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This is the blog of Ian Rosales Casocot. Filipino writer. Sometime academic. Former backpacker. Twink bait. Hamster lover.
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Bibliography
The Great Little Hunter
Pinspired Philippines, 2022
The Boy The Girl
The Rat The Rabbit
and the Last Magic Days
Chapbook, 2018
Republic of Carnage:
Three Horror Stories
For the Way We Live Now
Chapbook, 2018
Bamboo Girls:
Stories and Poems
From a Forgotten Life
Ateneo de Naga University Press, 2018
Don't Tell Anyone:
Literary Smut
With Shakira Andrea Sison
Pride Press / Anvil Publishing, 2017
Cupful of Anger,
Bottle Full of Smoke:
The Stories of
Jose V. Montebon Jr.
Silliman Writers Series, 2017
First Sight of Snow
and Other Stories
Encounters Chapbook Series
Et Al Books, 2014
Celebration: An Anthology to Commemorate the 50th Anniversary of the Silliman University National Writers Workshop
Sands and Coral, 2011-2013
Silliman University, 2013
Handulantaw: Celebrating 50 Years of Culture and the Arts in Silliman
Tao Foundation and Silliman University Cultural Affairs Committee, 2013
Inday Goes About Her Day
Locsin Books, 2012
Beautiful Accidents: Stories
University of the Philippines Press, 2011
Heartbreak & Magic: Stories of Fantasy and Horror
Anvil, 2011
Old Movies and Other Stories
National Commission for Culture
and the Arts, 2006
FutureShock Prose: An Anthology of Young Writers and New Literatures
Sands and Coral, 2003
Nominated for Best Anthology
2004 National Book Awards
Follow the Spy
Recent Crumbs
Blogs I Read
© 2002-2021
IAN ROSALES CASOCOT
Monday, March 17, 2008
Last Saturday night, it proved quite difficult to applaud this play -- which was a series of monologues, fourteen in all, all culled from the Eve Ensler-edited book,
A Memory, A Monologue, A Rant, and a Prayer. How does one clap after seeing and hearing one harrowing story after another, each one a tale of abuse and more abuse, each one a progression into horror without let-up? There was the Mexican woman dying in a suffocating container van, hoping to cross borders for a better life she will never have. There was the nun stationed in Africa, made to choose between the girls in her school which ones would have to join a rebel unit's children's army --
Sophie's Choice indeed. There was the cheerleader gangraped by fratmen. There was the corpse of a Muslim woman speaking about the brutality she had endured in life. The only respite was the opening act after the intermission, with the director herself essaying Maya Angelou's "Woman Work" in a comic rendering that showed us how the "gentle half" carries out more than a load of this world. But director Dessa Quesada-Palm
did warn us in her director's notes, though: "To invite you to sit down and relax will be inappropriate and misleading. My prayer is for collective senses awakened, hearts stirred, spirits lifted, and plates for future action enlarged." Point well taken, but I left the theater feeling downcast, ravaged even. All in the name of social consciousness. The price we pay, perhaps, for doing something for the world.
This is an important play. But sometimes I do miss the light-hearted side of
The Vagina Monologues, the original piece that started this all. I actually think
TVM made its point more powerfully because it engaged us in all our human responses, from shock to laughter to outrage to anger to hysteria to bliss to laughter again. With
The Good Body, and now this, I guess Eve Ensler has decided that the movement needs to go deeper into all the permutations of despair still left unchecked even after 10 years of VDay. The battle goes on, and as in any war, I guess we need to contend with the wounds and the scars.
Labels: art and culture, dumaguete, gender, issues, silliman, theater
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