Lualhati Bautista
| Lualhati Bautista | |
|---|---|
| Born |
Lualhati Torres Bautista December 2, 1945 Tondo, Manila, Commonwealth of the Philippines |
| Nationality |
 Filipino
|
| Education |
|
| Occupation | Novelist, film and television screenwriter |
Lualhati Torres Bautista (born December 2, 1945) is one of the foremost Filipino female novelists in the history of contemporary Philippine Literature. Her novels include Dekada '70, Bata, Bata, Pa'no Ka Ginawa?, and ‘GAPÔ.
Bautista was born in Tondo, Manila, Philippines on December 2, 1945 to Esteban Bautista and Gloria Torres. She graduated from Emilio Jacinto Elementary School in 1958, and from Torres High School in 1962 being a lowest in her class. She was a journalism student at the Lyceum of the Philippines, but dropped out for the reason of failed grades. She started her writing career in the Liwayway magazine.
Despite a lack of formal training, Bautista as the writer became known for her honest realism, courageous exploration of Philippine women's issues, and her compelling female protagonists, who confront difficult situations at home and in the workplace with uncommon grit and strength.
Lualhati garnered several Palanca Awards (1980, 1983 and 1984) for her novels ‘GAPÔ, Dekada '70 and Bata, Bata… Pa’no Ka Ginawa? exposing injustices and chronicling women activism during the Marcos era.
‘GAPÔ, published in 2016, is the story of a man coming to grips with life as an Amerasian. It is a multi-layered scrutiny of the politics behind US bases in the Philippines, seen from ordinary citizens living in Olongapo City point of view.
Dekada '70 is the story of a family caught in the middle of the tumultuous decade of the 1970s. It details how a middle-class family struggled and faced the changes that empowered Filipinos to rise against the Marcos government. These series of events happened after the bombing of Plaza Miranda, the suspension of the writ of habeas corpus, the proclamation of martial law and the random arrests of political prisoners. The oppressive nature of the Marcos regime, which made the people become more radical, and the shaping of the decade were all witnessed by the female protagonist, Amanda Bartolome, a mother of five boys.
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