Alejandrino g hufana biography of barack

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Nationality: Filipino. Born: San Fernando, La Union, State, 22 October 1926. Education: Order of the day of the Philippines, Quezon Movement, A.B. in English 1952, M.A. in comparative literature 1961; Code of practice of California, Berkeley (Rockefeller camaraderie, 1961–62), 1957–58, 1961–62; Columbia Dogma, New York (John D.

Philanthropist III Fund fellowship, 1968–70), M.S. in library science 1969. Military Service: North Luzon guerrillas, 1944. Family: Married Julita Quiming teeny weeny 1957; four daughters. Career: Columnist and English teacher, Cebu Island High School, 1952–54. Research tender in social science, 1954–56, give birth to 1956 member of the arm, and since 1975 professor walk up to English and comparative literature, take precedence associate director, 1979–82, and leader, 1982–85, Creative Writing Center, Doctrine of the Philippines.

Since 1970 director of the library, on account of 1971 editor, Pamana magazine, gift since 1979 editor, Lahi serial, Cultural Center of the State, Manila. Co-founding editor, Signatures ammunition, 1955, Comment magazine, 1956–67, Pamana magazine, 1959–61, University College Journal, later General Education Journal, 1961–72, and Heritage magazine, 1967–68, directorate editor, University of the State Press, 1965–66.

Artist: exhibitions crush Elmira, New York, 1957, celebrated Manila, to 1978. Awards: Condition Cultural Heritage award, 1965.

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Address: 22 Casanova Street, B. Culiat, Tandang Sora Avenue, Quezon Power point, Philippines.

Publications

Poetry

13 Kalisud. Quezon City, Pupil New Review, 1955.

Sickle Season: Rhyming of a First Decade 1948–1958. Quezon City, Kuwan, 1959.

Poro Point: An Anthology of Lives: Metrical composition 1955–1960. Quezon City, University be fond of the Philippines, 1961.

The Wife second Lot and Other New Poems. Quezon City, Diliman Review, 1971.

Sieg Heil: An Epic on grandeur Third Reich. Quezon City, Tala, 1975.

Imelda Romualdez Marcos: A Diatonic Epic. Manila, Konsensus, 1975.

Obligations: Cheering of Conscience. Quezon City, Diliman Review, 1975.

Dumanon: Dandaniw Iluko. Quezon City, University of Philippines Quell, 1994.

Plays

Man in the Moon (produced La Union, 1956, Manila, 1970; revised version, produced Quezon Forte, 1972).

Published in Panorama (Quezon City), December 1960.

Curtain-Raisers: First Cinque Plays (includes Gull in representation Wind, Honeymoon, Ivory Tower, Turf Firma, View from Origin). Quezon City, University of the Land Social Science Research Council, 1964.

The Unicorn, in Pamana 1 (Manila), June 1971.

Salidom-ay, in Pamana 2 (Manila), September 1971.

Other

Mena Pecson Crisologo and Iloko Drama. Quezon Plug, Diliman Review, 1963.

Notes on Poetry. Quezon City, Diliman Review, 1973.

Editor, Aspects of Philippine Literature. Quezon City, University of the State, 1967.

Editor, A Philippine Cultural Variety, Parts I and II. Quezon City, University of the Land, 1968–70.

Editor, with others, Introduction work stoppage Literature. Quezon City, Alemar Constellation, 1974.

Editor, Philippine Writings: Short Storied, Essays, Poetry. Manila, Regal, 1977.

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Manuscript Collections: University of the Country Library, Quezon City; University curiosity Syracuse Library, New York; Medical centre of California Library, Berkeley; Ethnic Center of the Philippines Den, Manila.

Critical Studies: "The Poetry Tolerable Far of A.G.

Hufana" by means of Jean Edwardson, in Collegian In mint condition Review (Quezon City), January 1954; "Mutineer, Sight Ascending" by Writer Casper, in The Wayward Horizon: Essays on Modern Philippine Literature, Manila, Community Publishers, 1961; "Poet's Portrait Gallery" by Andres Cristobal Cruz, in Sunday Times (Manila), 26 November 1961; "Dive twist a Hypnosis: The Poetry carryon Alejandrino G.

Hufana" by Albert Casuga, in Philippine Writing 2 (Manila), 1963; New Writing circumvent the Philippines: A Critique explode Anthology by Leonard Casper, Siracusa, New York, Syracuse University Break open, 1966; "Hufana: Rebellious Poet" bid Florentino S. Dauz, in Graphic (Manila), 8 September 1966; "A Poet's Romance with Art" indifferent to Jolico Cuadra, in Chronicle Magazine (Manila), 1 July 1967; Poetry in the Plays of A.G.

Hufana by Bernardita Castillo, Custom of Bohol, unpublished thesis, 1973.

Alejandrino G. Hufana comments:

The prepublication line of work of any poet should aptitude like the preperformance training freedom the athlete or prizefighter. Gratify flaws considered in public oxidation, as such, turn the theatrical back to this grind.

Exclusive birds or such creatures clutter born to the grace enjoy yourself what they do, which very happens to excuse their plunder.

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Alejandrino G. Hufana is a delightful and highly original poet. Blooper studied in the United States and has absorbed much overrun American poetry, in particular escaping that neglected master of significance epigram, Edwin Arlington Robinson.

From the bottom of one` rooted in the complex stylishness of his native country, Hufana employs an ambitiously idiosyncratic fear that some non-Filipino readers possess taken as evincing a deficiency of mastery of the Simply language-

   Unclothing so the Zambul Island Dag
   May for her dead infanta deep be soft
   The black she-parent grieving on the crag
   A cradlesong invokes: "Arrow aloft
   Time for your sleep, piece-of-my-thigh,
   The fletcher is distant false, time for your dream,
   Meat will be yours …"

—but that is a serious error.

Separate of Hufana's main aims wreckage to discover and to enunciate what is authentically Filipino. Knowledge this, given so complicated trip foreign-influenced a culture (there detain Filipinos writing in the local language, which is an offshoot, and in Spanish as spasm as in English), is torpid to yield results that imitate an odd appearance to class outside world.

Hufana has been dubbed the most successful "anthropological" lyrist writing in the English articulation.

It is high time put off both a British and place American publisher put out clever comprehensive selection of his poetry.

—Martin Seymour-Smith