Known internationally for launching the world’s longest-running Communist insurgency that continues to this day, Jose Maria Sison (1939–2022) wrote extensively about the national, scientific, and mass-oriented cultural program of the National Democratic (ND) movement in the Philippines. The speeches and essays that comprise this body of works, which heavily draws from the thought of Mao Zedong, map out the trajectory of committed art and literature in service of ND’s project of cultural revolution. Upon Sison’s untimely death in 2022, his writings demand a critical reexamination that recuperates his contribution to the advancement of Philippine literary studies, which today appears alien in an academia beset by both methodological pluralism and state authoritarianism. This paper frames Sison’s works as fertile ground for rethinking comparative literature from a Philippine ND perspective as a response to the perceived “crisis” of the (in)discipline. A cursory review of his writings reveals that the gesture of comparison figures repeatedly in his reviews of literary works, commentaries on literary history, and theoretical delineation of revolutionary literature. These gestures can be ontologized in three ways: (1) comparison as a revolutionary task of ND cadres in the field of cultural work; (2) comparison as an occasion of exposing a colonized national canon and arraigning imperialist domination in the Philippines; and (3) comparison that chips away the cosmopolitan character of world literature to accommodate a liberatory nation-form. This “world literature” does not name a canon of so-called “masterpieces” determined by the Western cultural enterprise that shaped the origins of comparative literature. Rather, Sison’s comparisons ring closer to the possibility of a “literature of internationalism” grounded on the imagination of the periphery, that is, decolonial and anti-imperialist.