This is the blog of Ian Rosales Casocot. Filipino writer. Sometime academic. Former backpacker. Twink bait. Hamster lover.
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
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
Foreign-language novelists who have success in the American market tend to have one trait in common: a veneration of American pop culture. Stieg Larsson is fond of gangster films; Umberto Eco opines about comic books, “Starsky & Hutch” and pornography; Roberto Bolaño plumps for Mark Twain, David Lynch and “Easy Rider”; and Haruki Murakami drops the Lovin’ Spoonful, Cream, Duke Ellington, Herb Alpert, Burt Bacharach, J. D. Salinger, Raymond Carver and several thousand other proper nouns.
It would appear that Ryu Murakami has cracked the formula. Born in 1952, he is Haruki Murakami’s contemporary (though not kin), a child of the ’60s with an unabashed affection for American rock music, jazz and sitcoms. His autobiographical novel, “69,” is about a student uprising he led during high school inspired by the Beats, Eldridge Cleaver and the lyrics of Lou Reed.