“Pride, Profit, and Principle: The Philippines at the Frankfurt Book Fair”
By Lualhati Madlangawa Guererro
The Philippines’ presence as Guest of Honor at the 2025 Frankfurt Book Fair has been hailed as a historic milestone, a “momentous time for Filipinos.” The Philippine Pavilion, under the banner “The imagination peoples the air,” stands proudly amid the sprawling halls of this global publishing hub, celebrating the boldness, creativity, and reflective spirit of Filipino literature. Through speeches, curated exhibitions, performances, and panel discussions, the country presents itself as a literary force, showcasing imagination and intellect that can inspire dialogue and transformation.
Yet beneath the applause and fanfare lies a troubling tension, one that many choose to overlook. The Frankfurt Book Fair is not merely a cultural celebration—it is a marketplace, a commercial engine where publishing rights are traded and visibility translates into profit. In this arena, critics argue, moral responsibility and ethical concern are often subordinate to sales, fame, and international recognition.
Indeed, the fair has drawn sharp criticism for its complicity in Israel’s ongoing actions in Palestine, with Palestinian voices deplatformed and silenced while others, politically aligned with the perpetrators, enjoy global acclaim. Calls for boycott by independent publishers and human-rights advocates remain vocal, yet they are dismissed or downplayed by mainstream participants. Many writers and presses appear unfazed, perhaps because the local literary scene is under constant pressure: declining readership, low literacy rates, and economic constraints push writers and publishers to pursue sensational stories that will sell. In such a context, the Frankfurt Book Fair offers a rare lifeline—a chance to gain exposure, marketability, and international recognition.
But this pursuit of fame and profit comes at a cost. Writers who once risked their names and reputations to speak truth to power, who exposed injustice and state violence at home, now find themselves participating in an event whose political complicity cannot be ignored. Books that once served as instruments of conscience risk being repackaged as exportable commodities, celebrated abroad while their moral weight is diluted. Political resistance, once sharp and urgent, becomes a product to be consumed—a soft power tool that benefits markets more than the oppressed.
Within the Filipino literary community, this tension is deepened by self-interest and selective concern. Too often, praise is showered upon those whose works sell briskly or whose names gain international visibility, while colleagues who are silenced, marginalized, or deplatformed are quietly dismissed as irrelevant. The issue is not merely commercial—it is profoundly ethical. Some writers attempt to depoliticize the fair, insisting that it is simply a cultural or commercial event. Others profess solidarity with the oppressed yet behave as if morality can be suspended when inconvenient, ignoring, belittling, or even red-tagging those who take principled stands. In such an environment, Pinoy pride, once a noble sentiment, risks turning hollow—reduced to a display of vanity rather than a testament to truth or justice.
Worse still, this brand of pride, flaunted as cultural triumph, borders on the cringeworthy. It echoes an attitude of indifference—“Who cares about Adania Shibli or Roberto Saviano?”—as though the deplatforming of others is of no consequence so long as one’s own name shines. For these writers, what matters is not the moral ground they stand upon, but the market value of their work. In the end, this posture exposes a troubling impulse: the tendency to downplay serious, criticisable issues in favor of a self-centered narrative—the “how about me?” refrain that eclipses conscience. The suffering of others becomes “not their problem,” even as calls from independent publishers to boycott the event over its complicity in genocide grow louder, joined by the voices of their own concerned colleagues.
The fair illustrates a fundamental truth about the global literary marketplace: profit consistently outweighs principle. Visibility, awards, and foreign recognition are seductive, but they cannot substitute for conscience. Writers who aim to inspire reflection and dialogue must reckon with the moral dimensions of their participation. Can a platform that silences some voices while celebrating others truly serve literature? Or does it merely transform works of conscience into exportable products, stripping them of context, urgency, and ethical force?
At the end of the day, the Frankfurt Book Fair is a marketplace—powerful, influential, and undeniably global. Yet Philippine literature, in its highest form, must not bow to market pressures alone. It must retain courage, conscience, and moral clarity. It must reflect not only the brilliance of Filipino imagination but also the struggles, truths, and principles of the nation. To participate without reflection, without weighing the ethical costs, is to risk turning culture into spectacle, conscience into commodity, and pride into mere self-promotion.
The question for Filipino writers, publishers, and cultural leaders is urgent and inescapable: will Philippine literature be celebrated only for its marketability, or will it remain a voice for conscience, a mirror of society, and a force for truth, justice, and reflection—at home and abroad? Recognition is fleeting; acclaim is temporary. But principle, courage, and conscience endure.
