#FridayNightWritersSeries: Allana Delgado, Librarian, Blogger, Creative Writer


My featured writer for this week's edition of the #FridayNightWritersSeries is a good friend of mine who has achieved so much at a young age. She is Allana Delgado and she topped the Librarians' Licensure Examination in 2015, won a fellowship grant to the 84th World Library Congress held in Kuala Lumpur in 2018, and was selected as one of the Emerging International Voices by the Goethe Institut, the Federal Republic of Germany’s cultural institute. 

Allana unleashes her creative genius in her blog, Malditang Librarian, where she writes about "a broad range of topics concerned with librarianship, books, and reading." She also uses this platform to share "book reviews, various posts on reading, creativity, librarianship, trends, and related news."

 An active member of the Iloilo Bloggers Society, she contributes to the IBS Digital Network. She has also self-published two chapbooks, "Pleiades upon Stones and Other Stories" in 2017, and "Atlantis: Stories and Poetry" in 2018, aside from researching and co-authoring scholarly articles published in international peer-reviewed publications.

 1. How did you discover that you have the passion and the talent for writing?

I wasn't much of a reader when I was young, but when I was in high school I started reading. I remember the first book I ever bought was Danton Remoto’s poetry collection, Pulotgata. I started reading novels and short stories by authors like Haruki Murakami, Neil Gaiman, Catherynne Valente, and Caitlin R. Kiernan. 

It was a teacher that actually inspired me to write. I had written an essay for class and she noted that I had potential in writing. I was surprised that she said that about my writing and I thought, I’m not too bad at it and I actually have something to say. I am a very quiet and introverted person when you meet me, it takes me a while to open up and I am much more comfortable in the written word. 

I have a blog, malditanglibrarian.com, about librarians and librarianship in the Philippines. I also write fiction, usually short stories, and my dream is to write novels.

2. What do you usually do when you write? Could you share with us your routine when you’re writing one of those stories?

It usually starts with an idea. There are different ways I start writing, sometimes the words come effortlessly, sometimes I need an outline to follow. I usually write from half an hour or more then take breaks. Editing usually takes more thought and time than actually writing - I correct mistakes, change sentences or phrases to what makes them sound better.

I also focus on characters, especially on fictional stories. Characters and how they are fleshed out is the core element of a story. Readers want to read about characters they can relate to, or a character’s experience. 

3. You have published some zines. Could you tell me what aspect of writing do you find happiest or most fulfilling?

I have joined the Iloilo Zinefest twice. For those who may not be familiar with the concept of zines, here’s a definition:

“A zine (/ˈziːn/ ZEEN; short for magazine or fanzine) is most commonly a small-circulation self-published work of original or appropriated texts and images. Usually zines are the product of a single person, or of a small group.  A zine is a cheaply-made, cheaply-priced publication, often in black and white, which is mass-produced via photocopier and bound with staples.

Most zines revolve around a music scene of some sort, but others are dedicated to artwork, poetry, cartoons, editorials and short stories. Because zines do not have any sort of corporate backing, they are very rugged, individualized, and much more charismatic than larger, more popular magazines whose content is often dictated by their advertisers. (Definition from urbandictionary.com)”

I love that zines have this DIY creative spirit that you can’t find in traditional publications. Though zines can be anything from poetry to artwork, I chose to write short stories and compile them in small chapbooks. I also like that through these events, I have met other artists and writers and I feel like I am part of a community. 

4. I have read Pleiades upon the Stones and Atlantis, and I liked how you retold the myth of the creation. Your other stories reflect a feeling of longing and emotions that desire to come out and be expressed. Does this reflect the way you also feel about yourself? And where do you get all these inspirations that you weave into these stories?

The stories I write usually reflect something I feel, an experience, or an emotion that I can resolve by writing a story about it. My favorite short story I wrote is Sirens, which is about two college students chasing after a mermaid-like creature. It was meaningful to me as it reflected my experiences and emotions at that time, though it is not obvious to the reader. It can be interpreted in many ways, but in writing it I tried to convey the feeling of loneliness, like you don’t belong, and longing for an experience that is outside the norm. Growing up, I always felt like an ‘outsider’ in many ways, and in my stories I write about the same type of people. 

Most of the time, an idea, setting, or concept comes to me. I take notes, research, and explore more than start writing.

However, writing is always evolving. My style now is different from my earlier years of writing. I always try to write things that sound poetic, I am particular with the arrangement of words and phrases to create a feeling or image in the mind. 

5. What tips could you give to aspiring writers?

Good writers start as great readers. Make books your best friend. Study how authors write and form their sentences and stories. You may be inspired and try to emulate your favorite writers. I also started by ‘copying’ the style of writers I admire, but you will also soon find your own voice and style. Just start writing and practicing, because you will learn along the way.

Señor Perdigon and the Mysterious Heiress from Capiz: A Short Story


In 1900, US dailies published a story written by a certain Roscoe Conklin describing how a beautiful maiden in the town of Capiz was possessed by the devil and was labeled as Asuang. This was the first time that Capiz gained international notoriety as home to this unholy creatures. Reading the story, one could surmise that this was more a product of fiction rather than a real phenomenon. But for readers those days, when American readers were hungry for exotic tales from the Orient, stories like this were easily believed to be true. Read the story: 

 The bewitchment of Señor Perdigon and tho no less weird adventures of the four merchants, sojourning for a night in the pueblo of Dumangas, are related by every Filipino of the .Visayan Islands as proofs of diabolism and witchcraft strong as holy writ. He who doubts the existence of the evil legion of Asuang and her infernal familiar spirit, “Tic-tic” the black bird of the nether regions, hears of the merchants of Dumangas and the unhappy Señor Perdigon with fear and trembling, and hearing believes that the evil one indeed has power to make unholy compacts with mortals.

Señor Perdigon, some twenty years ago, was a Spanish merchant enjoying a fair degree of prosperity in Iloilo. While not wealthy, he was the happy possessor of a fair and good wife and some eight children had blessed their union. His business in Iloilo was always improving and enlarging.

At that time the Island of Panay was in a period of sweet security and peace, with out a cloud of rebellion or insurrection to excite apprehensions, but Perdigon was not contented at Iloilo and determined to try his fortunes in Capiz, a hundred miles or so away, on the northern end of the island.

Accordingly, he embarked on a lorcha and in a few days time, with his family and all his earthly possessions, arrived at Capiz.

There he again established himself in business, engaging in a small way in exporting vino, a spirituous liquor produced in large quantities by a number of distilleries in Capiz province. Besides this, he found considerable profit in the exportation of sugar bags, woven in Capiz by the women, from nipa palm straw, as well as fine hats and other native products. In a short time he enjoyed the esteem of the large circle of wealthy Spaniards and Filipinos of the town, who observed in him a man with many admirable traits. He was noted for his open-handed charity and the dignity and affection of his bearing toward his lovable wife and interesting children. His fortunes, too, were increasing materially, and it was not without considerable satisfaction that he looked forward to the day when he might return to his native Spain.

But in an evil hour he encountered one Señorita Concilacion de Ruiz, a Filipino woman of great wealth and beauty, but with a something about her, undefined and rather vaguely mysterious, which caused the grandees of the pueblo to ignore her. Her father had but recently died, leaving her an Immense estate, beside a fine distillery, and a handsomely furnished palace In Capiz, second in style and grandeur only to that of the governor general. Señor Perdigon never heard the words that were whispered against her, or if he did, he despised them as base and as scandalous  rumors circulated by envious people.

Señorita Concilacion passed the greater part of her days on her estate, but on one occasion when Perdigon was negotiating a rather large purchase of vino in the office of the distillery, through the trusted servant who was the young woman's man of affairs, she chanced to enter, unaware of his presence. The young woman was at once deeply impressed by his fine bearing and gentle Spanish courtesy, while he, on the other hand, was in a fair way to forget his marriage- vows, in the presence of such grace and beauty as he saw before him. In a moment she was gone.

Perdigon, much excited, inquired of her man who the bewitching young señorita might be; he was somewhat surprised to learn that this was the owner of the vast Ruiz estate, and marveled not a little that he had never encountered her in the gay and extravagant society of Capiz. But a delicacy of feeling prevented him from inquiring as to the reason for her retired life.

He, however, expressed his regret at the unkind fortune which had prevented him from meeting such a charming young lady. His conversation was repeated to Señorita Concilacion and she, as much impressed with his handsome person as he had been with her youth and feminine charms, addressed him a graceful little note, inviting him to call at her hacienda, where she wished to consult him with regard to certain details in tile management of the estate. She had heard him spoken of as a very wise and discriminating gentleman, and as she was practically alone and without advisers, might she hope that he would oblige her?  

Perdigon was something of a gallant, the story runs, and smiled softly at the ingenious ruse. It will be unnecessary to inform the discriminating reader that Perdigon was soon mounted and galloping to the hacienda of Señorita Concilacion de Ruiz. Nor will it be necessary to dwell on the tiresome details of the courting and billing and cooing that followed. One love story Is very much like any other love story, whether-the man and the maid are Spanish and Khalak or American and Chino, the race of passion with reason and conscience is much the same, whether under the snowy shroud of perpetual night and winter at the north pole, or the glowing tropic of the equator. The way of an eagle in the air, of a ship In the sea, of a serpent on the rock and of a man with a maid is much the same as some thousand of years ago, when the first philosopher of the world remarked that these things are all past finding out. But the sequel of this romance was more horrible than any other recounted in history.

He Becomes a Demon

Señorita Concilacion de Ruiz was "Asuang." her body was the dwelling place of one of the legion of witches and its familiar spirit "Tic-tic." This Perdigon never knew until the evil night of his bewitch ment, when all his nature changed and he became at once the most vile and detestable of all the abhorrent host that infested this island. As he lay asleep, Señor Concilacion de Ruiz, smilling with all the diaboolical cruelty and pleasure of a wicked spirit about to entrap and subjugate a pure and unblemished soul, placed her beautiful tapering forefinger Into her lips and then deftly placed a few drops of saliva in the portals of the sleeping monster. By that act there was transferred into his body the spirit and power of Asuang and her accompanying demon, Tictic. Nor was Perdigon aware of the change wrought upon him by the sorceress until he was awakened. Then his eyes were opened to the inner change and he loathed the woman who had betrayed him andabhorred himself. He was appalled at the evil thoughts and images that crossed his mind, but could not banish then; he was amused and comforted herself with the thought that presently his hatred of his new nature of evil would pass away and he would become a most worthy and ardent servant of her demon masters.

Now Perdigon’s wife and neighbors were grieved by the strange transformation in his character. He was no longer the loving father and charitable master and his wife was unhappy and terrified when her eyes encountered the evil lurking in his glance.

Friends warned her that it was the "concubina," and boldly repeated all the tales that had been but vaguely hinted to her before, concerning the mysterious woman of the hacienda.

"But what, is this Asuang?" she cried in terror.

She was soon to learn the horrible truth.

Awakening one night she was horrified to find her husband's face missing when she placed her hand upon his pillow. Hastily striking a light with trembling fingers she became speechless with terror at the spectacle that met her eyes, a half human body lying In the bed she had just quitted. When she awakened from her swoon it was day and her husband was bending over her.

There was no pity in his merciless eyes she cried out:

"Perdigon, my husband, surely I have been the victim of some horrible nightmare?"

"It was no dream," he sneered with a devilish, mirthless, chuckling. "It was all true enough. By anointing my body and incantations to the evil one the spirit with in me severs this outer body and walks forth until the crowing of the cock foretells the return of day when she and Tictic reenter their abode."

The Familiar Alligator

That night the wife died. Servants of the household had overheard the detestable confession and spread It among the people of Capiz, who now shunned Perdigon. Only Concilacion de Ruiz had a gentle word and smile for the unhappy man. About this time many children died. It was averred that their bodies bore marks of having been punctured with the sharp, slender bamboo tubes through which the Asuang drains the life blood of beautiful children and women enceinte. Perdigon and the woman were denounced as the authors of these vampirish deeds, but no one dare mo lest nor punish them, as It is notorious that if an Asuang is destroyed an avenging host will terribly punish those who meddled. But by and by Perdigon was forced to leave Capiz.

On his journey to Iloilo an enormous alligator swam beside the lorcha. This was said to be the Image Perdigon assumed when absent from the body, preferring an astral form that would cross seas to the ordinary carabao and dogs and cats assumed by most of his kind. The sailors averred he was always talking to this alligator as it swam along, and one night Perdigon had disappeared from the boat. The alligator was again gone. Next morning Perdigon appeared for breakfast. The alligator was following the boat. In Iloilo his career became so dark and bloody that the Spaniards at last arose and killed him, braving punishment from all the powers rather than longer endure the awful sufferings that were inflicted on helpless women, but not until a number of beautiful children had been spirited away to his mountain cave. Summary Justice was also meted out upon the woman who had been left behind at Capiz.

 (This story appeared in different dailies in the United States in 1900, written by a certain Roscoe Conklin. Story accessed from The Library of Congress

#FridayNightWritersSeries: Felice Prudente Sta. Maria, Author, Food historian, Cultural Advocate

Felice Prudente Sta. Maria

Felice Prudente Sta. Maria is an award-winning writer who takes a multidisciplinary approach in promoting Philippine food history and culture. Since the 1970s, her essays, feature articles, and columns about Philippine culinary arts have appeared in books and periodicals that include, among others, the first coffee table book about Philippine cuisine, The Culinary History of the Philippines (1976, edited by Gild Cordero Fernando). 

Among her most critically-acclaimed work include In Excelsis: The Mission of Jose P. Rizal, Humanist and Philippine National Hero, which won Best Biography and Best Designed Book at the National Book Awards by the Manila Critics Circle. In 2002, she authored the pioneering book A Cultural Worker’s First Manual: Essays in Appreciating the Everyday, which was awarded the Best Reference Book Award from the same organization and remains a go-to resource for cultural workers.

In 2006, Sta. Maria published her most-lauded work, The Governor-General’s Kitchen: Culinary Vignettes and Period Recipes, 1521-1935,  the huge book, which “gathers interesting and little-known stories from historical sources about the Philippines’ culinary culture” that spanned four centuries. It placed second in the prestigious Gourmand World Cookbook Awards, the first time a Filipino book won an award in the food history category. 

In 2013, she released another interesting tome, The Foods of Jose Rizal, which emerged as the Country Winner and Finalist in the Food History Category of the Gourmand World Cookbook Awards presented in Paris.

Her ceaseless efforts in advancing her cultural advocacies  have showered her with awards and adulation from generations of readers who find her work evocative and enriching.  For her insightful cultural action, she was awarded the rank chevalier (Knight) in the Grand Ordre de Artes et Lettres by the Republic of France. In 2001, the National Commission for Culture and the Arts honoured her with the Dangal ng Haraya for her committed and significant contributions to the field of cultural management. In the same year, she was inducted in the prestigious SEA Write Award for Southeast Asian writers. In 2020, Manila Bulletin named her a Living Legend for paving “the way for future generations to get to know how our gastronomy has influenced our identity and shared values.”

Sta. Maria is the founding chairman and president of the International Wine & Food Society Manila Ladies Branch, and has served on the board of judges of the annual Doreen Gamboa Fernandez Food Writing Award since its inception in 2002.  Sta. Maria also served as president (1986-1993) and vice chair for Cultural Development (1993-2000) of Metropolitan Museum of Manila, founding Commissioner for Cultural Heritage at the National Commission for Culture and the Arts (19920-1995) and a Commissioner to retool historical site museums for the National Centennial Commission (1993-1999). She has also served on UNESCO National Commission of the Philippines as a commissioner (1992-2011), and has chaired its National Committee for Social and Human Sciences since (1999-2011).

Presently, she is a trustee at the National Museum of the Philippines and a member of the Ayala Museum Board of Advisers. In 2019, she co-authored Kain Na! An Illustrated Guide to Philippine Food, together  with Bryan Koh and illustrated by Mariel Ylagan Garcia. She is also experimenting with the use of social media in promoting Filipino food history and culture.

Books written by Felice Sta. Maria in my home library.

It’s indeed a privilege that the “muse of public history” has spared us some time for this Q&A. 

1.      How did you discover that you have the passion and the talent for writing?

My university years at UP Diliman began in 1965 before mass communications became a course offering.  Journalism did not appeal to me as a career. English literature was enjoyment but I did not want to teach the subject professionally.  Speech and Drama had a major in broadcasting that was appealing.  The other majors were theater arts (that I adored but did not have the courage to commit to) and speech therapy (clearly not my interest).  The kind of writing we were trained in was for radio and television shows although one of my favorite subjects was play writing.   Wilfrido Ma. Guerrero taught the subject and opened our teenage eyes to social realism. Behn Cervantes had just returned from completing his masters in the USA so his acting classes were riveting.  They helped us understand how to improve the writing of dialogue and turn theater into both a serious realm and one that could likewise sparkle with fun, laughter and song.

The meager training aided me when suddenly writing for women’s magazines seemed to offer the flexible hours and home-based work I thought appropriate for a new bride during the early 1970s.  Serendipity gifted me with an introduction to the likeable Gilda Cordero Fernando, one of the most popular newspaper columnists of The Manila Chronicle.  Over lunch around 1974 we decided I should write a test article for Eggie Apostol, editor of Woman’s Home Companion.

My byline began to appear almost every week in articles that were well-researched.  Gilda was associated editor of Filipino Heritage, a series about Philippine history and culture being assembled for Paul Hamlyn, Ltd. of Australia. She invited me to write on topics such as how the Phil-American War began in 1899 and pangguingue (an old card game) of which I knew absolutely nothing.  Carlos Quirino, the esteemed historian, was also an associate editor.  He approved the war story, for which I discovered what no one knew: the soldier who fired the first shot was a British citizen not an American.

 Gilda enjoyed the lifestyle approach I used for the card game that my mother-in-law’s mother just happened to have played in her Binondo home.  At Lopez Library (what I now consider my second home), the first book I picked from a shelf just happened to have a footnote about panguingueon the first random page I looked at! Talk about good luck.

It was others who discovered I could research and create a story with depth for their popular readership.  Not until 2001 when I was added to the SEA Write Award roster was I convinced I could write. The award is considered the most prestigious for ASEAN authors. By then, I had written three newspaper columns, an uncounted number of magazine articles, and several books most of which had garnered national and international awards.  When I saw the list of my esteemed and iconic predecessors during the ASEAN ceremonies at Bangkok, however, I felt I had to live up to having been given the award.

2.      What you do usually do when you write? Could you share us your routine when you’re writing your books and articles?

I write almost every day. Writing is my work, work I happen to enjoy very much. Because I have the reputation of meeting my deadlines, if not being ahead of them, I need to stay focused. Built into the daily routine are regular breaks to clear my mind, rest my fingers, stretch and walk around for circulation, and give my eyes a break. Being that  I am a non-fictionist, there is so much research, synthesizing of facts, analysis, and broadening of the imagination required.  I research several works simultaneously, generally with a research plan and timetable.  A work can also be the result of having so much material about it already, information accumulated over years.

I commence writing by creating a progression of ideas with keywords and often guiding sentences. Then I fit in the research data.  Only then do I allow myself the freedom to decide how to treat or style the written piece.  Will it be written from the first person singular or plural?  Will it be written in the past or present tense?  Is rhythm important to the work.  For instance if the article were about chopping ingredients, its rhythm would be different from one about creating mayonnaise and other emulsions. Are taste words vital to the article?  Aroma words?  Textural feel words?  Academic jargon? Terms from the street and the new youth?

Since published works have word counts, I determine how many parts and how many paragraphs per part are needed.  Word counts demand respect.  For my newspaper columns I was always conscious that every square inch was a privilege and a responsibility.  The length of a manuscript affects the selling price of a book.  No author wants to price a work out of its market. Word counts discipline selection of priority ideas and literary techniques.

3.      What do you think are the parallels between food [writing] and cooking that make each a satisfying endeavour?

Cooking is multi-sensorial.  Sometimes I dance as I cook.  Being passionate about preparing food and styling a meal are very rewarding for me because they are creative outlets for me. I might make place cards and menu cards from scratch, drawing out patterns and coloring them in. Whatever strikes the fancy.

Food writing can be used to awaken multiple senses like in cooking.  Those are fun works to write.  For whatever reason I am asked to write works that are less sensual and more thinking pieces, though.  In our advocacy for writers to broaden their culinary works beyond relating first-person experiences I probably have had to show examples.  Whether the food or the article aim to be sensorial or not, cooking up a pleasant meal and writing up a respectable work worthy of sharing both feed me well. I always hope hey satisfy their readers.

4.      Why do you think it is important for every generation to take a keen interest in documenting and writing about the food and the culture associated with it?

 It is a known fact in cultural development that every generation must learn its culture. Learning occurs through exposure to formal, non-formal and informal experiences.  On a home and family level, elders transfer cultural knowledge ranging from heroism and valor exhibited by ancestors during wartime to favorite music pieces and how to prepare favorite foods.  On a societal level a national narrative should provide a cultural baseline that everyone feels they share.  It  unifies as it reassures a continuation of attitudes, behavior,  and values.  Do we continue to enjoy culinary diversity and international food without feeling our inherited culinary culture is threatened?  Do we continue to select which foods from the past we will continue to cook and which we will simply forget?  Perhaps, because the ingredients are not around or the techniques to make, the dish are too difficult to make? Or will we innovate to keep the dishes alive but altered? Will slow-cooked sauces become available in pouches to heat in a microwave oven or simply steep in hot water?  Will traditional foods come canned or bottled or boxed and ready to eat?

Culture is a combination of choices made by a generation. Every generation decides what it will become, how it will be defined, how it will express itself.  Writers are important in helping a generation make choices.  Writers express opinions and help readers and listeners find their own voice, even the courage to voice out their feelings and aspirations.

5.      What tips could you give to aspiring writers?

Writing requires skills in thinking and expressing.  Thinking is the product of learning throughout a lifetime about a multitude of subjects.  Today the sciences are important.  So are their applications.  Scientific findings affect everything from what to eat and how to produce it.  They warn about pollution that can poison food while innovating means to make post-modern nutritional discoveries palatable. Science also strengthens earlier findings about the chemical effects of food on one’s mood and emotional responses, on anger and on rage, on alertness for exams as well as calming for a good sleep.  Food writers need the continuing curiosity to delve into scientific domains urging changes that range from the ethical treatment of animals to fair trade.  Are their botanicals and strategies for food security and food safety from the past that might help in restoring a sustainable food chain?

Food writing is not only about what grandmother or grandfather cooked.  It is not only about personal preferences in food choices and the excitement of tasting the world.  Food writing can become social and humanitarian advocacy just as it can feed imaginations hungry for an elegance on the tongue from finest coconut sugar blended seductively with delicate coconut cream or the beckoning sweetishness of a just caught maiden shrimp for kinilaw.

How to express is the writer’s signature voice.  If one writes for the reader and not for the writer there is a better chance at achieving that amazing bond possible only from words of wisdom and wonder, words that satisfy cravings for delight and even delusions of gluttony.

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