The Biography of Amado V. Hernandez

Amado Vera Hernandez was born in Hagonoy, Bulacan but grew up Tondo, Manila, where he studied at the Manila High School and at the American Correspondence School. While being a reporter, columnist and editor of several newspaper and magazines including Watawat, Mabuhay, Pilipino, Makabayan and Sampaguita, he also honed his poetic craft. He received the Republic Cultural Heritage Award, a number of Palancas and an award from the National Press Club for his journalistic achievements.

After World War II, he became a member of the Philippine Newspaper Guild and his writings increasingly dealt with the plight of the peasants and laborers. Influenced by the philosophy of Hobbes and Locke, he advocated revolution as a means of change. In 1947, he became the president of the Congress of Labor Organization (CLO). His activities and writings led him to imprisonment from 1951 to 1956. Even in prison, he was still a leader and artist, spearheading education programs and mounting musical productions, plays and poetry reading. It was during his incarceration that he wrote one his masterpiece, Mga Ibong Mandaragit (Predatory Birds). His prison writings were smuggled out by his wife, zarzuela star Honarata “Atang” dela Rama, who would become our National Artist for Music and Theater.

Ka Amado died on 24 March 1970 in the wake of the First Quarter Storm, whose leaders and activists recited his words. He left a legacy that includes Isang Dipang Langit (An Arm-Stretch of Sky), Kung Tuyo na ang Luha Mo, Aking Bayan (When Your Tears Have Dried, My Country), Panata sa Kalayaan (Pledge to Freedom), and the novel Luha ng Buwaya (Crocodile Tears).

He was posthumously honored as our National Artist for Literature in 1973. Together with poet Jose Garcia Villa, Amado V. Hernandez was the first to receive the title in literature.

Ka Amado gave voices to the oppressed peasants and laborers, rendering them powerful verses and plots that should have gone down as a compelling chronicle of a struggle of a people, but still prove to be an influential instrument in constituting reform and empowerment. A literary artist that he is, Ka Amado remains to be a social and political leader, fast becoming to be an icon of the working-class.

Hernandez's poetic sensibility was initially developed in literary circles. During the second decade he was a member and vice-president of Aklatang Bayan where he associated with Lope K. Santos, Valeriano Hernandez- Peña, Iñigo Ed. Regalado, and Julian Cruz Balmaseda; later he joined Ilaw at Panitik, where he became close to Jose Corazon de Jesus, Florentino Collantes, and Deogracias Risario. He wrote poems on sundry topics for his daily column “Sariling Hardin” (My Own Garden) in Pagkakaisa from 1926 to 1932. He continued writing poems for his column “Pangkasalukuyan” (Today) in Mabuhay from 1932 to 1934. In 1929 he challenged de Jesus, the acknowledged “King of Balagtasan,” to debate in verse on the issue of nationalism and independence. For almost a month, they articulated their positions daily in the newspapers they worked for: de Jesus in Taliba, Hernandez in Pagkakaisa . In 1940, he published his first anthology of poems entitled Kayumanggi at Iba pang Tula (Brown and Other Poems). His prison ordeal provided the creative impulse of most of the poems in his collection, Isang Dipang Langit (A Stretch of Sky), 1961 and the epic, Bayang Malaya (Free Country), 1969, both of which were written behind bars.. Most famous of his poems are “Isang Dipang Langit,” “Panata sa Kalayaan” (Oath to Freedom), “Bartolina” (Solitary Confinement), “Ang Dalaw” (The Visit), and “Kung Tuyo Na ang Luha Mo Aking Bayan” (When Your Tears Dry Up, My Country).


He published short stories in different newspapers among them “Wala ng Lunas” (No More Remedy), “Kulang sa Dilig” (Needs Watering), “Langaw sa Isang Basing Gatas” (Fly in a Glass of Milk), “Dalawang Metro sa Lupang Di-Malipad ng Uwak” (Two Meters in Land That Stretches Forever), “Ipinanganak ang Isang Kaaway sa Sosyedad” (An Enemy of the Society is Born), “Isang Ulo ng Litson” (Head of a Roast Pig), and “Kislap ng Utak,Pawis ng Noo” (Sparkle of Brain, Sweat on the Forehead).

His experiences as a guerilla, labor leader, and a political detainee were shaped into the novels Mga Ibong Mandaranggit (Birds of Prey), 1969, and Luha ng Buwaya (Crocodile's Tears), 1972.

Hernandez wrote plays based on prison experiences: Muntinglupa , 1957; Hagdan sa Bahaghari (Stairway to the Rainbow), 1958; Ang mga Kagalang- galang (The Venerables), 1959; and Magkabilang Mukha ng Isang Bagol (Two Sides of A Coin), 1960. He has written many essays, among them, “Si Atang at ang Dulaan” (Atang and the Theater), “Si Jose Corazon de Jesus at ang Ating Panulaan” (Jose Corazon de Jesus and Our Poetry), and “Pilipinismo: Susi sa Bayang Tagumpay” (Filipinism: Key to a Successful Country), among others. In these works, he exposed what he perceived to be the neocolonial nature of Philippine Society and pushed for nationalist and progressive agenda to end the long history of the workers' and people's oppression.
In the pre-WWII era, Hernandez won more than 20 awards for his short stories and poems. In 1925, he was proclaimed “Makata ng Ilaw at Panitik” (Poet of Ilaw and Panitik). In 1931 his story “Wala ng Lunas” won two gold medals also from the Ilaw and Panitik. His stories, “Pilipinas” (Philippines) and “Kayumanggi” (Brown), both won first prize in the Commonwealth Literary Contest in 1938 and 1940, respectively. He won the Republic Cultural Heritage Award for Isang Dipang Langit, 1962; the Don Carlos Palanca Memorial Awards for Literature fro his four plays: Muntinglupa, 1958, Magkabilang Mukha ng Isang Bagol , 1961, both first prize winners; and Hagdan sa Bahaghari, 1959, and Ang mga Kagalang-galang , 1960, both second prize winners; the NPC-ESSO Journalism Award for his novel Luha ng Buwaya, 1963, his “Pili sa Pinili” (Chosen form the Select) in Taliba, 1964, and for his essay, “Report on Indonesia,” in 1965; the Patnubay ng Sining at Kalinangan award from the city government of Manila, 1964; the first Balagtas Memorial Award from the Cultural Center of the Philippines for Bayang Malaya , 1969; and the Tanglaw ng Lahi Award from the Ateneo de Manila, 1970. He was proclaimed National Artist for posthumously in 1973 for “his contribution to the development of Tagalog prose.” – R.T. Yu and N.G. Tiongso.Reference