Ruins and monuments: A collective statement on the plagiarism of Krip Yuson

Alfred "Krip" A. Yuson

“Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different.”

—T. S. Eliot, “Philip Massinger

While we may be growing old, straining under the constant pressure of deadlines, and feeling overworked—and who, in truth, does not?—we may not be as jaded as we think we are: when blogger Jaemark Tordecilla of Fire Quinito exposed the fact that multi-awarded writer Alfred “Krip” Yuson had plagiarized entire paragraphs from an article by GMA News Online sports reporter Rey Joble for a piece that was published in the current issue of Rogue Magazine, we must admit to feeling no small degree of disappointment and outrage.

We find that we can only agree with Tordecilla when he concludes his post with, “Fuck that. We deserve so much better.” That such a sentiment has to be articulated in the first place is almost as dismaying as the wrongdoing itself, of course, because Yuson is no callow wordsmith, and therefore should be no stranger to the concept of intellectual honesty. Insofar as the realm of Philippine letters can be conceived of as a game, Yuson is one of its most prominent professional players, which even the most cursory survey of his curriculum vitae would show: he is the author and/or editor of several books in different genres, has won both local and international recognition for his work, evaluates the output of other, younger writers in competitions and workshops, and is a faculty member of the Department of English at Ateneo de Manila University.

[Read the rest in Interlineal.]

Notes on ‘Rosario’ (2010)

Rosario. Dir. Alberto P. Martinez. Perf. Jennylyn Mercardo, Yul Servo, Dennis Trillo, Sid Lucero, Isabel Oli, Dolphy, Philip Salvador, Eula Valdez, Ricky Davao. Cinemabuhay International, Inc. and Studio 5, 2010.

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It must be said that this movie does not open auspiciously, as it starts with what might well be an awkward—and rather narcissistic—attempt at metafiction: Jesus (Dolphy), finding himself and his wife in dire straits after their house gets flooded, decides to swallow his pride and approach a wealthy nephew who has long been a stranger to him in order to ask for assistance. This nephew turns out to be no other than corporate mogul Manuel “Manny” V. Pangilinan, the owner of the studio that co-produced Rosario, and the source of the “true story” on which the film is based. Jesus and Pangilinan’s father are half-brothers, while the titular character, Rosario, is mother to Jesus and grandmother to Pangilinan. Pangilinan, who knows little about his lola, asks Jesus to tell him about her life.

[Read the rest in Interlineal.]