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contrary to the so-called unpampered and unfree “artists of the people”. Despite such "questioning", Golangco was applauded. Surprised, Golangco retreated to Café Guernica, where he became “almost inconsolable” until
Golangco was reassured by two female companions. According to Elmer A. Ordoñez, this scene in
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during an art exhibit. Golangco is a believer that “art thrives on freedom”. However, a guest during the exhibition countered
Golangco’s belief by saying that freedom is a “political condition” and that Golangco is a free person because of influence and the financial means to buy freedom, which is
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practices of her parents and in her village. Such introduction and mentoring lead
Golangco to the “aesthetics and pedagogy” of the oppressed and the dispossessed, and eventually to Golangco’s discovery of Espiritu’s origins. Golangco became intrigued by of the “strange happenings in his own
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delights” indulger who decided to return to the
Philippines. Golangco was oblivious to the fact that the Golangcos who stayed in the Philippines were the source of oppression, death, and poverty in the village in his hometown. The Golangco clan has a thriving
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in grooming”. Espiritu described the
Philippines as a country and society that remained semi-feudal and semi-colonial. Despite being the art student, Espiritu became Golangco’s “educator of the aesthete”. Espiritu introduced and mentored Golangco about the
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through the use of “non-ideological terms” and sharing of his personal knowledge of the “travails of the original tillers of the soil” and the dispossession of the land-tillers through the workings of the oligarchs.
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of the university where he is teaching. The dean was a former student of
Golangco. PG Golangco was unaware that the Golangcos were responsible for the demise of the parents of Guia Espiritu, Golangco's student.
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deals with topics related to "personal conscience, greed and the position of art" in social class struggle, thus serving as a cogitation on "what is wrong" with the
Philippines as a nation. José wrote
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The novel is full of symbolism. The primary example of such usage of symbolism is the clay used by PG Golangco in making pots. The clay symbolizes the oppressed villagers in
Espiritu's
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inside and outside the
Philippines. The clan also participated in Philippine politics through elections and accepting appointments to positions at the “higher echelons” of the
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162:, the novel is dedicated to the author’s wife Teresita José. The novel, which can be read in one sitting, was described by Li-an de la Cruz-Busto, a reporter for
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The major protagonists of the novel are Peter
Gregory Golangco and Guia Espiritu. Golangco, a recognized art scholar abroad and a member of a
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as an “easy read and a guaranteed page-turner”. A novel composed of twelve chapters with a "tight and palpable" narrative pacing,
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showed Golangco as an aesthete questioned about his pose and position regarding social protest and his views about
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is another presentation and “meditation” by the author regarding “class conflict” and “malaise in society” in the
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350:, Fragments of Truth, Book Review, Life & Times, The Manila Times, January 9, 2009, archives.manilatimes.net
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256:. As a symbolic element of the narrative, the clay has a fundamental function at the finale of the novel.
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José achieved “lyrical effects”, specially in the novel’s final chapters, by putting into “good use”
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Employing a story-telling technique that begins with the “ending of the story, in
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Sherds: The latest novel of National Artist for Literature Francisco Sionil José
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as “very light but candid and insightful”, a description that complements
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As an “art and society” novel, the ninth chapter of
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is the latest and last novel by José. According to
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Guia Espiritu is Golangco’s student-assistant and “
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339:Mallari, Perry Gil S.
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100:fragments of pottery
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