(2022) SISID: A Special Issue

into a revolution. To quote Baking: “If the present system can no longer accommodate solutions to our basic problems and the ruling classes no longer possess the confidence and the competence to resolve our crises and difficulties, then revolution is inevitable and is the only alternative open to the people.”

The following issue only continued to forward this political message. Apart from the issue being written completely in Filipino, the 19th issue had a cover page of Kabataan Makabayan President Nilo Tayag as a response to his arrest. That issue was filled with essays and works that spoke about nationalism and brandished a red motif. It was in the same year that the organization itself went through a major overhaul, breaking the rigid hierarchy of editorial board and members, and deciding to place each staffer on equal footing. Not long after its radical turn, HEIGHTS was discontinued with the declaration of Martial Law in 1972, forcing the publication to move to underground production as Pugadlawin.

When HEIGHTS finally re-emerged in 1974, the concern of the publication reverted back to that of form; where the resurrection of HEIGHTS began, so did its pursuit of aesthetics. Navigating a post-underground era, the publication’s role in proliferating pieces rooted in good craftsmanship was highlighted now more than ever.

It seemed that, amid darkness, art and literature became integral to the collective spirit of the people.

In An Mercado’s 1985 foreword, “Work In Progress,” thenEditor-in-Chief explains the need to retrace the literary tradition of HEIGHTS. Mercado writes: “In our heart of hearts one single syllable [HEIGHTS] sufficed to carry the weight and hope of a long tradition of literary excellence. In the beginning we set out to continue this continuing tradition.” She continues to lay out the conflicts and questions left unanswered by HEIGHTS’ archives, in search of what exactly is the literary culture of the publication. As evidenced by this desire for canon formation, HEIGHTS seems to take a step back from its politically seeped history, making form and aesthetics its focal point.

86