articles which are published under his pen name Quijano de Manila. Additionally, he was chosen journalist of the year in the 11th National Press Club-Esso Journalism awards in 1996. He was nominated by Free Press Editor Teodoro Locsin who mentions that the journalistic work of Nick Joaquin has raised the journalism to the level of literature.[1] The literary ability of Nick Joaquin allowed him to earn multiple distinction and honors in the field of Philippine literature. On June 1, 1973, he won in the Seato Literary Award Contest for his submitted collection of short stories and poem. While on May 27, 1976, he was a recipient of one of the nation's most prestigious awards which carried material emoluments besides honors and privileges. He was conferred the title of “National Artist for Literature” by the former president and Mrs. Marcos during the special rites at the Cultural Center of the Philippines in 1976, on the condition that the Regime release Pete Lacaba, the author of the poem "Prometheus Unbound" from detention.[1] Themes & motifs In a critical study of his prose and poems, the subjects depicted his nostalgia for the past, church rituals, legends, the mysterious, the different shades of evil, the power of the basic emotions over culture, the freedom of the will against fate, the mutability of the human body compared to the spirit, and the like. They are often set in old Manila, the walled city of Intramuros, and sometimes Paco – as a symbol of congruence, the glory and culture of the past, rather than a geographical concept. His characters are mostly cultured intellectuals of past generations, while the opposing characters are usually from the materialistic modern age. Unless they are portrayed to adjust better than old men, women seldom have significant roles in this cultured world of the past. Theology of culture Critics of Nick Joaquin's works mention the presence of theological dimensions in his writings. These critics, such as Lumbera, referred to Nick Joaquin as the most stimulating lay theologian, 1968. Such examples of works containing theological dimensions include “"Doña Jeronima”, “The Legend of the Dying Wanton” and “The Mass of St. Sylvestre” whose themes are said to be drawn from Spanish traditions. Stories from Tropical Goth, although not as obvious according to critics, possessed a Christian background but there were arguments made that what is Christian is not necessarily theological. Different analysis of Nick