We have an assumption that publishing is expensive, which is why we Filipinos, or Ilonggos in particular seldom venture into this kind of industry. This is also far from what our writers expect to do before. They cannot imagine themselves publishing their own works, maybe because of the disgusting concept of self-publishing as self-serving kind of work for a writer. But that is not the case now. There is nothing more disgusting than stealing copyright from writers, and not giving the small profit of their books as what most of the mainstream or huge publishing houses around the world do.
From this, Kasingkasing Press was conceived, like an underground movement of Hiligaynon, Kinaray-a and Akeanon writers, whose primary goal is to empower local writers in the community by publishing their manuscripts and through this, to preserve and propagate our local languages inside and outside Western Visayas. It is ambitious for Kasingkasing Press to stand as the solution to the complains like: Why are the literary journals in the country written only in English and Filipino? Why are competitions and writing workshops in creative writing always academe-based? Why are the literary conferences only held in Manila? Why is the concept of literature, particularly in the country, only exclusive to those who attend workshops, and knows an old writer inside the academe?
This is clearly what Kasingkasing Press wants to address. Not just as an alternative press, but also as a kind of Filipino-centric publishing house that is known by all and that publishes in whatever language the authors wish to use in writing, maybe in line with tradition, or to explore new forms and possibilities in writing. In short, Kasingkasing Press wants to break the concept, that writing is only for the few. Therefore, Kasingkasing Press tries to balance the unstable literary climate in Western Visayas, if not in the country.
You would also notice, in the past five years, it is not only inside an academic institution or expensive malls around the city where literary and book related events of Kasingkasing Press are held. We also try to involve the public in talks pertaining to literature and try to continue reach the ordinary people in order to make them understand why literature is important in our society today with fast-changing events.
For example, Kasingkasing Press introduced the alternative publishing style of “zine” and “chapbooks” in the community of writers here in Western Visayas, when before most of our writers only rely on Yuhum and Hiligaynon Magazines, and some literary journals who seldom comes poking from Manila. Our writers now have a voice for their own works. They don’t need to wait for a month, a year, or even years before sharing their works to the public. Kasingkasing Press also introduced to the public the form flash fiction, twitterature, and InstaLit as a way of writing and existing in the virtual world using Hiligaynon. Kasingkasing Press also brings talks pertaining to mother tongue, national literature, and writing for children, in alternative spaces like malls, cinematheques, galleries and museums, plaza, and many more, in order to show the public that they are part in shaping our remarkable literature here in Western Visayas. And maybe, one of my proudest works of Kasingkasing Press in partnership with the Iloilo Pride Team, is bringing writing workshops to the grassroots. Called Pagsulat-Duag, it is a very unique writing workshop in the country today for it particularly focuses on shaping the narrative of the LGBTQ community here in Iloilo through nonfiction.
I say all of this not because our writers are now doing something to shape an ideal society for the future, but rather we have this driving force to continue our advocacy inside and outside the literary community here in Western Visayas despite the rising prices of rice and gasoline,.
How and How Much
Basically, publishing is a business. But for Kasingkasing Press this is more of an advocacy and yet a small business, too. Small, because Kasingkasing Press doesn’t earn that much after the turnover of sales from the publishing of the books to the printers. If Kasingkasing Press has any earnings, those are still spent for the promotion the books, printing of tarpaulin and posters, and sometimes for the food of our guests during book launchings and press conferences. That is why if we sum it all up, Kasingkasing Press doesn’t profit that much since it is an advocacy.
But, how does an advocacy becomes sustainable even without profit? This is an important question. The concept of sustainability is not only in terms of how much the advocacy earns and saves, in the context of the community. It is the dedication and passion of the writers that sustains Kasingkasing Press, and in its other projects, the trust and understanding of the writers on the plans and works of Kasingkasing Press. However, this experience doesn’t mean we don’t need money. In fact, money is very important in order for a project to flourish as an advocacy. However, I want to break the concept of Big Money. A small publisher like Kasingkasing Press does not need a huge sum in order to do what they want for the literature of Western Visayas.
It is important for whoever wants to enter the world of publishing to understand that this is a serious thing. This may be viewed as a competition by big publishers, but for Kasingkasing Press, this has never been a competition because there isn’t really a publisher in Western Visayas now that has the same hopes as that of Kasingkasing Press.
This is why it is important to those who are present today to reflect on these things. The publishing industry is a big part on how we could magnify the scope of literature. Because of publishing, our favorite writers may not only read inside the classroom, but also in far flung places where there is almost no internet reception.
I am not forcing anyone here today to follow the footsteps or initiatives of Kasingkasing Press, especially now where I understand the system of publishing. This is not only a talk in terms of cost as a publisher in a project, but also in terms of time – whether you are ready to have sleepless nights and give most of your time to layout, edit, and design books since your budget does not include those.
However here are the perks of being a publisher, which are mostly my personal observations: first, as a publisher you have the opportunity to talk, mingle, and befriend some of the best writers of our generation. Second, let us think that you are helping, as a publisher, to preserve and promote our language and literature but most importantly, you are helping build the Hiligaynon reading community – a long standing ambition in Iloilo. And third, you understand the situation of the regional literature in the country, particularly here in Western Visayas, and because of this, you gain a voice to participate in elevating the experiences of the writers in the regional context.
The Possibility to Publish Inside Western Visayas
Although there aren’t that many literary journals in Western Visayas, allow me to share some of the possible platforms where you can submit your works.
Allow me to start with a sad news: Hiligaynon Magazine closed 3 months ago, and we don’t know when or whether they are planning to reopen it.
You can also try submit to San Agustin Literary Journal of Libro Agustino, of the University of San Agustin. This is where you could mostly read the award-winning authors of Western Visayan Literature. This is where I first read the works of Leoncio P. Deriada, Isabel Sebullen, Alice Tan Gonzales, Genevieve Asenjo, and John Iremil Teodoro who are my friends now. This is also the first literary journal that published my poems.
If you are a starting writer, spoken word artist, or you just want to show your work, you may submit this to Poetika Literary Anthology of Kasingkasing Press. This is a yearly release which aims to cater young writers who wants to write in any language they want. The associate editors of Poetika are Early Sol Gadong for Hiligaynon, Gil Montinola for Kinaray-a, Noel de Leon for Filipino, and Michael Caesar Tubal for English.
Digital Literary Publishing is also well and alive here in Western Visayas. There is for example, Balay Sugidanun: The House of Storytelling of Genevieve Asenjo, which also publishes works in Kinaray-a of Antique and around the country online.
The contribution of Dungug Kinaray-a is also important in the field of digital publishing in Kinaray-a. They can be considered as the most active group in the internet today releasing monthly works written in Kinaray-a.
The Karaykaray: The Kinaray-a Poetry Project in Facebook is one of the easiest sources today of Kinaray-a content. Karaykay introduced the generation of new Kinaray-a writers through their contribution of their poems edited by Alex Delos Santos.
Hubon Manunulat, a group of writers in Western Visayas based in Iloilo, on the other hand, has its blogsite, hubonmanunulat.blogspot.com and hubonmanunulat.com, where you can access written works in Hiligaynon.
You can also access some blogsites in Aklanon literature like aklanonlitarchive.blogspot.com and anahawleaf.blogspot.com for the re-emergence of Aklanon literature.
Unlike other literary journals that requires payment, these digital platforms I mentioned are free to be accessed by the public.
Literary Climate for West Visayan Writers
Lastly, allow me to remind you one of the most important things in the life of a writer: your rights. While we are improving our craft, I want also to impart that you need to learn the importance of copyright pertaining to publishing in order to defend yourselves in times where someone wants to step on you, or use your works. Take care of your copyright.
Remember that copyright cannot be transferred. Only the publication rights can be borrowed by the publishers or by whoever wants to help you publish your book in the future.
You can sell your rights also. However, I advise you not to do this. There is a lot of these cases around the country, and in other countries, where after selling their copyrights to a rich publisher they begin to suffer. While the publishers become richer, the writers become poorer who are continuously being used by these big mainstream publishers. I don’t want this to ever happen to you in the future. Which is why, my advice is that you should publish your own books, let us encourage those we know to try, and be a publisher. Don’t be scared because it isn’t wrong or disgusting to be an alternative or underground publisher, especially in this era where capitalists reign and run the arts and culture in the country.
Ginbasa ni Noel Galon de Leon sa Artist Talk kaupod ang apat sa mga ginakilala nga manunulat, kag manogbalhag sa Western Visayas nga sanday Dr. Alice Tan-Gonzales, Dr. John Barrios, kag Mr. Jose Edison Tondares. Gin-organisa ang nasambit nga event sang UPV Literati kaupod sang UPV Division of Humanities sang Marso 9, 2019.
Iloilo Mega Book Fair 