#manila envelope

[grimdarkandhandsome]

Dark Tapestry: DIS

The photographs, whose handwritten annotations i have transcribed below, were handed to me without explanation. There was never any time to explain, that October. --Ed.

1961. There are modes of civil defense we were willing to consider. Spatial extension, subterranean travel, psychic preservation ... With recent breakthroughs, we were no longer limited to American soil for settlement.

1989. Historians have discovered and opened communications with timelines in which the madness of the Cold War's depths did not end but were magnified, fleeing and spreading to new spaces, digging concrete cities in the soil of other realms.  Fathomless warrens of bureaucracy, hatred, and zero sum games... 

A grim world of soot, hatred, and stubborn survival

A culture of competition and exploitation. A habit of, when encountering a win-win situation, seizing power to disadvantage others, to gain leverage and dominance over them.

The cover name for the department handling the connection between our world and theirs, back when they were a new offshoot, was Department of Ionospheric Signals, or DIS.

Interdepartmental coordination was so bad in the intelligence community of the late eighties that we couldn't verify the classified records of DIS's project. When we rediscovered how to make contact with the Other Space, we went a good six months not knowing it was a DoD project. It was so big in there that we were really biting our nails, thinking our planet was the offshoot of theirs! 

But it's almost worse the way it is, right? Look, if this Earth is the civilized one, if we are the people who've dragged ourselves out of an ocean of madness, i mean, that's a little freaky, but good job us, we've cleaned it up, we've really put a lid on it. But the truth is that all that hatred on the other side of the portal, the smoke, the police, DIS? That's a DoD project. That's an effect of the civilization our grandparents built. You see the tank graveyards over there and you think: This is what our species creates.

[mouseandboo]

Stamped Manila Envelope, Back by Gail Anderson Via Flickr: Manila envelope with both rubber stamps and postage stamps that I received in a swap.

[he-i-mean-they]

I can smell his farm hands it’s locked inside the paper according to his penmanship he’d like to meet me later

[orbitmultiprint]

Printing Gallery in Ahmedabad, Visting Card, Business Card, Stickers, Mix Job,Special Printitng In Ahmedabad, Gujarat, India

orbit multiprint is one of the best offset printing company which provides best services across India in the printing of visiting cards, letterhead, stickers, brochures leaflet, envelopes, box packaging.

[kaylajnelson]

Thanksgiving Planner Tutorial

I am re-sharing a post from last year because it is just so helpful… (more…)

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[philstarsupreme-blog-blog]

Q&A with David Guerrero, publisher of Manila Envelope

What was the original intention when you first released Manila Envelope?

Originally, it was just to explain something about the country to people who haven’t been here so the first one we made specifically to be distributed at the Cannes Lions International Festival of Creativity. It was something that was brought there to give other people from around the world some background about the Philippines because a lot of people didn’t know much. Now, I think the situation’s different, now people know a little bit more but maybe they don’t know too much about the writing. Now, the intention is not really so much for that one narrow audience but more of a general audience; perhaps trying to appeal more to the literary types in various parts of the world.

Why decide on sampling Filipino novelists for the fourth issue?

It felt like an important thing to do, to collect some of these modern storytellers together in one place. It feels like it helps with the understanding and definition of the culture. I think it’s quite a satisfying collection to put together. It feels it could be quite a useful guide and there are other compilations that have come before and that will come afterwards but it’s just the particular focus that we thought was needed.

In Manila Envelope 4, many of the writers are based overseas. What do you think does this say about our literary scene?

It’s interesting. They do say it’s very hard to earn a living as a novelist. I had the privilege (of meeting) F. Sionil Jose sometime back and he said very, very few people can make a living in writing. So perhaps it’s a common trait for some of them, (they) need to go abroad, to find a place where they can write or support themselves by their writing whether it’s with an academic position or some kind of related work that they can do. It seems to be quite hard here so that’s one thing. And perhaps there is a sense in which people who write do take an external validation seriously, someone like Miguel Syjuco who won the Man Asia Literary Prize, it has instantly gained some recognition (for his work). As a nation of readers, people do look to see how some of our authors have been received overseas as well. But that’s something that could change in the future.

What do you think is the difference between the classic Filipino novels and the contemporary ones?

I think with both Jessica (Hagedorn) and Chuck Syjuco, you can see the influence of the exile, or the expat novelists. I’ve read Zack Linmark’s book and lots of others and quite a few of the published novelists do seem to talk a lot about that exile experience, especially in the US. So that seems to be a new dimension to the work that hasn’t been there before. I think that’s a reflection of how being Filipino doesn’t necessarily mean being based in the Philippines anymore and I think there’s a substantial overseas culture and it’s coming through very strongly. I’m sure people will read this and think “Why aren’t there more locally based authors?” And that probably comes back to the same issue of people not being able to support themselves while they do it.

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Words by DON JAUCIAN Image via INTERAKSYON