fiction” by their authors, or were published prior to the first Philippine Speculative Fiction (PSF)? Let’s take a look at how deep the roots of the literature of the fantastic have dug into our history. How far back they go may surprise you.

I. Defining Speculative Fiction in the Philippine Context

“Every enthusiasm aspires to respectability,” Science Fiction Grandmaster Isaac Asimov once said about his chosen field of writing, “and one way of getting it, is to demonstrate that it is old, even ancient.[1]

He goes on to say that by broadening Science Fiction’s definition to encompass “the branch of literature that deals with the imaginative and the unfamiliar”, it could be induced that Science Fiction is as old as literature itself.  

Although Asimov walks this back to a more narrow definition later, his initial, expansive definition of science fiction to include everything non-realist and fantastical is, in fact, one of the accepted historically located meanings for the term “speculative fiction”[2]. In this context, speculative fiction is defined as a supercategory of literature that includes fantasy, horror and science fiction, as well as their derivatives, hybrids, and cognate genres like the gothic, dystopia, weird fiction, post-apocalyptic fiction, ghost stories, superhero tales, alternate history, steampunk, slipstream, magic realism, fractured/subverted folktales, and all their related sub-genres. It encompasses, what fictionist and editor Dean Francis Alfar noted as “at its core, the literature of the fantastic[3]”. 

Marek Oziewicz, the Marguerite Henry Professor of Children’s and Young Adult Literature at the University of Minnesota, said that a story falls under the realm of speculative fiction if it has “speculative fiction sensibilities” i.e. it contains speculative elements that are based on conjecture and do not exist in the real world. These non-realist stories can also be filed under one of the genres covered by the speculative fiction umbrella.

Excluded from our definition of speculative fiction are ethno-epics, tribal myths and legends, as well as traditional fairy and wonder tales which fall under the category of folktales. These are anonymously authored literary artifacts, passed primarily through oral narratives. Also excluded are children’s stories and juvenilia, which is a branch of literature on its own.

Philippine speculative fiction is simply the spectrum of all genre work in fantasy, horror and science fiction (as well as their sub-genres) united by a Philippine identity and a coherent Filipino aesthetic.

Prior to the arrival of the first volume of Philippine Speculative Fiction in 2005, the term “Philippine speculative fiction” didn’t exist. Realism was (and remains) the most popular literary mode. Any work that existed outside this scope was marginalized[4]. As both PSF founding editors, the Alfars, lamented in the introduction to the first volume of PSF:

“If you look for speculative fiction in the Philippines, you will be dismayed. Science Fiction and the literature of the fantastic are in very small numbers and are still looked down upon as inferior…”.

Yet despite this realist bias, there are many pre-PSF works of Filipino literature that demonstrate speculative sensibilities that can readily be classified under speculative fiction’s umbrella genres of fantasy, horror and science fiction.  


[1] Asimov, Isaac, The Birth of Science In Fiction (New York: Knightsbridge, 1981), p 9

[2] Oziewicz, Marek, “Speculative Fiction”,  Literature, Oxford Research Encyclopedia, 29 March 2017

[3] Alfar, Dean Francis, “Introduction”,  Philippine Speculative Fiction Volume 2 (Pasig: Kestrel, 2006), p IX

[4] Alfar, Dean Francis, “An  Introduction”, Philippine Speculative Fiction Volume 1 (Pasig: Kestrel, 2005), p vii

Mapping New Stars: A Sourcebook on Philippine Speculative Fiction (Editors: Gabriela Lee and Anna Felicia Sanchez, UP Press pre-publication – likely the end of 2022 or early 2023).

BTW, I’ve decided not to post my unedited original text for the Science Fiction section due to — reasons. Instead I will (eventually) post the intros to Fantasy, Horror and Science Fiction sub-sections, as well as the chapter intro you see here.

The Infinite Library and Other Stories (North American Edition) is launched in New York City

Thank you so much to Jee Leong Koh and the rest of the #GaudyBoy LLC team (Kimberly, Judy, Isabel and Emily) for making the launch of The Infinite Library and Other Stories in New York City last 9 October 2021 possible! ICYMI Here’s a recording of the the event on YouTube –

Thank you also to the Pushcart-nominated writer and 2020 Felipe P. De Alba Fellow, Jemma Wei for hosting the event ,and to the wonderful Monique Truong, winner of the 2004 PEN/Robert Bingham Award, and best selling author of The Book of Salt, Bitter in the Mouth, and The Sweetest Fruits for judging the entries to Singapore Unbound‘s first flash fiction contest (the prompt of which was the title of my book). Congratulations to all the winners:

First prize: “A Room with a Point of View,” by Masturah Alatas (Italy).

Second prize: “This Is a Nice Hotel,” by Olivia Djawoto (Singapore).

Third Prize: “Devotion,” by Shuchi (Singapore).

Honorable Mention: “How Fucky Am I To Be Loved,” by Aaric Tan Xiang Yeow (Singapore).

Lastly, thank you to all who submitted entries and to all those who spent their Saturday evening with us!

Gaudy Boy’s North American version of The Infinite Library and Other Stories is available from Bookshop.org and Amazon.com. In the United States and Canada you can also get it at Barnes & Noble and other selected bookstores.

Ten Speculative Technologies in Philippine Science Fiction

Futur Manila 2

Basil Davenport, an author and literary critic for the New York Times, once said that “Science Fiction is fiction based upon some imagined development of science, or upon the extrapolation of a tendency in society.”[1]  Indeed the technologies presented in many science fiction stories examine the possibilities and implications of new devices, machinery and other practical  applications developed from scientific knowledge. Unique to the genre is the possibility that some of these speculative products of the imagination may become realities. Examples include now commonplace things such as space stations, mobile tablets, video-calling and moisture farming, all of which were once just fictional concepts. Occasionally,  the real-world technology gets invented first, and science fiction authors ponder and elaborate on how these developments may be used. More importantly, they speculate on how technology could affect the human condition, both for good and for ill.

Filipinos have been writing Science Fiction for 70+ years. Here are 10 interesting speculative technologies that are worth contemplating — especially since they were used in the context of a Philippine setting.

Note that this list is not comprehensive and selects only those technologies that are realistic (based on existing or near-future technologies), or based on far-out concepts that do not violate generally-accepted scientific laws. Excluded are technologies used purely for plot-device purposes or have no actual scientific basis (e.g. the gravity disruptors from Pocholo Goitia’s An Introduction to the Luminescent [2] and the undescribed time travel method used in Michael A.R. Co’s Waiting for Victory [3]). Wherever possible I have included links to the stories or to discussions about them.

  • The SentryServ Identity Database from Project 17 by Eliza Victoria [4].  In Victoria’s biometricsarresting 2013 near-future novel, a shadowy corporation called Sentry keeps track of all humans (and androids), collecting movement, personal records and other important, supposedly private information. This potentially sinister application of technology is probably very close to becoming reality (a few would argue that its already here with Facebook, Google, Tencent and WeChat). Here’s an article on Business Insider on 12 ways that companies spy on you.
  • Bio-Plasticine Millet and other artificial food from Milagroso by Isabel Yap
    download (2015) [5].  A balikbayan returns to his childhood home in Lucban Quezon and discovers that artificial, plastic-derived food was somehow being turned into the real thing. This concept of non-nature created food first appeared in an earlier story by the same author, called A List of Things We Know (2013) [6].  Edible plastic as a source of nutrition is also used in my story Blessed Are The Hungry (2014) [7]. The technology of artificial food is a growing new industry. Here are 19 food items that are actually not made from food.
  • The Heliodisc VTOL Aircraft from The Apollo Centennial by Gregorio Brilliantes [8]. In this image-640978-galleryV9-osph-640978.jpgdystophian short story from 1980, the Marcos dictatorship never fell, and Luzon (now a protectorate of the United States) is patrolled by these unusual VTOL aircraft: “Now the sky is clear but for the remote clouds and a couple of helidiscs humming in a wide arc over the fields. For a moment the fighter-bombers hang gleaming, in silhouette against the mountains, their two-man crews visible in the bubble canopies, before rising vertically, abruptly, cut off from view by the roof of the bus.” It’s interesting how Brilliantes’ fictional aircraft seems to describe the Avro Canada VZ-9 Avrocar, a proposed “UFO” fighter which was still classified when the story was written. A similar egg-shaped VTOL vehicle called an “Aerocopter” also figures in Crystal Gail Koo’s The Rooftops of Manila (2009), this time as a civilian transport to a new underground city.[9]
  • The Solar sails used by Skyharvester spaceships from Sky Gypsies by Timothy James 906339M. Dimacali (2007).  This story is about a space-faring Sama-Laut father and his son who gather rare minerals from asteroids using their solar-sailed ship the Karumarga.[10]  Solar sails, also called “light sails” or “photon sails”, are a type of spacecraft propulsion using radiation pressure exerted by sunlight on large mirrors. As the author correctly posited, in the near future, these may be the best way for humanity to traverse the solar system. NASA recently announced the first such deployment of a solar sail,  the Near-Earth Asteroid Scout probe, which will be launched in 2018.
  • Diseases as a Service – In A Retrospective of Diseases for Sale by Charles Tan download (2)(2009) [11], the author goes one step beyond disease mongering with a corporation that sold ailments online (instead of the pharmaceuticals to treat them). The most interesting — and original — part of this concept was how the disease was alleged to be delivered: the vector was the email confirming purchase which contained an encrypted  psychosomatic code which could “mentally activate various proteins in the human body that replicated the effects of the disease you ordered.” While no government would allow such a service to operate, it is not impossible to speculate that deadly diseases are already being bought and sold by criminals and terrorists on the Dark Web today.
  • Xenotransplantation – In 1959’s The Heart of Mathilda (Ang Puso ni Matilde) by xenotransplantation-resizedNemesio E. Caravana [12], a brilliant young surgeon saves the life of his beloved by performing a dangerous and unethical cross-species heart transplant. Xenotransplantation is the transplantation of living cells, tissues or organs from one species to another. Although it is a promising avenue for treating final-stage organ failure, the technology is fraught with ethical issues — not the least of which is the creation of hybrid monsters (which was the subject of this very early Filipino Science Fiction serialized novel).  Here’s a brief history of this controversial technique.
  • Experimental Gerontology – Life extension and human augmentation seems to be a forever-young-727666favorite topic of many Filipino Science Fiction authors. Practically every available SF book in the Philippine oeuvre has at least one story that uses it as a trope. In fact, the earliest known Filipino Science Fiction story,  1945’s Doktor Satan by Mateo Cruz Cornelio [13] involves the development of a serum that could restore the freshly dead back to life.  A similar formula called Bio Regain was the subject of Vince Torres’ 2013 short story, The Cost of Living [14] which gave those who drank it a lust for life-extending blood. Interestingly, there is  a controversial medical technique called Parabiosis which temporarily connects the circulatory system of an old and a young subject to rejuvenate an old person’s body with youthful blood. The Starvation Enzyme in F.H. Batacan’s brilliant Keeping Time (a short story and later a novel)[15], originally from 2007,  also falls under this category. The enzyme was originally developed as a means to control obesity and diabetes.  It was added to the world’s public water systems to disastrous consequences.  Similarly, in  Sharmaine Galve’s The Paranoid Style (2009), the public water supply is tainted with a drug cocktail like to those used to treat ADHD patients. This converts the unsuspecting populace into literally a “polite” society [16].
  • Cybernetic Augmentation –  The other way to extend life is to go the Transhumanist 122on45route of using Bionics. In Fortitude (again by Eliza Victoria, 2016) [17], many characters live with cybernetic transplants including arms and lungs. In Dancing in the Shadow of the Once (2013) by Rochita Loenen-Ruiz [18], a woman uses media-based augmentations to recount the stories of a world that was now lost.  Dominique Gerald Cimafranca’s 2007 story Facester, revolves around a procedure called “Cara Nuevo” that used an artificial enzyme, laser sculpting and radiation treatments to let people physically change their faces [19]. Naturally, identity theft was one of the inevitable unfortunate applications.  Here’s an article about a few individuals who have gone beyond wearable technology towards a post-human future. For those not inclined to replacing body parts with electronics, there is the somewhat less radical practice of bio-hacking.
  • Robot Companions – Robots are no longer Science Fiction and scientists are looking tumblr_inline_npu9tbWBYJ1r9js4k_500at augmenting them using Artificial Intelligence (AI) to provide empathy and  assistance to people in a socially acceptable manner. The question that both Science Fiction and Technology writers have asked is: how human do these machines need to be? Also, how far can or should people take relationships once the so-called Uncanny Valley is crossed? In Haya Makes a HUG by Erica Gonzales (2009), a sentient program tries to find out what a human hug means by building a humanoid from spare parts. [20] In Raymond P. Reyes’ The Romeo Robot (2016), a spoiled but lonely young man begs his father for a robot boyfriend only to abandon his faithful companion once his social anxiety is overcome. [21] Likewise, in Surrogate (2016) by  Daniel Carlos Tan, a young woman from a future Davao cannot handle the fact that her recently deceased mother had programmed herself into a Personal Surrogate Droid.[22] Here’s an article exploring the future of relationships, love and sex in the time of robots.
  • Digital Torture – As a predominately Catholic country, the subjects of Heaven and olklutunw0lkk6nvwglwHell are never far from the minds of most Filipinos. In my story Panopticon (2014) I explored the possibility of being trapped in a digital afterlife, tortured endlessly by a vengeful former lover.[23].  The Technological Singularity may still be faraway but using neural interfaces for recreating the proverbial tortures of hell  is rapidly becoming a reality.  “Remote Neural Monitoring, Control and Manipulation” (RNMCM) refers to the usage of specific technologies to record and/or alter the electrical activity of neurons in the human body. In Prisoner 2501 by John Philip Corpuz (2011), the Olympus MetroComm of an unnamed dystophian future city use RNMCM, gaslighting and isolation to torture prisoners into admitting terrorist affiliations. Elon Musk, a major proponent of neural interfaces,  has spoken against  the abuse of this technology for this type of interrogation.

One of the troubling aspects about chronicling the ten technologies above (and reading the twenty-three stories where they were used) is that these were all presented in a more or less negative context.  There is little of the positive world view in which scientific progress has made the world a better place. Whether this is due to: an innate fear of technology, a reflection of the zeitgeist, or simply that there are not enough Filipino Science Fiction stories yet — or, perhaps all three — is up for debate.

There is also that unique fear that plagues Science Fiction writers.  Namely, that their stories will be judged on whether what they wrote comes to pass or not, with no thought to literary merit.  This is a mistaken notion.  The task of Science Fiction is not to predict the future. Rather, it is to contemplate all possible futures. Simply put, Filipino Science Fiction Writers are meant to dream of every future for Filipinos.

For now, it’s a dark future that many of us are dreaming.

 

Notes:

[1]  Davenport, Basil (1955). Inquiry Into Science Fiction; New York: Longmans, Green and Co. p. 15.

[2] Goitia, Pocholo (2005) “An Introduction to the Luminescent”. Philippine Speculative Fiction Volume 1, ed. Alfar, Dean Francis; Manila: Kestrel DDM

[3] Co, Michael A.R.  (2006) “Waiting for Victory”. Philippine Speculative Fiction Volume 2, ed. Alfar, Dean Francis;  Manila: Kestrel DDM

[4] Victoria, Eliza (2013) Project 17; Manila; Visprint Inc.

[5] Yap, Isabel (2015) “Milagroso“; Tor.com published by Tor Books

[6] Yap, Isabel (2013) “A List of Things We Know”, Diaspora Ad Astra: An Anthology of Science Fiction from the Philippines eds. Flores, Emil M. & Nacino, Joseph Frederic F. ; Manila, The University of the Philippines Press

[7] Ocampo, Victor Fernando R. (2014) “Blessed Are The Hungry“, Apex Magazine vol. 62, ed. Sigrid Ellis; Lexington; Apex Book Company

[8] Brilliantes, Gregorio C. (1980), “The Apollo Centennial”, The Apollo Centennial: Nostalgias, Predicaments & Celebrations; Manila, National Bookstore

[9] Koo, Krystal Gail “The Rooftops of Manila”(2009), Philippine Speculative Fiction Volume 4, eds. Alfar Dean Francis & Alfar, Nikki; Manila, Kestrel DDM

[10] Dimacali, Timothy James M.  (2007) “Sky Gypsies“; Manila, Philippine Speculative Fiction Volume 3 eds. Alfar Dean Francis & Alfar, Nikki, Kestrel DDM

[11] Tan, Charles (2009), “A Retrospective of Diseases for Sale“; The Virtuous Medlar Circle presented by Anna Tambour. Also appears on  Philippine Speculative Fiction Volume 4, eds. Alfar Dean Francis & Alfar, Nikki; Manila, Kestrel DDM

[12] Caravana, Nemesio E. (1959), The Heart of Mathilda (Ang Puso ni Matilde); Manila, Aliwan Magazine

[13] Cornelio, Mateo Cruz (1945) Doktor Satan; Manila, Palimbagang Tagumpay

[14] Torres, Vince (2013), “The Cost of Living”;  Diaspora Ad Astra: An Anthology of Science Fiction from the Philippines eds. Flores, Emil M. & Nacino, Joseph F. ; Manila, The University of the Philippines Press

[15] Batacan, F.H. (2007) “Keeping Time“, Philippine Speculative Fiction Volume 3, eds. Alfar, Dean Francis & Alfar, Nikki; Manila, Kestrel DDM

[16] Galve, Sharmaine “The Paranoid Style”(2009) Philippine Speculative Fiction Volume 4, eds. Alfar Dean Francis & Alfar, Nikki; Manila, Kestrel DDM

[17] Victoria, Eliza “Fortitude” (2016) Science Fiction: Filipino Fiction for Young Adults eds. Alfar, Dean Francis & Yu, Kenneth; Manila, University of the Philippines Press

[18] Loenen-Ruiz, Rochita, “Dancing in the Shadow of the Once” (2013) Bloodchildren: Stories by the Octavia Butler scholars, ed. Nisi Shawl; Seattle,  Book View Cafe

[19] Cimafranca, Dominique Gerald, “Facester” (2007) Philippine Speculative Fiction Volume 3, eds. Alfar Dean Francis & Alfar, Nikki; Manila, Kestrel DDM

[20] Gonzales, Erica, “Haya Makes a HUG” (2009) Philippine Speculative Fiction Volume 4, eds. Alfar Dean Francis & Alfar, Nikki; Manila, Kestrel DDM

[21] Reyes, Raymond P. ,”The Romeo Robot” (2016) Science Fiction: Filipino Fiction for Young Adults  eds. Alfar, Dean Francis & Yu, Kenneth; Manila, University of the Philippines Press

[22] Tan, Daniel Carlos ,”Surrogate” (2016) Science Fiction: Filipino Fiction for Young Adults  eds. Alfar, Dean Francis & Yu, Kenneth; Manila, University of the Philippines Press

[23] Ocampo, Victor Fernando, “Panopticon” (2009) Philippine Speculative Fiction Volume 9, eds. Drillon, Andrew & Tan, Charles; Manila, Kestrel DDM

[24] Corpuz, John Philip,  “Prisoner 2501” (2011) Philippine Speculative Fiction Volume 6, eds. Alfar, Nikki & Osias, Kate; Manila, Kestrel DDM

 

Top image reworked slightly from original digital art by BP Sola. All other pictures taken from the Internet and belong to their respective copyright owners.

Call for Submissions: ‘Philippine Speculative Fiction 10’

It’s hard to believe that PSF is a decade old already. Pinoys abroad, we make up 10% of the Filipino people, let’s add our voices to this.

PSF Tile

From Dean and Nikki Alfar –

Call for Submissions: ‘Philippine Speculative Fiction 10’ – your atTENtion, please!
‘Philippine Speculative Fiction’ is turning ten this 2015! Yes, it’s been X years of eXtolling, eXploring, and eXpanding what Filipino writers have done, are doing, and can do in the realms of science fiction, fantasy, horror, and all things betwiXt, between, and beyond.
Editors Dean Francis and Nikki Alfar would love for you to be a part of this year’s landmark volume of this trailblazing annual anthology, which has repeatedly been shortlisted for the National Book Award, and multiple stories from which have frequently been cited in roundups of the year’s best speculative fiction across the globe.
First-time authors are more than welcome to submit; good stories trump literary credentials any time.

Submissions must be:
1. speculative fiction—i.e., they must contain strong elements and/or sensibilities of science fiction, fantasy, horror, magic realism, alternate history, folklore, superheroes, and/or related genres and subgenres
2. written in English
3. authored by persons of Philippine ethnicity and/or nationality
Submissions are preferred to be:
1. original and unpublished
2. no shorter than 1,000 words and no longer than 7,500
3. written for an adult audience
In all cases, these preferences can be easily overturned by exceptionally well-written pieces. In the case of previously-published work, if accepted, the author will be expected to secure permission to reprint, if necessary, from the original publishing entity, and to provide relevant publication information.

Submission details:
1. No multiple or simultaneous submissions—i.e., submit only one story, and do not submit that story to any other publishing market until you have received a letter of regret from us. But we don’t mind if you submit to contests.
2. All submissions should be in Rich Text Format (saved under file extension ‘.rtf’), and emailed to philippinespecfic@gmail.com, with the subject line ‘PSF 10 submission’.
3. The deadline for submissions is June 15, 2015. Letters of acceptance or regret will be sent out no later than one month after the deadline.
Editors’ notes:
1. Please don’t forget to indicate your real name in the submission email! If you want to write under a pseudonym, that’s fine, but this can be discussed upon story acceptance. Initially, we just need to know who we’re talking to.
2. If you’d like to write a cover letter with your brief bio and publishing history (if applicable), do feel free to introduce yourself—but not your story, please. If it needs to be explained, it’s probably not ready to be published.
3. We advise authors to avoid fancy formatting—this will just be a waste of your time and ours, since we will, eventually, standardize fonts and everything else to fit our established house style.

Authors of selected stories will receive PhP500 compensation, as well as digital copies of the book.

Please help spread the word! Feel free to copy this and paste it anywhere you see fit that happens to be legal.

Thanks,Dean Francis and Nikki Alfar, co-editors

“Exit Quiapo Station” in Maximum Volume 2

“Exit Quiapo Station” my Robert Altman inspired story set on a Filipino-run space elevator will be in Maximum Volume 2. Thank you so much to editors Dean Francis Alfar and Sarge Lacuesta!

Like “I m d 1 in 10” (at The Future Fire), this work is also quite experimental in structure, playing with the placement of dialogue and mixing up tenses. “Exit Quiapo Station” explores several themes that could affect us in the near future such as commercial space travel,  the rise of the ultra-super rich, the decoupling of sex from reproduction, the acceptance of non-traditional families, and the socio-biological future of call center agents.

In line with my recent stories, there is a Pinoy mythical element in this “mundane” Sci-Fi piece. This time it’s a witch — a mangkukulam who hails from the “magic market”  outside the old Quiapo church, and a bottle of her gayuma love potion.

Exit Quiapo Station

Space Elevator image c/o of io9.

Philippine Speculative Fiction Volume 9 is Out!

Philippine Speculative Fiction Volume 9 has been released on Amazon, Flipreads, Kobo and iTunes. ! This is my second outing with the PSF series (the first, in 2011 was my first published story ever – Resurrection). Thank you to Andrew Drilon, Charles Tan and the good folks of Flipside Publishing.

PSF #9 has my cyberpunk revenge story “Panopticon”. Here’s a short excerpt:

“After a while, I staggered out of the toilet. Night had fallen and I looked around the deserted alley, wondering where I was supposed to go. A bicycle had been propped on a wall just in front of the lavatory entrance. As soon as I stepped towards it, the bike began to flash its lights, illuminating layers of advertising graffiti with a frail white fluorescence. The lights kept blinking until I put my hand on its bamboo handlebars.

A message popped on its digital odometer:

“Thank you for choosing a Shimano Intelligent Bicycle Mr. Salazar. The seat has been automatically adjusted to your height. Your route has already been pre-selected. Please climb aboard and simply pedal.”

I heaved myself up to the gel-padded saddle and kicked off. The bike guided me through the dark and narrow alleys that snaked through the labyrinth of tenements. Everything in New Tundon lay in the shadow of its sole skyscraper, the neon-lit Torre Paraiso.

I passed through the slums like a ghost. Through the yawning windows I saw people leading seemingly normal lives — playing mah-jongg or the card game pusoy dos, eating dinner or simply gathered around their living rooms, plugged into a legion of electronic devices. This was a town of old people, permanently idled; permanently trapped in the amber of unstructured time. Not a single child was in sight.”

PSF9_cover

Cover design by Kevin Roque.

“Infinite Degrees of Freedom” will be in “Science Fiction: Filipino Fiction for Young Adults”

My first YA story “Infinite Degrees of Freedom” was was accepted in “Science Fiction: Filipino Fiction for Young Adults”.

This far-future coming-of-age tale is about a boy trying to bond with his estranged (and distant) father while on a road trip to salvage nano-tech from old battlefields.

This work also features a lesser known Filipino mythical creature called a “Sigben” or “Sigbin” which has been described by various sources as a bloodthirsty Chupacabra-like chimera that’s half dog, half reptile or half goat (more from Wikipedia). Yes, its an obscure Visayan monster in a space opera setting. So sue me.

Before this story I had no idea how hard it actually was to write YA fiction. I’m happy I did and I might write more in the future if people like this.

Thanks once again to editors Dean Francis Alfar and Kenneth Yu ! ‪

Sigben