Linda C. Arnaez-Lee and the Language of Leaves: Writing Kinaray-a for Children

By Noel Galon de Leon

Linda’s journey as a children’s writer began not with books, but with the oral stories of her childhood in Antique. Each night, her family gathered around a dim lamp to listen to her father’s tales, stories of aswangs, wartime memories, and village life. These early moments of storytelling became Linda’s first training in narrative. Even before she wrote anything down, she was already shaping stories in her own words, retelling what she had heard to friends. As she grew older, Linda began exploring written forms, writing short skits, submitting poems to radio stations, and engaging in theater during college. The turning point came in 2018 when Linda returned to Antique and saw the lack of children’s books written in Kinaray-a, the language of her childhood. This need became her call to write. The next year, she published Ang Dulse nga Pula, the first fully illustrated children’s book in Kinaray-a with English translations.

Her latest work, Si Lemon kag Si Alibangbang, was born out of a writing contest but grew into something more layered. At first, Linda wanted to use the butterfly’s life cycle to introduce the idea of death to children, but she realized this was already familiar. Instead, she focused on something often unnoticed, the leaves. The story follows Lemon and Butterfly, and the silent sacrifices of the leaves that nourish life. Linda combined science, morality, and imagination to create a story that is both educational and emotional. She wanted children not just to enjoy a story, but to understand that even the smallest parts of nature play important roles, just like people who quietly care for others. For her, writing for children means paying attention to what has not yet been written, stories that offer new perspectives and respect the intelligence and emotions of young readers.

Linda’s writing process is both structured and intuitive. She begins by thinking about the age of her readers, the story’s purpose, and its length, especially when writing for contests. Once the concept is clear, she outlines the plot, writes a draft, and revises until the story feels complete. Sometimes, she reads her work to her young relatives to see how they respond. Collaboration with illustrators is also key. Linda ensures the artist understands the story, then they decide together on the style, realistic or cartoon, digital or traditional. She believes that illustrations are crucial, especially for children reading in Kinaray-a, where visual support can help them better understand unfamiliar words and connect with the narrative emotionally.

Writing in Kinaray-a is both a commitment and a challenge. Linda sees her work as part of a larger effort to preserve and revitalize the language. Most of her books are self-published, with little to no support from local government or big publishers. Financial constraints limit her ability to print more copies, and promotion relies mostly on personal effort or word of mouth. Still, her books have reached schools, storytelling contests, and even mobile libraries that serve Indigenous communities. Children have used her stories in declamation contests, and some readers return to the same book again and again. For Linda, these small moments of impact confirm the value of what she does. But the challenges remain, limited distribution, small readership, and a general lack of fluency in reading Kinaray-a among younger generations.

Despite these barriers, Linda continues to write, imagining a future where Kinaray-a children’s literature is recognized alongside national works. She dreams of returning to Antique someday to establish a local publishing house. She hopes her stories not only entertain but also inspire others to write in Kinaray-a. Though distant from her community, she offers feedback to aspiring writers who reach out to her online. Her message is clear, learn, write, and seek help when needed. Linda’s work is a proof to what can be achieved with deep cultural knowledge, persistence, and a belief that regional literature deserves a rightful place in the broader Philippine literary landscape.