Triptych and Collected Poems represents over thirty years of Gilbert Luis R. Centina III's poetic works, which critics have described as "modern poetry at its best," "lyrical" and "eloquent." It cements his reputation as a religious poet who "honors the Catholic] church's fortitude, individual spirit and conviction, belief and the voyage thereof." Written in four different continents (Asia, Europe and the two Americas), it echoes his own personal quest for that Beauty ever ancient, ever new, as described by Saint Augustine, the spiritual founder of his religious order. That pursuit is by no means without its struggles, which is not a revelation in itself, considering that it is, after all, a part of the human experience, with all its foibles, disappointments and triumphs. But it is a search rooted in the firm belief that when all is said and done, our heart is restless until it finally rests in the bosom of our Creator.

Getxo and Other Poems is the fifth poetry collection of prize-winning poet Gilbert Luis R. Centina III. Critics have described his poetry as lyrical, modern poetry at its best and deeply rooted in religious history, mythology and mysticism. He continues that trajectory with the flash pieces contained in this collection, which he has masterfully crafted "with the strength and magnitude of prayer" that is palpable through the pages not only of this volume but of all his works.

Our Hidden Galaxette, now on its second edition, is the first book of poetry written by prize-winning author Gilbert Luis R. Centina III. Cloistered within this seminal volume are hymns of praise of "nobler geometries," jeremiads against the "gilt nihility" of contemporary society, epistles to friends turning and turning "in a spin of madness," tragic observations on "lichens feasting on purple robes." In this lyric cloister, Teilhard de Chardin walks with Saint Genet. With the latter, he does not see synoptic, being Genet's advocatus diaboli while expressing a wish to be Chardin's disciple. This is a type of Christian literature sans the megalophones of Blay, the mystic ecstasies of St. John of the Cross or the pastoral paeans of Gerard Manley Hopkins but endowed with a tremulous lyricism which is entirely its own.