Has its close connections with academe enriched or diminished Philippine literature in English? Are there alternatives to academe as literary arbiters? How do contemporary Filipino women writers "perform" the modern wonder tale? These are some of the questions that Hidalgo asks in her latest book.

Five Faces of Exile is the first transnational history of Asian American intellectuals. Espiritu explores five Filipino American writers whose travels, literary works, and political reflections transcend the boundaries of nations and the categories of "Asia" and "America."

Intro -- Contents -- Preface -- A Warm Hand -- Children of the Ash-Covered Loam -- The Morning Star -- The Blue Skull and the Dark Palms -- Where's My Baby Now? -- Come and Go -- The Sea Beyond -- The Whispering Woman -- The Bread of Salt -- On the Ferry -- The Wireless Tower -- The Lives of Great Men -- The Popcorn Man -- Crossing Over -- The Tomato Game -- In the Twilight -- The Gecko and the Mermaid -- A Shelter of Bamboo and Sand -- The Long Harvest -- Glossary.

This is an extensive work on international folk dancing as practiced in the United States. It tells how to do the hopak, czardas and the bamboo pole dance; plan an international folk dance program; do the little finger hold and the hambo swing. International Folk Dancing U.S.A. presents historical vignettes on pioneer folk dance leaders; instructions for 180 dances from 30 countries; contributions from 60 folk dance authorities; easy-to-follow dance step descriptions; a Glossary of folk dance terms; many helpful illustrations.

An irresistible inside look at one of the world's great dance companies, Winter Season is also a sensitive, intimate, and almost painfully honest account of the emotional and intellectual development of a young woman dedicated to one of the most demanding of all the arts. Bentley's association with the New York City Ballet began when she was accepted by the affiliated School of American Ballet at the age of eleven. Seven years later, she became a member of the company. In the fall of 1980, as the winter season opened, she found herself facing an emotional crisis: her dancing was not going well. At 22 she felt that her life had lost direction. To try to make something of her experience, on paper if not on stage, she began to keep a journal, describing her day-to-day activities and looking back on her past. The result is perhaps the closest that most of us will ever come to knowing what it feels like to be a dancer, on stage and off. It also offers memorable glimpses of some notable members of the City ballet, with, at the center, the man whose vision they all served--George Balanchine.

This panorama is a pictorial view of music instruments starting with older bamboo and other instruments of undetermined age, going on two types of gongs-flat in Northern Luzon and bossed in the South. These two areas may be viewed as pocket cultures comparable to other pocket cultures in Borneo, Sumatra, other islands in Southeast Asia and the mountain regions south of and including Yunnan province of China, thus placing the music of Luzon and Mindanao in a larger geographical context. For example, mouth organs in Borneo and continental Southeast Asia are absent in the Philippines, where, however, separate pipes of panpipes are on occasion still being played by groups of boys among the Kalingga of Luzon. The musical elements of drone and melody identified in two lutes in Borneo or ensembles in Yunnan find examples in two players of the same tube zither in Mindanao and flat gongs in Luzon. The nearly 500 photographs in the book are almost all taken in the field, showing details of making and playing bamboo buzzers, jaw harps, zithers, percussion tubes, flutes and other instruments. Manners of tapping and sliding with the hands on flat gongs differ from beating them with sticks. Examples of big bossed gongs with wide rims (agung) struck with a mallet on the boss and a stick on the rim show affinities with a manner of playing bronze drums in Yunnan. In North Luzon, men and women dancing in circles with outstretched hands distinguish them from solo dancers with minimum body movements in the South.

The hero of the novel, a sculptor in America on a fellowship grant, experiences the American culture quite differently from his brother, a physician on a fellowship in California. Both return to the Philippines, the doctor with the accoutrements of the Western civilization in more ways than one, but the sculptor on a roundabout trip takes back with him what he learns from eventful visits to Tokyo, Hiroshima and Taipeh.