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The study focuses on the canonicity of Juan Crisostomo Soto better known as “Crissot” and his masterpiece, Alang Dios’—reviews, critical essays, theses, and dissertations from 1932 to 2013. These materials are seemingly one in blindly praising and placing him in a pedestal worthy a literary god. The present study is an attempt at tracing how the canonization came about. What was the context? What was the necessity? Informed by John Guillory’s theory on canon-formation, Michel Foucault’s author-function, and Virgilio Almario’s “makapangyarihang pagbasa,” this present work critically analyzes the criticisms about Juan Crisostomo Soto and his masterpiece Alang Dios! Using close reading and metacriticism to disclose the assumptions, norms, and context involved in the criticisms, findings show that the critics were one in their use of methods and means like press, newspapers, academe and other agencies, relevant situations and celebrations to canonize Juan Crisostomo Soto and his masterpiece. This means that the unanimous criticisms resulted into a sense of identity and valor for every Kapampangan and Kapampangan Literature as a whole amidst colonial subjugations and promising literature across regions.

The Canonicity of Juan Crisostomo Soto and his Masterpiece Alang Dios! In Kapampangan Literature From 1932 to 2013