1922-1929: The Ateneo and the Ateneo Monthly

The Ateneo became the school's official news and literary magazine. Under the editorship of Edilberto S. Osmena, the magazine aimed to "cultivate literary excellence and to chronicle items of interest concerning alumni and student activities." After two months and two issues, The Ateneo became The Ateneo Monthly. It will continue to be the main campus organ for seven years. Its last issue became the school annual.

1929: The Ateneo Aegis

The last issue of The Ateneo Monthly came out, and was replaced by two new campus publications-The Guidon, which handled the news, and The Ateneo Aegis, which became the literary magazine and the school annual.

1931-32: Wings

Since the Ateneo Aegis ceased to be a literary quarterly, the Poetry class of Fr. Hugh J. McLaughlin came out with a compilation of poems and critical essays on classical literary pieces. Called Wings, they produced two issues. Its editorial staff consisted of Horacio de la Costa, Jesus A. Paredes, Jr., Juan Atavadio and Jose S. Araneta.

1949-1952: The Ateneo Quarterly

The Ateneo Quarterly came out as a completely literary magazine under the editorship of Sixto Roxas, Maximo V. Soliven and Gregorio Brillantes, successively.

1952 - Present: Heights

Upon moving from Padre Faura to Loyola Heights, The Ateneo Quarterly became Heights, named after the campus' lofty position in the hill overlooking Marikina. It has been the school's literary magazine as we know it today. The first editorial by Emmanuel Torres, ironically, lamented the death of literature on campus.

In its early years. Heights sought to establish its own identity and role in the Ateneo. With Torres' assessment of literature on campus, Heights clearly assumed the role of a nest for the school's writers, where they could exchange their thoughts and help improve each other's writing. In the succeeding years, this role was developed further by its various editors and moderators. Fr. Miguel Bernad, S.J., moderator from 1954-1958 Christianized Heights with anthologies such as a tribute to the 1954 Marian Year, an issue celebrating ACIL's 50th year, and an Ignatian issue which centered on Gerard Manley Hopkins, Jesuit work and missions in the Philippines, and feature articles on "Queer Jesuits." This Christianization was echoed in Alfredo R-A. Bengzon's 1954 editorial: "Heights is not merely a literary magazine designed to develop giants in the field of literature. Rather it is a channel for the clear expression of the thoughts and ideals of the Catholic college man."

From 1957 to the early 70's, Heights experienced a gradual change from its religious orientation to a political one. The 1957 issues drop the traditional cover design by Emmanuel Torres (Ateneo perched on a cliff over Marikina Valley) and Heights starts experimenting with various media and art forms. Antonio F. Samson's first editorial criticizes the rise of nationalism in the country, however, the stories and essay's that he published reflect nationalistic orientation. After Fr. Miguel Bernad relinquished moderatorship to Fr. James T. Griffin in 1958, the staff affirmed his policy of using the magazine as an "outlet for the Atenean apostolate.-.and that the articles should be pervaded with Catholicism." However, it was the nationalistic texts which dominated and Contributing Editor Roman A. Cruz, Jr. criticized Heights of its "ivory tower" mentality. This set the mood for future contributions to Heights.

Heights saw itself reexamining its own ideas of literature. Contributions for Poetry increased in favor of the traditional essays and stories that Heights was used to. In 1963, an issue devoted entirely to essays was released with its editors lamenting on the impending death of campus literature. Also, few essays published in this time reflected the Atenean's concern over topics such as communism, and the effects of certain historical events to the country's ongoing political struggles. Art and book design, for the first time, played an important role in packaging these poems and political articles, which culminated in an issue made up of different pamphlets and sheets of paper placed inside a box of Tide-either to spite the quality of works that have been passed or to "get closer to the Masses."

"Poetization" and "Filipinization"

By the late 60's, poetry became the dominant genre. In 1965, Heights published its first Filipino works through the exploration of me Bagay Movement. Started by a group of Ateneo faculty and students, the Bagay Movement produced poems that make use of concrete images and conversational language. This would be the trademark of many of Heights poems in the years to come. 1969 saw the first editorial written in Filipino by B. Basildez Bautista, and the entry of its first Filipino Editor, Perfecto Martin. By then, Heights echoed the radical student activism that characterized the times and even changed its name to Pugadlawin in school year 1971-1972 with Jose Ma. Sison as guest editor. This publication, however, died with the implementation of Martial Law in 1972.

Heights resurrected in October 1974. Afraid of radicalism that redirected its concerns in the past years, Heights reestablished its policies and mission as the school literary organ. It placed "the cultivation of the craft of writing" as its first priority. Interdisciplinarity or a wide range of concerns and focus-not just politics-became its second agenda. Heights also addressed issues on bilingualism, saying that it will continue to accept works written in English and Filipino, and stressed the need to cultivate Filipino. The first issue released after the death of Pugadlawin was dominated by translations. And for the first time, Heights consciously develops a criteria for selecting works for publication, stressing that although a work may be relevant to the times, it must, first of all, be well-written. 1975-76 saw the reaffirmation of these objectives. Not only did they focus on craft more, they took time to seek fine examples of the kind of craft they arc looking in contributions. In school year 1976-77, Heights came out with an issue entirely in Filipino. The issue on language was tackled by Rolando Tinio. Also, Heights members offered services to their contributors as literary advisers.

Although language poses a serious problem to many writers, by 1980, Heights has shown competence and ease in handling both Filipino and English works. Filipino and English Deliberating Staffs were established.

Heights Today

The role of Heights in the campus has become clearer over the years: the issues are more focused on publishing the best literary pieces made by students, and the publications have improved their design dramatically. In fact, Heights has participated and cosponsored a number of writing contests, and progressed from tackling Bilingualism to Filipinization. Initially, a Lay-Out Staff was created to experiment on the graphic design of the issues with the advent of the personal computer.

Heights resurrected in October 1974. Afraid of radicalism that redirected its concerns in the past years, Heights reestablished its policies and mission as the school literary organ. It placed "the cultivation of the craft of writing" as its first priority. Interdisciplinarity or a wide range of concerns and focus-not just politics-became its second agenda. Heights also addressed issues on bilingualism, saying that it will continue to accept works written in English and Filipino, and stressed the need to cultivate Filipino. The first issue released after the death of Pugadlawin was dominated by translations. And for the first time, Heights consciously develops a criteria for selecting works for publication, stressing that although a work may be relevant to the times, it must, first of all, be well-written. 1975-76 saw the reaffirmation of these objectives. Not only did they focus on craft more, they took time to seek fine examples of the kind of craft they arc looking in contributions. In school year 1976-77, Heights came out with an issue entirely in Filipino. The issue on language was tackled by Rolando Tinio. Also, Heights members offered services to their contributors as literary advisers.

In 1993, the practice of producing special issues was started. This was where student writers are anthologized along with prominent writers. These special issues gave students opportunities to improve their repertoire by exposing them to themes and topics in literature not usually seen in the regular issues and not always explored by students. Among topics already tackled by Heights in its special issues are literary translations, popular culture, essays, the art of writing, and the anniversary of co-education of the Ateneo.

The 1st Heights Writers Workshop was started in 1995, in continuing pursuit of the goal of Heights to foster the literary community in the Ateneo. Heights has most notably increased its campus activities, putting them on almost equal footing as the publication which was the only concrete contribution to the school body in previous generations.

The writer's chair as an emblem of Heights was adopted around 1996. It is meant to symbolize how literature is a product of careful thinking by the writer, patiently interacting and understanding the Muse and expressing the output in the written word. Heights' special role in the University as the only and official literary organization and publication is also embodied in the symbol of the chair-as a lofty position, where high standards, quality and excellence arc valued for better service to the student body.

Heights also commemorated its 45th year anniversary in SY 1997- 1998. A homecoming issue (Vol. 46, No. 1) was produced the following school year featuring works from some of the most prominent writers featured in Heights history, such as Jose F. Lacaba, Bienvenido Lumbera, Benilda Santos and Danton Remoto.

Heights also recently formed the Special Projects staff, headed by the Special Projects Managers, to cater to the growing need of the organization to hold activities that would further enjoin students to participate in celebrating campus literature. These activities include poetry readings, book launchings, talks and seminars by prominent Filipino writers, film showings, art exhibits, and many more.