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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
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IAN ROSALES CASOCOT
Monday, March 07, 2011
Of course you have seen Gregg Araki's
Kaboom [2010] before. It's a more glittery rehash of his ill-fated pilot for MTV titled
This is How the World Ends, which should have aired in 2000 but got cancelled before we could catch the fate of all those high school kids facing screaming death as their bus falls down a ravine. (It is not as if this has not happened before. Araki's
Splendor from 1999 is essentially a glossier photocopy of his first film
Three Bewildered People in the Night from 1987.) That
Kaboom and
This is How the World Ends share a plot point in that plummet underlines other similarities: the lost boy with desire issues, the lesbian best friend with the vengeful witch of a lover, the mother who dispenses familial bond by phone, the Los Angeles in candy-colored vision of the Apocalypse, and so on and so forth. Only in Kaboom's case, we've got the fuller story in feature-length format: the lost boy has father issues, which involves cults, the number 19, magic powers, spiked cookies, a red dumpster, strange dreams slowly coming true, men in animal masks, surfer dude roommates with homoerotic vibes, red-haired women with vomit and disappearance issues, perky girls with wild sex drives, men called Messiah with wild streaks, the whole gamut of Araki's strange universe. Sure, it looks and sounds like the old Araki films which we used to love, after Araki's creative departures in
Mysterious Skin, which was a success, and in
Smiley Face, which was a dismal failure. Sure, it may be familiarly frenetic and deliciously paranoid. But it does not have the sexy off-kilter charm and the sense of teenage existential gravity the old films carried with them. I am horrified to note that this film succeeds only as an experiment in needless regression. Have we outgrown Araki? Perhaps. I am, in fact, already quite irritated by the same empty pleas for sexual "fluidity," his urgent posturing to be "sexually undefined"; here is a gay filmmaker who makes blatantly homoerotic films -- but treats gay sex as both comedy and afterthought even as he peppers his scenes with too many heterosexual couplings of such steamy nature you had to ask yourself: "What's up your butt, Gregg?"
Labels: directors, film, queer
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