Rocket Kapre – Fantastic Filipino Speculative Fiction

Late to the party on this one (we all were), but I’ve learned that Nikki Alfar’s story “Bearing Fruit” was released as a podcast by the well respected Drabblecast folk. Check it out here.

Over at PGS Online, editor and publisher Kenneth Yu reflects on the year that was, PGS’ first year as an online publication, and has some announcements moving forward. Check it out here.

Let me also take this opportunity to point you to the newest PGS Online story, “Selected Transmissions from Synthesized Human Emulation Mk.8.014b, Otherwise Known as Katey” by Nikki Alfar, the co-editor of the latest batch of stories.

I’ve been remiss in posting links to new short spec fic by Filipino authors–hospitalization tends to play havoc with one’s schedule–so here’s a roundup:

• “When We Were Witches” by Nikki Alfar (Philippine Free Press)

• “A Girl’s Guide To Love In The Big City” by Christine V. Lao (Philippine Genre Stories Online)

• “Makisig’s Heart” by Kate Osias (Philippine Genre Stories Online)

Here are videos from the joint PGS Crime Issue and PSF6 launch. First up is the PGS Crime launch in its entirety, split into two parts.

Don’t let Kyu’s modesty fool you, PGS is a very important part of the local genre scene, and I’m personally thrilled to see it online and reaching a wider audience.

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The launch for the sixth volume of Philippine Speculative Fiction took place last Saturday, with the inimitable Dean Alfar once again serving as master of ceremonies and all-around entertainer–the PSF launches usually turn into roasts for the editors and contributors (and being absent is no defense) and a grand time was had by all. I’ll have videos from the launch and the earlier launch of the crime issue of Philippine Genre Stories later this week, but first here are some photographs from the event.

In spite of the rains, (and some *ahem* premature storm warnings), the UView Theater of Fully Booked was jam packed–this photo is from early in the proceedings, and by midway people were lining the walls, in spite of the addition of the monobloc cavalry. The downside to that is the volume sold out minutes after the launch was over–if you want another print run, make sure you make your voices heard!

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The latest installment of the Philippine Speculative Fiction series will be launched on Saturday (5PM at the UView Theater, Fully Booked at Bonifacio High Street, for those interested–it’s also the launch of the PGS Crime issue). Volume 6 is the first to be edited by two women, Nikki Alfar and Kate Aton-Osias, and they graciously agreed to a short interview leading up to the launch. We spoke about how the series has evolved through the years, the difference between being an editor and a contributor, and what makes this volume special.

For those unfamiliar with the Philippine Speculative Fiction anthology, could you explain briefly what the series is?

Nikki Alfar: Philippine Speculative Fiction is the annual end result of our yearly semi-open call for submissions of horror, fantasy, science fiction, and related sub- and cross-genre short stories.

We say ‘semi-open’ because contributors must be of Filipino ethnicity and/or nationality; by soliciting and consistently publishing their work, our goal is not just to provide a medium for these authors to reach a reading public, but also to chart and, hopefully, nurture the ongoing evolution of speculative fiction in the Philippines.

Philippine Speculative Fiction is published by leading Philippine specfic advocate Dean Francis Alfar, through his company Kestrel DDM.

Kate, you’ve been a contributor to the anthology before, but this is your first time in the editor’s chair. What was the experience like from the other side, so to speak? Is the grass really greener?

Kate Aton-Osias: Editing has its own challenges, different from writing. The most difficult part for me was in being able to articulate acceptance and rejection letters well. I believe in being transparent; I also believe that authors deserve to know what made their stories work, and why it did not. But the sheer physical limitations of an email, as well as constraints of time and language (People have varying degrees of literary vocabulary; I, for one, know less of the formal terms used for literary criticism than I would like) makes it difficult to convey how we, as editors, felt about a work of fiction. Though I only wrote 3-5 sentences per story, it was still a struggle to get those 3-5 sentences out, especially when rejecting a story that had solid technicals, but was ultimately turned down because of our poetics (see below for definition of ‘Poetics’).

That being said, the process has been extremely helpful (My own submission letters will never be the same again!), illuminating, and of course, satisfying. It was good to hear from the authors – whether or not they were accepted – that they appreciated our comments and compliments.

Nikki, you’ve been involved with PSF from the very beginning, and have been both a contributor and an editor. How has the anthology changed from volume one to the present?

Nikki: I’ve actually been copy-editing (meaning checking for typos and grammatical errors) the series since volume 1, though I didn’t start content-editing (working with authors on a story level, as well as actually selecting the stories) until Dean formally asked me to co-edit, on volume 3. (Yes, I’m married to our publisher, which never helped get me published, but which did help him get me to copy-edit, haha!) So I’ve read nearly all the submissions, published and unpublished.

As I mentioned earlier, part of the goal of the SpecFic series is to chart the development of Philippine specfic writing, and if you look back at the previous volumes of the antho from the beginning, you can see that themes seem to emerge every year. Early on, our authorship seemed to be primarily concerned about romantic love, but as you go forward through succeeding volumes, you can see that the contributors and their concerns are maturing, with later themes more focused on subjects like loss, family, identity, and so on.

Thankfully, as well, there’s been a marked reduction in stories which are basically “I will write a fanfic based on my favorite anime, just change the names, and submit that.” We used to get a huge chunk of those in the first few years—and I’m sure these texts have their market, but it is not Philippine Speculative Fiction; we are simply not interested in stories that explore someone else’s already-well-developed milieu—but nowadays it’s down to just a few.

So, in sum, I’d say the anthology has progressed as the field seems to be progressing; there’s significant improvement, year after year—not just in terms of what Filipino specfic practitioners are writing about, but in the quality and experimental nature of how we are writing it.

Is there anything about this volume that makes it different from the others?

Nikki: We’ve been laughing for some time over this being the very first “two-chick SpecFic”! This is the second time that Dean has not been directly involved in the selection and editing process, the first having been last year’s volume 5, which I co-edited with Vincent Michael Simbulan.

As publisher, Dean has been changing up the mix of co-editors, because he doesn’t believe that Philippine speculative fiction (neither the antho nor the field) should be an exclusive reflection of one person’s (or two people’s, counting me) poetics. (A very simplified definition of ‘poetics’, in case anyone should be wondering, is ‘the kind of writing an individual prefers’.)

So 2010’s SpecFic was a reflection of Vin’s and my poetics—which are diametrically opposed in many aspects, by the way—whereas this one is Kate’s and mine, which tend to be more harmonious, but also (we found out!) startlingly different in various ways. With Dean and me having nailed down the foundations of the series’ style and substance in volumes 1 to 4, we feel that keeping the editorial mix fresh will continue to keep the anthology fresh and exciting.

Speaking of which—there’s going to be a possibly surprising announcement at the volume 6 launch, so don’t miss it!

We have a lot of science fiction, fantasy and horror readers in the Philippines, but few are familiar with the works of local spec fic authors. Speaking to this typical reader for a moment, why should he/she check out PSF6?

Nikki: I doubt that many people know this, but Philippine speculative fiction (again, both antho and field) is getting a lot of positive attention from speculative fiction writers and editors around the world. Many stories from several of the volumes of SpecFic have been cited and/or published by some of the most respected names in the field, and members of the international writing community are actually quicker than our local audience to tell us that the next volume is taking too darn long!

In this upcoming volume alone, we’ve got stories about a basketball-playing kapre, a Muslim artificer (shout-out to you, Paolo!), and a therapist to aswangs and diwatas. These are just the most obvious examples of why Filipino specfic is special—it’s been (frequently!) recognized to be on par with global standards in terms of quality, yet with a fresh perspective, a fresh approach; and it’s all ours.

I’ve just received word that the sixth volume of the annual Philippine Speculative Fiction anthology, edited by Nikki Alfar and Kate Aton-Osias, and published by Kestrel DDM, will be launched on May 28, 2011, Saturday, 5PM at the UView Theater, Fully Booked at Bonifacio High Street.

If you’re at all interested in science fiction, fantasy, and horror written by Filipinos, do try to come — it’s one of the rare times local authors, editors, and fans are gathered in one place. The launch also traditionally occurs before the volume sees widespread distribution, so if you want to snag a copy, this is the best time to do so. The launch itself is an informal, informative, and typically hilarious affair — you can check out some videos I took of last year’s launch to see for yourselves.

The anthology includes my steampunk (woodpunk?) story “On Wooden Wings”, which is set in the same world as the upcoming “Kataastaasan” comic. Here’s a complete list of the contributors to this volume (or you can go here for a text version):

The lineup for the next volume of the annual Philippine Speculative Fiction anthology (this time edited by Nikki Alfar and Kate Osias) has been announced. I’m happy to say that my story, “On Wooden Wings” (set in the same world as the Kataastaasan comic) made the cut. Here’s the entire table of contents, as announced at Kate’s blog, Wishcatcher (head there for more statistics on the stories in this volume):

1. Alternative Histories by Ian Rosales Casocot
2. Strange Adventures in Procreation by Andrew Drilon
3. Lament of the Counselor by Jay Anyong
4. The Grim Malkin by Vincent Michael Simbulan
5. A Smell of Mothballs by Mailin Paterno
6. Ashland by Elyss G. Punsalan
7. Carpaccio (or, Repentance as a Meat Recipe) by Arlynn Despi
8. Eternal Winter by Maria Pia Vibar Benosa
9. From the Book of Names My Mother Did Not Give Me by Christine V. Lao
10. Hollowbody by Crystal Koo
11. Offerings to Aman Sinaya by Andrei Tupaz
12. On Wooden Wings by Paolo Chikiamco
13. Prisoner 2501 by Philip Corpuz
14. Resurrection by Victor Ocampo
15. Simon’s Replica by Dean Alfar
16. Break in at Batay Street by Francis Gabriel Concepcion
17. The Big Man by Asterio Gutierrez
18. The Bookshelves of Mrs. Go by Charles Tan
19. The Impossible and the R.S.C. Gregorio del Pilar by Alex Osias
20. The Kiddie Pool by Kenneth Yu
21. The Storyteller’s Curse by Eliza Victoria
22. Villainoguing by Joseph Montecillo

Congratulations to all the authors, and to Nikki and Kate!

Bewildering Stories just held their Annual Review and released the list of Mariner Award winners for 2010, which includes stories by our very own Filipino authors Dean Alfar (“In the Dim Plane“), Nikki Alfar (“Adrift on the Street Formerly Known as Buendia“), and Elyss Punsalan (“Pursuit of the Litaniera“). Check out their stories if you haven’t already, as well as those of the other award winners. Congratulations to Dean, Nikki and Elyss!

One year ago, 9/9/09, Rocket Kapre officially launched. In celebration of our first year anniversary, here’s a new installment of one of our most popular features: the Rocket Round Table. For this batch, the question – to coincide with the anniversary – is: “What is your favorite first line in speculative fiction?” Prose and graphic novels/comics were fair game (movies and television were not), as were local and foreign works – I only asked that the respondents include any first lines from Filipino-made spec fic that stood out for them. Feel free to add your own in the comments!

Thanks to all those who took time to participate in the round table, and for all those who have supported Rocket Kapre in its first year. Here’s to many more to come!

[Warning: Some language may not be safe for work, or children, or adults who like to pretend they're as innocent as children.]

ELBERT OR – Comic book creator, university lecturer, graphic designer, freelance writer, entrepreneur (he’s part of Brain Food, which gives speech and writing workshops) Elbert is a jack of all trades and master of… well, lots. He currently runs Global Art and the Komiksabado Comics Workshop.

Happy first year, RK! How time flies!
I owe much of my interest in current Philippine SF to Dean Alfar’s “Kite of Stars,” and its first line/ paragraph which grabbed firm hold of me and has still not let me go:

The night when she thought she would finally be a star, Maria Isabella du’l Cielo struggled to calm the trembling of her hands, reached over to cut the tether that tied her to the ground, and thought of that morning many years before when she’d first caught a glimpse of Lorenzo du Vicenzio ei Salvadore: tall, thick-browed and handsome, his eyes closed, oblivious to the cacophony of the accident waiting to occur around him.

I wish I could say though that memory allowed me to remember each word, but I admit only to committing the first eleven words. But the blame lies solely on me and my poor memory.

Here’s to the next ten years for Rocket Kapre!

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CATHERINE BATAC WALDER – Catherine is based in England and works as a research group administrator at the Department of Earth Sciences, Royal Holloway University of London. From 2005 to 2007, she moved across Norway, Finland and Portugal for a European MPhil. scholarship. Her fiction appears in Big Pulp, Demons of the New Year, Philippines Graphic, Ruin and Resolve Anthology, Expanded Horizons, and Philippines Free Press. She blogs at http://deckshoes.wordpress.com/

“Just when the idea occurred to her that she was being murdered she could not tell.” – The Small Assassin, comics adaptation of a tale by Ray Bradbury

“At some time near dawn, on March 25, 1913, there came a loud knocking at the front door of the Uyterhoevens’ home in the Dayton View section of Dayton, Ohio.” – The Chess Garden by Brooks Hansen

“At first glance, the picture looked like any other in a family album of that time, the sepia shade and tone, the formal poses, the men in solemn Sunday suits and the women, severely coiffed, in long skirts and billowing blouses.” – Fade by Robert Cormier

““I can do this,” I told my squirrel.” - Speed Dating and Spirit Guides by Rod M. Santos

“In the tiny lifeboat, she and the alien fuck endlessly, relentlessly.” – Spar by Kij Johnson

“My name is Kathy H. I’m thirty-one years old, and I’ve been a carer now for over eleven years.” – Never Let Me Go by Kazuo Ishiguro

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G.M. CORONEL – A Marketing Management graduate of De La Salle University in 1985, he is a first-time author with no literary background to speak of other than a genuine love of reading and a passion for writing. Coming across back issues of Writer’s Digest a few years ago started his writing career. Some previous personal encounters with the paranormal convinced him to pursue the horror genre. He believes that stories to tell and experiences to share are best put in written words. He is the author of Tragic Theater.

“The night wind howls like a wounded dying animal.” (Trese Murder on Balete Drive) — This is a very compelling first line and it engages the reader’s interest in the story.

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DON JAUCIAN - Don regularly reviews books for several publications, both print and on-line. He is the resident bitch of the film blog Pelikula Tumblr. His book dump is http://chinoisdead.livejournal.com

The Ascension of Our Lady Boy – Mia Tijam (PDF of Expanded Horizons #14, which includes the story.)

“Let us begin with my earliest memory as a lady: Daddy had complained to Iyay who was my yaya(and his yaya before and his mama’s yaya before that) that I was lacking something strong in my bones and in my hips.”

Tijam’s Lady Boy is hands down one of my favorite spec fic stories. It effectively combined Philippine culture, gay-isms and the whole ‘triumph of the heart’ thing. I like how the first line promises a wonderful story, equal parts whimsical and endearing, like Ang Pagdadalaga ni Maximo Oliveros and it really delivers.

Visitors – Luis Katigbak

“When they first arrived, they transformed themselves into everything we ever secretly wanted to be.”

Stories of ‘encounters’ are never amusing. They mostly run as dubious paranoiac rants but in a few words, Katigbak manages to brush off the fluff usually associated with this tripe. ‘Visitors’ is beautiful, a different approach into the Wonderful World of Alien Mysteries; humanized and hopeful.

Brigada – Joey Nacino

“When the news came, Captain Fernando Tabora of the Philippine Navy was meeting with the two-man salvage team at the top of Manila Hotel.”

I’m a sucker for post-apocalyptic stories and Manila Hotel underwater is just too awesome to ignore. Just like the head of Statue of Liberty chopped off in Cloverfield!

Flicker – Ian Rosales Casocot

“Something had apparently come to live, or stir, in the house down the road, that old mansion on the corner before one turned left down Mango Street, which led toward the coconut groves that bordered the farthest end of the village.”

Suburban horror stories always fascinate me and Casocot’s ‘Flicker’ definitely sustains the tension from the first sentence to the last. It is eerie, ominous and it’s refreshing to see a horror story devoid of hysterics and cheap scare tactics.

[More after the cut]

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