Wednesday, December 31, 2025
11:59 PM |
New Year's Eve at Mother's
I made sure I spent some time with mother tonight for New Year’s Eve. She hasn’t been well since her hospitalization more than a week ago, but she’s fine. At least that’s what the doctors say. She’s 93, and tonight she kept asking me the same questions: “What happened to me?” Your blood pressure shot up, it was very high. “Why?” Because you ate a lot of lechon at ___’s party. “Did I collapse?” A bit. “Where?” At home, two days later. “Thank God, it wasn’t at ____’s. What happened next?” You were hospitalized. “I was? Oh dear. Where?” At PolyMedic. “That’s in Sibulan. Why are you here?” Because it's New Year’s Eve. “It’s New Year’s Eve? Wala lagi handa?” We do have handa, there’s some lechon over there. “That’s a small lechon. That’s not real lechon.” Then she proceeds to identify everyone around her. Dennis. Daisy. All her grandchildren and great-grandchildren. Also Cypress, Daisy’s sister. She asks about her dearly departed daughter-in-law, Efeb, who died two years ago. When we tell her she is gone, she says, “Sayang.” She asks for a head massage, and complains her food is bland. She enumerates all her sons, asking where they all are, which reads: are they here with me? We tell her Alvin is dead, Rocky can’t walk up the stairs, Edwin is in Switzerland, and Rey is in America. We do this many times. But she knows a lot of other details. Like the name of my nephew Dale’s new girlfriend, and that a cousin is from Kidapawan. But her short term memory is loose. “What happened to me?” she asks again after a few minutes, and I find myself tireless in repeating the same exact things, laughing at some of her silly responses. “Are you staying with me tonight? Please don’t leave me,” she says as we prepare her for early bed time. I won’t, I’ll be here, I lied. Tell her I’m just here, I tell her caretaker Gigi, as I later prepare to come back to the apartment where I live.
Happy New Year, everyone!
Labels: family, life, love, new year
[0] This is Where You Bite the Sandwich
Friday, September 12, 2025
2:32 PM |
At the Crematorium
We cremated my brother today at the Eterna crematorium in Valencia. That was the first time I’d see such a thing: a dead body in a dark cavern, in a place that felt both solemn and ominous. My 93-year-old mother sat quietly beside me in the waiting room, surrounded by family, many coming from Bayawan; she is hard of hearing and often forgets things, but she knows what’s going on. Yesterday, I asked her why we were at St. Peter’s Chapel, and she calmly said, “Namatay imong Manong Alvin.” We are not criers as a family, so that serenity, that ungrieving facade was par for the course for us. Today, though, she was a bit restless. “Okay ra ba nga isunog imong manong?” “Okay ra, ma,” I replied. I got she wasn’t used to the idea of cremating a loved one; she probably wanted to see a coffin being lowered to the ground, being covered with soil, the whole burial business. But she nodded. A few minutes later, she asked again: “Okay ra ba nga isunog imong manong?” I held her hand, and again I assured her: “Okay ra, ma.”
Labels: death, family
[0] This is Where You Bite the Sandwich
12:31 AM |
The First of Us to Go
This was not our first death in the family. My father died in 1997, when I was in college. Assorted relatives have passed on in the intervening years, including our beloved sister-in-law Efeb, who died in 2024. But Alvin was the first among us brothers to go, and that realization amounted to something tectonic—like a massive shift in our considerations of mortality, like death knocking too intimately at our family’s door.
On the day my brother died, Kuya Moe [Moses Atega] posted on Facebook—as he is wont to do with most alumni of Silliman University—that “the handsomest Casocot brother had passed away.” My Manong Alvin was certainly very handsome, but my brother Rey would probably disagree vehemently.
But let me break it down for you:
Rocky, our eldest, is truly the handsomest.
Edwin is the most ambitious.
Dennis is the most responsible one, and the architect of everything we do as a family. He is the one we turn to the most when we want to get things done.
Rey is the most fabulous and chaotic—and he will, I’m sure, also insist on being the handsomest.
I am, ehem, the most talented.
But Alvin, considering everything, was really the kindest and the sweetest among us six.
Truth to tell, if a gun were pointed at my head and I am forced to answer the question over who my favorite brother is, I’d most probably say, “Alvin.” But I only truly knew him when I was very young. I was in high school when he left for Switzerland in what turned out to be a brief sojourn, and which paved the way for him to eventually enter the United States as a tourist—and where, alas, he decided to turn TNT.
But when I was growing up—and straight on until I was entering my adolescence—Manong Alvin embodied being the “best kuya.” He was very kind, sometimes to a fault. He was compassionate. He was patient. Of all my brothers, he was the one who was most demonstrative of fraternal love—which is an anomaly, because the Casocots as a family is not exactly known for outward displays of affection. [Not that we are cold, either.]
I remember playing crazy rounds of ping pong with him. I remember that he was, among all of us, the best cook. I remember that he was also the most romantic—and always seemed to fall for the same type of woman. Perhaps the Tagalog word “maamo” describes him best—he was mild-mannered, domesticated, affable, possessing a gentle nature. When I ask his high school classmates their memories of him, they recall him as a quiet boy, also someone kind. But because he was very handsome and quiet, girls loved him.
He belonged to SUHS Class 1979, which includes, among many others, Alex Rey Pal, Mark Macias, Emma Ray Panaguiton, Jessica Lupisan, Burton Estolloso, Jun Datu, Vivian Ceniza, and my cousin Gil Moncal Jr. Pastor Jun Datu remembers once calling Alvin, “Tocosac,” a reversal of our family name—to which Alvin amiably retaliated by calling him “Utad”—which actually stuck as a nickname. He also remembers spending many afternoons with my brother in high school playing basketball. “He was not a tall guy,” Pastor Jun remembers. “But he made up for it by being very quick. He was like a cat.” Afterwards, resting from their games, they would troop to buy 25-centavo banana-q at the merkado. “In college, we still played basketball,” he remembers. “But we switched from banana-q to Coke. And also cigarettes. Because we were always hanging out at the house of Burton Estolloso, which had a store.”
I do remember my brother’s favorite cigarette—“Hope Short”—because I was always the one sent on errands to buy this for him when I was growing up.
Another one of his high school friends, Adidas Cañete, remembers him to be quite the ladies’ man—but also one who was quick to share, not just the delicacy of baye-baye my brother would bring to Dumaguete from home in Bayawan, but also answers to exam questions. In college, they were also part of a clique they called Addax—a reworking of the word “barkada” which was apparently bestowed on them by former Dumaguete City Mayor Ipe Remollo. “Alvin was mostly the serious type but he got along well with the rowdy group,” Adidas remembers.
At his memorial last Thursday night, which was sponsored by his high school classmates, I couldn’t help but think about some of the “What If’s” of my brother’s life. Earlier that day, I had spent the morning choosing the best photo of him to print out and put in a frame, to grace the glass top of his casket. I chose the one where he looked the most promising—a choice cut from a family photo taken at a popular studio [Image Bank!] in Dumaguete, circa 1990. He was very handsome in this photo, and he must have been 27 years old. I think he had just gotten back to Dumaguete after spending a year or two in Manila, where he was hopping from one job to the next, never finding one that stuck. He had graduated from Silliman University with a degree in Civil Engineering in 1985, a year or two later than his original cohort; afterwards, he had failed the board exam—which surprised my family, because he was smart, and he was very good with numbers. He never bothered taking the board again.
A year or two after this photo was taken, he embarked on an OFW life in Switzerland—which, alas, did not pan out as planned. That’s when we found out he had gone to the U.S., ostensibly to visit—but had made the decision to stay on illegally. We would eventually find out he had married a Filipino immigrant, and had two children with her. [He also adopted her eldest boy.] We lost touch, only to find out again that they had divorced but that their sons were living with him and his mother-in-law, in difficult circumstances. The correspondences were not consistent, until we learned that he had gotten sick. In 2019, we had to bring him back home to the Philippines.
I asked myself: What if he did not study civil engineering? I don’t really think it was the path he wanted to take—only the path he was expected to take. What if he had become a chef? He was very good at cooking, and I remember him being passionate about it. But in the 1980s, I’m not sure that was even a consideration—certainly an “impractical” one. So he ended taking up civil engineering—which, alas, he did not come to practice anyway.
I asked myself: What if he did not go to Switzerland, and eventually to the United States? I knew he really wanted to stay in the Philippines—but there was pressure on him to leave, “to help the family,” especially in the direst of our financial worries—and truth to tell, there was also pressure to get him away from a girlfriend my family did not approve of. [So much drama!] His life never gained traction in America, especially considering his circumstances. But he did have family, and having his sons Bryan, Christian, and Darrell in our lives—albeit so far away in Los Angeles—is a blessing that could not have happened, if he had not gone to the U.S.
I asked these difficult questions because I love my brother, even when he became the paragon of potential thwarted. Because most of his life, he was always searching for himself and what he could be in this world. I think the life I have chosen to live is mostly a response to my older brother’s chosen pathway. For me, my Manong Alvin taught me—although indirectly—to follow my own dreams, and to carve out a path that would be the making and fulfilment of my potentials.
I do wish though that I was a better brother when he finally came back to the Philippines in 2019, more than twenty years since I last saw him. His body was already ravaged by Lubag, a type of Parkinson’s that comes from Panay. He could no longer communicate well, and I admit that made me uncomfortable, because the Alvin in my memory was someone active, someone articulate, someone who embraced me with so much affection. My heart broke for the man I saw in a wheelchair, and who could not speak.
In the early hours of September 10, in his bedroom at our house in Bantayan, his caregiver heard him mumble incoherently, a sound, she later told me, that sent chills down her spine. When she checked on him again by 5 AM, he was no longer breathing. A homecare nurse finally came by at 8 AM to officially pronounce him dead. To us and to many of his friends, it was a much-needed rest to what had been a physical torment. Knowing even that, it is never easy to grapple with a death in the family. There’s a hole now in each of us.
I still want to remember him the way he was in my younger years. In the summation of our lives, we are measured by the fond memories of those who love of us, who remember us in our best moments, in our fullest potential. My Manong Alvin deserves that.
Labels: death, family, friends, life, memories, obituary
[0] This is Where You Bite the Sandwich
Sunday, August 17, 2025
9:00 AM |
The 50 Gratitudes*
* Which feels like a portmanteau of “gratitude” and “beatitudes”—i.e., thankfulness for supreme blessedness. Today, I turn 50. I think it’s important to celebrate it with fifty things I am grateful for:
1. That I’m alive at 50. Everybody wise tells you it’s a privilege to get older. Not many people are given this gift. This is especially true for me because I never thought I’d reach this age, to be frank about it. The thought of dying has been a constant shadow entire life. When I turned 33, the so-called “Christ Year,” I remember crying almost every day—even when I was riding a pedicab—because I really felt deep in my bones that death was knocking on my door from all manners of demise, either by affliction or accident. It was a difficult mindset to shake off. But I think what I was scared about was the idea that I had not reached my full potential yet, and had not made my mark on the world, no matter how small. This scared me and not “death” itself. That dance with mortality somehow ultimately faded when I entered my 40s, but what a grim dance that had been—a tango of cartwheeling emotions all wrapped in the name of personal legacy.
2. My resolute stubbornness to do my own thing—sometimes to my own “detriment” [but not really]—is something I am actually grateful about. [Sometimes I call this “instinct.”] For example, I was enrolled in first grade at North City Elementary School in Piapi, and my homeroom teacher was a wonderful woman named Mrs. Limpiado. Within weeks of the schoolyear just beginning, she had to leave for somewhere [I think the U.S. for a much-needed reunion with family], and she was soon replaced by another teacher, who was probably not bad—but I did not stand for that replacement. At seven years old, I absolutely refused to continue going to school, unless Mrs. Limpiado came back. One time, I even peed on the classroom floor just because. My mother was flustered at my uncanny stubbornness. “You will have to repeat Grade 1 next year if you don’t go back to school!” she implored. But … I … did … not … care. So I stopped school that year—and by the next year, we had moved to another house in another barangay, and my mother enrolled me at nearby West City Elementary School. Guess who was the new principal at my new school: Mrs. Limpiado.
Note 1: This stubbornness would have other versions in the coming years. I can endure whatever hell that comes my way when my mind is made up about something.
Note 2: This is why I am older than my classmates in grade school and high school. I never minded the teasing I got for it. In my mind, being adamant with my refusal at 7 was correct.
3. My adult ADHD diagnosis in 2022—which made me learn to forgive myself, and made me make sense of things in my life I never understood before.
4. Friends who understand why I am what I am. [See #2.]
5. Also former friends who don’t. It’s … fine. I’ve long ago accepted that I can’t expect everyone to like me. I don’t like everyone either.
6. Second chances. And third chances. Even fourth.
7. To live in Dumaguete. To be here, and to call it home, is such a blessing. The fact that this city thrives on culture and the arts, and is so near both sea and mountains, is something most of us living here take for granted. Not me. I love that I can be at the foothills of Valencia town in the morning [perhaps also at the Sunday tabo at the población, when I can wake up for it], then proceed to Dauin for some beach fun in the afternoon, and then attend a piano concert at the Luce in the evening. This is the magic of being in Dumaguete.
8. Henny Penny, that mighty red chicken in our grade school textbooks, who taught me to read.
9. My grade school teacher Ma’am Bennie Vic V. Concepcion, who first recognized that I could write—even though I had no idea.
10. High school classmates, who become forever friends.
11. Kokak and Tedo from college days.
12. Friends—Krevo, Hendri, Razcel, Willy, etc.—who take me to strange and beautiful places that I would never venture into on my own. White rabbits all of them, and I am their Alice.
13. My writing mentor, Timothy Montes, who made me join the Silliman National Writers Workshop in 2000—although I didn’t know anything about it. [He also made me join The Weekly Sillimanian.] Teachers who push you should always be celebrated.
14. The fact that I’ve traveled the world extensively, for free. And usually because of my writing.
15. Japan, which bled me of my homesickness.
16. New York in the autumn.
17. Sagada in 2008.
18. Meals that make you adequately full and happy. And chicken curry, fern salad, fried bangus, and escabeche—the food my mother used to cook to make me happy.
19. That rare really good cup of coffee that lifts you from the doldrums.
20. “Film school” courtesy of Goodluck Store near the tianggue.
21. Reading really good books, and being in a daze after finishing them, and being so envious of the writing. Call Me By Your Name, Giovanni’s Room, The Pillars of the Earth, Interpreter of Maladies…
22. Dean Francis Alfar telling me I could do speculative fiction.
23. The films and books of Nora Ephron. When she died in 2012, I had no idea I would be so heartbroken. Her life is the one I want to emulate the most, to be honest, including her writing mantra: “Everything is copy.” [Two essays that she wrote—”What I Won’t Miss” and “What I Will Miss”—are the inspiration for this very essay you are now reading.]
24. The Hive who made me feel welcome when I badly needed friends after a breakup.
25. The sight of Renz coming towards me.
26. The sound of Renz laughing over some movie or television show. Usually RuPaul’s Drag Race.
27. Under the Tuscan Sun, especially the movie.
28. Avatar: The Last Airbender, the original animated series, which Renz made me watch, and which honestly is one of the best written television shows in history.
29. Clair de Lune by Debussy. Especially when I hear it out of the blue in the early morning.
30. Being able to watch Lady Gaga live in concert. [Because I was not able to catch Madonna when she toured Asia.]
31. All the boys that broke my heart. [Read my collection, Don’t Tell Anyone.]
32. People who don’t mind that I can’t remember names, even though I do remember my experiences with them.
33. The days when you can roll in bed all morning, with no meetings to anticipate, and with absolutely nothing to do. [It’s also nicer when there’s soft rain outside.]
34. My collaborations with Hersley-Ven Casero, which have been very productive.
35. Newly-dagit friends in Dumaguete who inspire me, and make me experience my city in a new way again. Like having literary lunches!
36. Dear friends who once told me, “Let’s help you make your dream come true,” and then they did Dumaguete LitFest with me! You should always cherish friends who tell you they want to help you make your dreams come true. That’s very rare.
37. Dessa, Lana, and Karl, who asked me to come back to teaching—even though I didn’t want to.
38. Tita Melisa who gave me a home and a bubble, especially during the pandemic.
39. The pandemic, which—although horrific in places—also taught me I could live very simply, and still be satisfied. It taught me not to strive for positions, or for property. All these things don’t really matter.
40. Dad jokes, and laughter that splits your sides.
41. The fact that I still believe in God, despite Christians.
42. My father.
43. My sisters-in-law and my nieces and nephews.
44. My brother Rocky.
45. My brother Alvin.
46. My brother Edwin.
47. My brother Dennis.
48. My brother Rey.
49. My mother.
50. The fact that—see #1—I have finally absolved myself with all needs of “legacy.” It’s an impossible ask, and one that is totally beyond my control. But I love that I have done my best to pursue the very specific things I love, and I am grateful that some of these have touched the lives of people.
* * *
But legacy is something I cannot help but grapple with, especially now. Truth to tell, I have been the recipient of three recognitions that promise me there is some personal legacy at play. Years ago, I was Hamiling Bayawanon. In 2021, I was given the KSSLAP Award by the Cultural Center of the Philippines in recognition of my writing life and my cultural work, and I’m included in the literature volume of the newest edition of the CCP Encyclopedia of Philippine Art. This year, I am recipient of the Outstanding Dumagueteño Awards, also for the same recognition. When I received the notice regarding that last one, I remember posting on Facebook: “I think I’m still too young for this.” But a friend later told me that age has no bearing on these things, that they are recognitions for our contributions to the community—and that they should be received with gratefulness and humility. And I finally agreed.
I’m glad that I’m still relatively young and able bodied while I’m getting these awards and opportunities. I do not want to be too old and too physically infirm when accepting these accolades, as I see it sometimes happen. And also because—and this is my bombshell if you’ve read this far—I really have no idea how much time I have left.
Call this as shades of #1, but truth to tell, I am aware that my body might soon betray me.
I mentioned my brothers and my mother last in this litany of gratitude, not just because they’re family, but also because there is a physical ailment that we share that we have only discovered in the past decade. My mother hails from Bayawan, but her ancestors—like many in that southern Negrense city—are from Panay. There is a rare type of genetic movement disorder that comes from Panay called Lubag Syndrome, an X-linked dystonia-parkinsonism that primarily affects men, particularly those from this island, which they inherit from their mother. The condition is characterized by a combination of dystonia—which is involuntary muscle contractions causing twisting and repetitive movements—and parkinsonism, which can induce tremors, rigidity, and slow movements.
Four of my brothers have it now in varying degrees, and I have a fifty percent chance of also getting it. I will not deny I am a bit afraid of this possibility—but at the same time, I do not want to worry about things that may be beyond my control.
What I have now is just my present, and how I will live it. I want to travel. I want to finish my books. I want to use what time might remain of my able body to finish the work I have set out to do. Part of this project is also letting go of things that does not matter at all in my life, like toxic people, and surround myself with people I love and respect. Another part of this project is expressing my gratitude, hence this birthday list. How many years do I have left? Five? Ten? I have no idea. But I am grateful that I have so far lived a relatively good and simple life, filled with many goodhearted people—and at 50, I feel a fierce urge to really live.
Labels: birthday, family, life, love
[0] This is Where You Bite the Sandwich
Sunday, August 10, 2025
9:00 AM |
My Mother, The Muse
My mother Fennie—Ceferina in her old birth certificate—has been a lot of things in the nonagenarian counting of the years she has lived her life: an orphaned girl raised by grandparents, a dreamer who wanted to be a nurse, a very accomplished hairdresser, an unlucky sugar planter, a party-loving socialite in a small town, an impoverished peanut butter maker and vendor, a fervent born again Christian, and an inspiration.
She will turn 94 on August 17, which is also my birthday, and here I am writing about her as my muse. All artists invariably have muses. Sometimes they are friends or family, often they are lovers, occasionally they are strangers glimpsed just once on the street or in a café but makes such indelible impression on the art maker that they soon possess the imagination, enough to engender creation.
Sometimes they can even just be the mere idea of someone, or an ache in the shape of a person long gone. But a muse, if one thinks deeply about it, is not merely a subject. They are a mirror that shows the artist a self they cannot see alone, a catalyst that makes their work urgent. Art-making is, at its heart, a conversation between the maker and the made-for, which is sometimes tender and sometimes savage. A muse sharpens the stakes for the artist: the painting must be worthy, the novel must reach the fever pitch of confession, the dance must breathe like a lover’s sigh. The art they cause to being are really love letters to these people, to moments with them, to lives perhaps already slipping beyond the reach of the artist. Inspiration, one can say, is always a kind of pursuit of these fleeting things.
For the painter Frida Kahlo, the muse was her husband, the artist Diego Rivera, equal parts tempest and harbor, the storm that broke her and the light that also made her paint again. For the musician Leonard Cohen, it was Marianne Ihlen, the woman in the Grecian dress who became “So Long, Marianne” and all the other songs he wrote to chase her ghost. For the novelist F. Scott Fitzgerald, it was his wife Zelda, who was a dazzling and self-destructive Southern belle whose brilliance and fragility flickered in every line of The Great Gatsby. Theatre director Peter Brook found his muse in Natasha Parry, his actress-wife, who for decades animated his vision of theater as a sacred and living exchange. The choreographer George Balanchine had a litany of muses such as Maria Tallchief and Suzanne Farrell, who were not just ballerinas but virtual architects of the very movements he conjured, their bodies the ink in which his choreography was written.
For me, my heartbreak stories have been occasioned by the results of erstwhile lovers, but my true muse—the person who inspired me to write the steadiest of my fiction—will always be my mother.
One of my earliest stories, “Old Movies,” which won me my first-ever Palanca in 2002, is my wildest incarnation of her: the character of Charo is my imagination of my mother as a fragile Tennessee Williams character, given to drama and Scotch. I wrote of her this way in that short story: “On bad days when she is not Ava Gardner, or Kim Novak, or Lolita Rodriguez, Mother is a weeping shadow, her room locked and curtained off—her darkness as dramatic as the lull before an evening’s last full show.” Totally the opposite that my mother has been in my life—and yet I am perfectly aware that when I was writing this character all those years ago, the face she bodied was my mother’s face.
In “The Hero of the Snore Tango,” the story that won me my second Palanca in 2003, I made an attempt to write a story about my father. Invariably, that character has a wife, and she is my mother as I knew her in the early 1980s—an embattled woman who used to have big dreams, but was now reduced [not a good word] to peddling homemade peanut butter, which she would deliver house to house to rich people who used to be her close friends.
In “Things You Don’t Know,” which in 2007 won me the very first of my first prizes for the short story in the Palanca, there is the character of the grandmother who willfully ignores the secret travails of her daughter and her jobless son-in-law, and who spends her days in her bedroom watching The 700 Club on television. That detail is taken after how my brothers and I convinced my mother to consent to us finally getting a television set in the late 1990s. “If we have TV, you could watch The 700 Club all you want!” we told her, targeting her religious streak. In real life, she did say yes—but she never really got to watch the shows she wanted: we, her boys, were all over controlling the watching of shows in the days when cable TV was quite new to Dumaguete.
These three stories are collected in my first collection, Beautiful Accidents, published by the University of the Philippines in 2012. I brought out another book that year, this time a collection of my speculative fiction, Heartbreak and Magic, published by Anvil Publishing. Not a lot about my mother in that collection of my fantasy, science fiction, and horror stories—but “The Sugilanon of Epefania’s Hearbreak” is a fantastical reworking of a story she once told me about her older sister Fannie, otherwise known as Epefania, from their childhood in Bayawan. In a way, although it is about my aunt, this story was still inspired by my mother. That story, which also brings to life their mother Bebang and their grandmother Intan, has since been adapted into a Virgin Labfest play, written by May Cardoso. When it was staged at the Cultural Center of the Philippines in 2017, it gave me goosebumps to see my grandmother and my great grandmother—both of whom I’ve never met—somehow resurrected.
There is none of my mother at all in my third collection, Don’t Tell Anyone, since it is a collection of my erotica—a book peopled by my minor muses consisting of past loves and past hurts. But my fourth collection, Bamboo Girls, published by Ateneo de Naga University Press in 2018, is truly inspired by her. She is in fact the “bamboo girl” in that collection’s first story and title, based on her recollection of her grandmother once telling her that she had no mother and that was born from the cracks of a bamboo, in the thicket behind their old house in Bayawan—a story she believed in very thoroughly. The book ends with “Mother’s High Heels,” which is of course about her, and her high heels, and her resolute faith in her Protestant God.
The collection I am working on now, Where You Are is Not Here, contains one story that really excavates my mother’s life very thoroughly. It is titled “Ceferina in Apartment 2C,” and if one notices, I did not shy away at all from using her actual name. In that piece, I regurgitated her experience of her brief immigration to Los Angeles, where she lived briefly with my brother Rey in 2010. That story won me my second first prize in the Palanca, in 2022. If you have noticed, every time I write about my mother, I win a literary prize. If that is not the definition of a muse, I don’t know what is.
Why do I write about my mother? I truly consider her life dramatic. I have elaborated as much on her childhood in Bayawan, the loss of her mother and the disappearance of her father, and then later on, especially in “Ceferina in Apartment 2C,” her wish to escape her hometown by selling tira-tira, which funded her passage to Cebu City in the 1950s, where she was promised by a distant relative a chance to study nursing. That never happened. That promise broken, she found a job as a hairdresser in a beauty parlor along Jakosalem, eventually finding that she was quite good at that vocation, which she took to for the rest of her life.
I have already written, in a Martial Law essay I wrote that became viral when it was published by Rappler in 2022, about her life as a sugar haciendera back in her hometown in the 1960s and early 1970s, and then how she lost everything in the late 1970s, and how she dealt with the poverty that engulfed her and six boys in the 1980s and 1990s.
Someday I will write more fully about the part of her life between being a penniless hairdresser in Cebu in the early 1950s and back home in Bayawan as a sugar planter in the late 1960s.
Someday I will write about how a studio photograph of her which captured her in a very beautiful, pang-artista pose, made many Cebu men beeline to ask her out.
Someday I will write about her falling in love with the handsome scion of a rich Cebu family, and how she became pregnant … and how she was rebuffed by the boy’s mother who thought her totally beneath her social class.
Someday I will write about how she fled that drama by exiling herself to what she thought was a far off place—a little town called Nasipit in Agusan del Norte, where she opened her own beauty shop in a house owned by someone who would turn out to be my father and her future husband.
Someday I will write about how he pursued her, how she pushed back but then also fell in love. [He was suave, and had his ways with women.] I have actually already written something about their rocky marriage in an unpublished story, which I fictionalized by setting it in Bukidnon—but the bare details of that plot, including my father’s disappearance and his involvement in a cult and his eventual reappearance in our lives, is taken from their somewhat tumultuous life together, which climaxed with my father’s passing in 1997.
Someday I will write about how she is now in her golden years—and how, a few years ago, she got reunited with that old boyfriend from Cebu, to which she has, alas, said “no” to the possibilities of a romantic reunion. “Tigulang na ko,” is what she tells me. [Truthfully I don’t mind: the guy in his prime was very handsome, and I do not wonder at all why my mother fell in love with him all those years ago and bore him a son, my eldest brother.]
Some would say I am revealing too much of family secrets in my “fiction.” Truth to tell, my mother doesn’t mind. [The rest of my family as well.] She is a diva that way, enamored by the fact that she has somehow been transformed into literature. Who doesn’t want to be memorialized that way? Especially when it is accomplished via the lens of somebody who loves them.
I think this will always be my “forever gift” to my mother—returning to the intricacies and dramas of her life and using them over and over again as fodder for my fiction.
Someday I will turn my mother into a novel.
Labels: birthday, dumaguete, family, fiction, life, mother, philippine literature
[0] This is Where You Bite the Sandwich
Sunday, December 22, 2024
9:00 AM |
All My Accidental Christmas Cheers
It is harder to feel Christmas when you’re older. The holidays harden into a mercenary plot that defies whatever magical understanding we used to have of it when we were children, when even the slightest Christmassy thing had the sheen of absolute joy and we were still given to believing that Santa Claus existed. Now, I am nearing 50 years old, alive for almost half a century already, and even I know—from what scraps of memory science I have read—to cast doubts whether the Christmases I remember when I was young were truly as joyful as I remember them to be. Or is this just nostalgia talking? I have learned since then that the memories we have are actually palimpsests of other memories of the same thing—and never the thing itself; in other words: ghosts upon ghosts piling together to create an image of the past that might not have been. I have not believed in Santa since I was ten; at near-fifty, I no longer believe in memories either.
Even then, an optimistic part of me still behold these memories as a kind of sacred ghost. How can I not? The ones that I have the sharpest recall of are taken from the years in my family’s life when we were poorest: for most of the 1980s we rented a ramshackle downstairs “apartment” of an old house somewhere in the bowels of Tubod, complete with an outhouse for a toilet—really what you would call a pit latrine; and “ramshackle” this apartment might have been, but somehow my mother and older brothers made into livable quarters through sheer ingenuity. [I say ingenuity because I’ve visited this apartment again only a couple of years ago for a documentary—and it is ghastly, and made me think: how were we able to live in this godforsaken place for quite a number of years?] And yet, this place is where most of my cherished Christmas memories are located.
I remember the night my brother Rocky came home from Cebu, and asked us kids to catch the shower of gold coins he flung to the air from a couple of bank pouches. We scrambled like mad, and with such joy, to collect what we could. [Those “gold” coins were newly-minted 25 centavo pieces, which at the time were just released as legal tender, dating this memory to 1983.]
I remember all the noche buenas we’ve had in that apartment, which was always swarming with friends and visitors. Those noche buenas must have been very simple—but for a kid not used to a regular feast, a Tupperware full of spaghetti [or chicken salad, which was my brother Rey’s specialty], a ham gifted by some friend, and plentiful rice must have been the very vision of wealth.
I remember my brother Edwin buying us our first Christmas tree. This was already in a time, perhaps around 1988, when we could finally breathe a little easy finances-wise, but that trek with my mother and my brother to Nijosa, and choosing just the one perfect plastic Christmas fir tree for the family to enjoy, and choosing the tinsels and decorations and lights to go with it—finally signaled to my boyhood consciousness that perhaps our fortunes have changed, and perhaps we did not have to go hungry anymore. After all, we just bought a Christmas tree!
I’m sure these memories are real. My remembrances of them may be palimpsests—but I am also aware that these memories are what makes me a human uniquely myself. Largely jaded I may have become, but these memories serve a purpose of reminding me I was once a boy full of Christmas brightness [that kid catching those gold coins], and fulfillment [that kid sated with simple noche buena], and hope [that kid happy with his new Christmas tree]. After all these years, these memories are still the kindling that sparks some joy in me come Christmas time, although the sparks have been muted by time and the joy blunted by the very adult reality of the withering world around us.
Christmas is really for children, no?
Christmas for adults is dancing unwillingly in a program for an office party.
Christmas for adults is all the utang paid after getting your 13th-month pay.
Christmas for adults is fretting over all kinds of holiday anxieties—the gifts to give, the parties to attend, the cards to send out.
In adulthood, I know I’ve tried my best to hang on to the magic of Christmas. I would attend the family Christmas dinners on the eve of the celebrations—although of late they have become obligations rather than a source of joy; I would listen to a personal playlist of Christmas songs that constituted mostly the Christmas albums released by The Carpenters—although admittedly I would play these songs mostly in July [don’t ask why]; I would foment new Christmas rituals, like watching annually a bunch of movies that made me feel Christmas joy—among them, Home Alone and Home Alone 2: Lost in New York, A Charlie Brown Christmas, When Harry Met Sally..., and It’s a Wonderful Life, but I have not actually done this since the pandemic. One time, to make the family Christmas dinner more personal, I attempted to make curated and handmade gifts for everyone—which was something completely out of the blue because my family never give each other Christmas gifts. The effect I was going for did not come to fruition, so I never did it again. I think it was that one Christmas that I finally grew up and told myself to stop trying too hard.
That realization of not trying too hard has been a gift. Because these days, I find Christmas joy in the accidental things. Like, one time, I was in Manila in early December and just happened to wander into a park somewhere in Makati—and right at that moment, a cascade of brilliant lights suddenly covered everything. It felt truly magical, because unexpected.
Or that time we were navigating holiday traffic from Cebu to Dumaguete, and we were trapped waiting for the next ferry to take us from Bato to Tampi, and while we waited in the light of stars of early evening, a bunch of folk singers sang daygon—or traditional Christmas songs in Binisaya—to us. That felt like a blessing.
Or this year, when all thoughts of celebrating Christmas was erased by the specter of a semester ending in December. While other people thought of parties and gifts, my only focus was on completing students’ requirements and grading—a backbreaking effort that nullified any kind of holiday cheer. But I hastily accepted some intimate Christmas dinners—and they have been lovely. A soothing balm for a harried soul, a reminder that we are still human despite our anxieties and expectations.
Once this very same December, on a particularly fretful day, Renz took me to dinner at Meltin’ Pot, at their new branch along Hibbard Avenue. He wanted to eat ramen, and I wanted sushi. Out of the blue, while we were waiting for our food to arrive, a youth group came in, asked permission to serenade all of us in the premises with Christmas songs [for a “donation,” of course], and proceeded to give us a number of songs of high octane holiday cheer. That made me smile.
This is me wishing everyone—cheerful child or jaded adult—the best of Christmas cheer, accidental or not.

Dinner with the Antonios, hosted by Jacqueline Veloso-Antonio and Myrish Cadapan-Antonio.
Dinner with the Sincos [Stephen, Mira, and Luis] and Arlene Delloso, with Renz Torres
Labels: christmas, dumaguete, family, friends, life, memories
[0] This is Where You Bite the Sandwich
Sunday, April 23, 2023
9:00 PM |
Sunday Dinner
Sunday dinner at Jade Dragon Palace over at Baly Oriental Hotel with the s.o. and his family. Renz makes my day, every day.
Labels: family, love
[0] This is Where You Bite the Sandwich
Thursday, January 26, 2023
Ready, tentatively, to re-embrace the world after a dark period of mourning and disappointments. Fortifying my mind, channeling Dolly De Leon’s undefeated spirit, and echoing Jinx Monsoon’s mantra: “Water off the duck’s back.” But also mindful about balance.Labels: death, family, life, mental health
[0] This is Where You Bite the Sandwich
Thursday, September 08, 2022
The film is finally here!
The filmmakers behind 11,103 have been making this film for a long time, and my family is honored to have been part of this project, although we’re not in the final cut. (We will be in a separate feature.) The film features survivor stories of state-sponsored violence during the martial law years of dictator Ferdinand Marcos, and our contribution is our family's story. It will premiere in the U.S. on the 50th anniversary of the declaration of Martial Law in the Philippines, September 17, in Redwood City.
Congratulations, Mike Alcazaren and Jeannette Ifurung!Labels: documentaries, family, film, life, Martial Law, philippine history
[0] This is Where You Bite the Sandwich
Wednesday, August 17, 2022
My mother turned 90 today. We share the same birthday. This is a biographical shorthand of her life so far, a few things one might want to know about her…
Mother was a child of the bamboo. She was a very young child when she lost her mother, Bebang, to childbirth [but which was spun off later on as being “gi-engkanto” by some spirit residing in a mango tree]. She had to live with her older sister Epefania with an assortment of aunts and her maternal grandparents in Bayawan, which was then called New Tolong. Mother’s father, a langyaw from Bohol, apparently disappeared after his wife’s death and had not been heard from since. In later years, when Mother would ask what happened to her parents, her aunts would tell her: “Gikan ka sa liki sa kawayan.” She would believe this story for many years. I have written an essay about this.
Mother is really Ceferina, not Fennie. Her birth name was Ceferina Malazarte Rosales, although for the longest time she thought Malazarte was her family name. Her sister was named Epefania. When they were younger women, however, my aunt made them change their names so that they would have “a better future,” because apparently, nothing of significance happened to young women named "Ceferina" or "Epefania." So my aunt renamed themselves "Fennie" and "Fannie." I’m not sure they did this legally though, and their usage of both names old and new has been erratic over the years. When you go over our birth certificates, some of us have a mother named Ceferina, and some of us have a mother named Fennie. Essentially, my brothers and I were born, according to official records, to two different women. I have written a story about this.
Mother escaped Bayawan by making tira-tira. This was after high school, and she was jealous of her more affluent friends who went to study college in Dumaguete and elsewhere. She wanted to leave the stifling life of small town Bayawan, and study in Cebu. But her aunts told her that only the worst things could happen to young women living alone in the big city. So she secretly made tira-tira to sell and earn money, and when she had enough saved, she bought a one-way ticket to Cebu to study to become a nurse, because a distant relative promised to fund her college education. When that promise was broken, she found herself making a living becoming a beautician in Cebu City. I have written an essay about this.
Mother fled Cebu to escape heartbreak, and found her way to Mindanao, in Nasipit, near Butuan, where she met my father, who was her landlord. She rented the space for her beauty parlor from him. He was a dusky bachelor with a penchant for dreams and beautiful women—and soon enough, she found herself married to him. They would stay in Agusan del Norte for many years. I have written an essay about this.
Mother returned to Bayawan in the late 1960s to help my father’s dream to become a sugar planter. They enjoyed a decade of success as hacienderos—but soon lost everything because of the sugar shenanigans of the Martial Law. We became very, very poor. I have written an essay about this, which became viral only a few months ago when it was published on Rappler.
When my father left for Davao to seek another fortune that never came, Mother virtually became a single mother. After selling what she could, she moved the family to Dumaguete in 1980, and for the next decade we moved nine times to seek cheap rent. She sold peanut butter and baye-baye to feed us, while at the same time plied her trade as a beautician without a parlor. She had one goal in mind: to put all her six sons through college at Silliman University—even though it was an expensive dream she could not really meet given her financial circumstances. She persevered. I have written stories about this period in our lives.
What point am I trying to make? That a lot of what I have written—my stories and my essays—have been inspired by my mother’s life. In a sense, she has always been my muse. When I write about her, I think I also write invariably about my own life and where I come from—and from her I take inspiration. My mother’s life has always been a source of encouragement. She defied all odds when she was younger to build a life for herself beyond the constraints of a small town existence. When she met challenges, she overcame them with determination and hard work, even when it took all of her. When the going became even tougher, she relied on her faith, but also on her will to survive. She was all guts and gusto. And through all that, she remained a beautiful person.
Ninety is a milestone, and a gift. Here’s to wishing my mother the best of all times, and the best of all worlds.
Labels: birthday, family, life, memories, mother
[0] This is Where You Bite the Sandwich
Wednesday, May 04, 2022
7:08 PM |
Raping Sugarland
My family lost everything because of Marcos—our house, our car, our lives.
This was in the mid-1970s, right around the time I was born—and because I was a newborn at the time the New Society was being touted as the “saving grace” to a troubled country and because I only stumbled on this information in my adult years, I was never able to ask the proper probing questions, until now.
My father and mother in Hacienda Roca, Bayawan in 1971.
No one in my family ever talked about it either, except in broad strokes that told a simple story of lost fortune: that once we had an extensive sugar plantation in the rich farmlands of Bayawan with the opulent lifestyle [and a vast circle of friends] that went with it, and then we lost it all. No one mentioned Marcos, and I attributed the story to quirks of fate. Bad things happen to good people.
We did not talk about the origins of our reduced circumstances, perhaps out of shame. I, on the other hand, would have been the one person in the family to ask the terrible questions for the sake of writing—but I simply did not know.
What could not be denied, however, was the state my family was in those later years in the 1970s, and especially more so throughout the trying decade of the 1980s. I did not feel much the hardship because I was too young to notice anything beyond the regular hunger pangs I felt—but I know now that my older brothers, all five of them, must have. They bore the brunt of my family’s sudden poverty because they were aware firsthand of what they’d lost. When I’d go through old photos in family albums, I see them enjoying lavish birthday parties. My brothers in those photos had birthday cakes and birthday candles, always surrounded by an assortment of people I didn’t recognize hogging tables laden with abundant feasts. I never had a birthday party—but I honestly didn’t know what I was missing until my 30th birthday when friends surprised me with a birthday cake, and only then did I realize I had never blown a birthday candle my entire life.
My brother Dennis enjoying his second birthday in 1969.
We were very poor, we could barely eat three square meals a day. Things became so hard that when the family was finally forced to sell off our Bayawan house and our car [a yellow Sakbayan] to avoid the stigma of foreclosure, the only recourse was for the family to move to Dumaguete City in 1980. This was when the financial crunch was finally tightening around the illusion of Marcos’ New Society.
We lived like nomads in that decade, moving from one house to the next in search of cheap rent. This is what I remember most from my childhood—all the houses we stayed in, from a small compound at the Capitol Area to a wooden house with many rooms in Calle Sta. Rosa, from an upstairs apartment overlooking Holy Cross High School to a secluded one in an alley off Silliman Avenue, from various apartments in Bantayan to a virtual zaguan of a rickety old house in the bowels of Tubod.
My mother, who was once a society belle in her hometown of Bayawan in the flush years of the 1950s and 1960s, was reduced to a skeleton of a woman darkened by the sun as she went from house to house selling peanut butter she herself made—just to be able to feed us. She still kept in touch with many of her old friends, some of them still well-off, and most helped her out by buying her peanut butter. And when one of them would throw birthday parties, she’d take me along—her youngest child—just so I could have a proper meal. My mother still loves to tell this particular story from that time: that once, when I was 11 or 12, I was so hungry after not being able to eat the whole day that I woke her up in the middle of the night, urging her to pray with me, so that God would listen and give us food. A miracle came: the next day, an anonymous friend sent us a whole bag of groceries. Until now, that sautéed sardines my mother prepared remains the best meal in memory.
In the 1980s, my mother would take me around with her to attend friends’ birthday parties just so I could eat properly.
Our reprieve came with the usual story of many Filipino families. One of my brothers managed to work abroad just as the 1990s came along—and only then, with the remittances he sent the family, could we breathe properly again. I remember buying our first refrigerator. I remember buying our first TV. I remember buying our first Christmas tree. I remember our first car. I remember moving into our new house we didn’t have to rent anymore.
Where does Marcos come into the story?
* * *
“The personal is political,” so the old mantra goes. This truism is an honest accounting: our personal circumstances and experiences are rooted in, or invariably dictated by, the politics that surround us, especially in issues of inequality.
This was my prompt, and when I used this as the framework with which to see my family’s history, I stumbled into a rabbit’s hole. When I went deeper, I was confronted by facts that had not been readily told to me, not even by my family. The twist in my family’s personal history—our descent into indignity—came about because of the late dictator’s rape of Sugarlandia in the 1970s.
Here’s a bit of history.
Negros enjoyed decades of untold wealth because of one crop that grew abundantly on the island: sugarcane. All over the provinces of Negros Occidental and Negros Oriental, landed families controlled haciendas that produced sugar for export, particularly to the United States. You can still see remnants of this gilded age: the beautiful houses of Silay City and Bais City, even the famous “sugar houses” of Dumaguete, the small seaside mansions of Negrense landowners that line the Rizal Boulevard.
Families of more modest means—including mine—were also able to tap into this market with sizable landholdings devoted to the crop. Our plantation in Bayawan was named Hacienda Roca—after “Rosales Casocot”—and for many years, it sustained my family and catapulted it to the higher echelons of Bayawan society.
And then the United States ended its sugar quota in 1974, after which Ferdinand Marcos—only two years after declaring Martial Law in the country (and thus having the power of life and death over everyone, even rich hacenderos)—appointed cronies “to head a state-owned marketing and trading monopoly” of the sugar industry, writes Inday Espina-Varona for Licas News.
On paper, Marcos and his economic advisers argued that it was a necessary move, because “pervasive market failures were the root cause of the decline of the sugar industry”—this, according to a 2001 paper by Gerald Meier—and that in order to rescue the industry, “central coordination was crucial.” Marcos called for the government to replace the market “in order to stimulate the market development of the sugar industry.” He established the Philippine Sugar Commission or PHILSUCOM in 1976, as well as its trading subsidiary, the National Sugar Trading Corporation or NASUTRA, to do the job.
NASUTRA was given the sole power to buy and sell sugar, set prices paid to planters and millers, and purchase companies connected to the sugar industry. In May 1978, the Republic Planters Bank was established “to provide adequate and timely financing to the sugar industry.”
Except that this was all illusion, good only on paper: Marcos and his cronies never paid back the planters—including my family—for the sugar NASUTRA got from them. All the money went to the pockets of Marcos and his cronies.
Inday Espina-Varona further writes: “[Marcos and his cronies] robbed sugar planters, taking advantage of fluctuating global prices and drowning landowners in debt. That, coupled with centuries of irresponsible lifestyles and a feudal system that reserved land only for the rich, led to the collapse of the island’s economy.”
And then that financial disaster blew up into an even bigger one:
“On Negros’ vast plains, man—not nature—ushered in famine,” Inday Espina-Varona writes. “Almost 200,000 workers lost their jobs. Hacienda owners, facing bankruptcy, fled to the safety of cities, abandoning families that had served them for generations. Unemployed workers on paper enjoyed some social amelioration. Those who actually received this were the exception. Corrupt officials had siphoned off funds to personal coffers or to bankroll the extravagant habits of the dictator’s family. Farm labor flooded the cities to scrabble for work but there was little to be had.
“In trickles, and then streams of misery, children began arriving in hospitals with swollen bellies, stick limbs, and eyes that drooped or stared sightless from pain. Some were too weak to talk; many could not walk.”
Negros suddenly became known worldwide for its starving children. Some of you might still recall the 1980s campaign that screamed: “Feed the Hungry Children of Negros.” In the public grade school I attended in Dumaguete in the early 1980s—during the last years of the Marcos regime—I remember well what that entailed: being fed pospas every day during recess. I hated pospas.
The most infamous of these “hungry children of Negros” was a boy named Joel Abong whose skin-and-bone visage appeared “on the front pages of newspapers and the covers of magazine,” writes Inday Espina-Varona, who covered the ill-fated child’s last days.
A photo taken on 4 May 1985 by Kim Komenich of young malnutrition victim Joel Abong, which has become iconic of the situation in Negros during the 1980s.
She notes: “Joel had pneumonia and tuberculosis. He was brought in with bones so brittle doctors had to wrap padding around his limbs. Joel’s body was the size of a baby. Stringy hair the yellow-brown of severe malnutrition lay limp on a head that seemed grotesquely big. A rattling sound accompanied every breath. His father was one of those who had fled the cane fields. On an island where people joked about shoveling money from the ground, Joel’s family had literally starved. My mother headed that hospital’s pediatric department. She came home every night in a silent rage. Some nights she could hardly eat; food was a reminder of her patients. Doctors couldn’t save Joel. He was not alone.”
By 1985, ten percent of Negros’ children were suffering third-degree malnutrition, according to Dr. Violeta Gonzaga of La Salle College in Bacolod.
* * *
So, is this the “golden age” people talk about when they crow about the Marcos years? Years of starving children? Years of financial mismanagement? Years of lining the coffers of cronies while whole industries suffered?
But the bigger question has got to be this: how come we don’t know many of these things?
How come I had to dig deeper to understand where my family’s misfortune came from?
How come these things are not taught in our history classes—so much so that historical revisionism threatens to overwhelm us all?
And lastly: how come people have come to ignore how Marcos virtually raped our localities, our provinces, our regions—and believe instead YouTube and TikTok videos about “the glory years” of the dictator’s grip on power?
That last one came to me when I was chatting with Frank Cimatu, a writer/friend and journalist based in Baguio. We were talking over Messenger about the person who heckled Jillian Robredo as she went about a Baguio market on a campaign for her mother’s presidential run.
“Hirap kasi sa Benguet,” Frank told me. “Anlakas ng [he who must not be named].”
That took me aback.
“Even with the Chico Dam controversy and the murder of Macli-ing Dulag?” I asked.
[Historical aside: In 1973, a year after Martial Law was declared, the Marcos regime proposed the Chico River Dam Project, a hydroelectric power generation project involving the Chico river system that encompassed the regions of Cordillera and Cagayan Valley—without consulting the lumads in the area. Locals, notably the Kalinga people, resisted fiercely because of the project’s threat to their residences, livelihood, and culture—and the project was soon after shelved in the 1980s after public outrage in the wake of the murder of opposition leader Macli-ing Dulag. It is now considered a landmark case study concerning ancestral domain issues in the Philippines.]
“Clueless,” Frank said. “Even Sagada is hati.”
I thought back to what Marcos did to Negros in the 1970s—and I blinked from the sheer exhaustion I felt after realizing that even people from a land that has been raped [or threatened with it, as was the case of the Cordilleras] could still be so enamored by the son of that rapist, someone who insists to this day that no rape ever happened.
* * *
I doubt my mother—who is now 89 years old—still chases fanciful dreams of a return to the old splendor she enjoyed in Bayawan in the gilded age. I know she has come to a place of peace, having come to a reckoning with that past and the immediate catastrophe that followed it that saw her destitute and that saw her struggle so hard to feed her family [although she still managed to put through six sons studying at the very expensive Silliman University]. The hardship ultimately strengthened her, and for that she is grateful.
But to forgive Marcos and what he had wrought?
Never.
Labels: dumaguete, family, life, Marcos, Martial Law, negros, politics
[0] This is Where You Bite the Sandwich
Saturday, July 03, 2021
2:16 AM |
Vaccine Envy
BORIS SV VIA GETTY IMAGES
It didn’t really set in, even right around March, when the national government started mobilizing its excruciatingly slow vaccination program and announced several categories of prioritization, with the first to get the jab being those in the A1 category—the frontline health workers.
We were magnanimous in our agreement, there was righteousness in our conviction that these people were very deserving in being prioritized.
“These people are our heroes in this pandemic,” we said. “They need the added protection of vaccination in the still ongoing fight against the coronavirus. They are in the forefront of that battle.”
And so when we began to see our doctor friends and our nurse friends start posting their “bakuna selfies” on Facebook and Instagram. We sighed with some indiscernible longing still without a name, but applauded anyway. We knew there was a battle not just against a virus, but also against massive misinformation—we’d hear of too many people casting doubts on the efficacy of vaccines that they felt were “too rushed” in their production and were adamant about sitting out this campaign for achieving herd immunity—and so we felt that these photos of health workers grinning under their face masks and showing off biceps with the telltale mark of band-aids could be helpful ammunition in convincing the doubtful and the undecided that when their turn should come, they must opt for vaccination.
We knew what we needed ultimately:
peace of mind.
When the A2 category—senior citizens aged 60 years old and above—came in the next round of prioritization, we heaved sighs of relief. We began to think of beloved family—our elderly mothers and fathers, our grandmothers and grandfathers, and the rest of our kin of that specific age range—and we thought it was indeed time for them to be properly protected, or at least given the necessary shield to counteract the deadliest outcomes of the disease.
“The vaccine is not a cure,” we began to say. “You can still get the coronavirus even when fully vaccinated. The vaccine only helps in preventing you from suffering from the most adverse symptoms of the coronavirus, and most of all, from dying from the disease.”
This was our pitch to our elderly—and to most of the rest as well, given that we now existed in a precarious time when anti-vaxxers and conspiracy theorists had gained some unfortunate ground in convincing many to be very afraid of this medical remedy from disease.
I told a friend, when COVID-19 was surging in deadly earnestness in Dumaguete in late May and into June: “It’s the peace of mind I want with the vaccine. It’s so difficult to get out into the world knowing that anytime and anywhere you could get infected—and in turn, infect everyone you come in contact with.”
What I wanted was
peace of mind.
That sentiment came dressed in constant dread: that I could be an asymptomatic carrier of the virus, and unknowingly infect someone I love with it—and who in turn could somehow become one of those fatal statistics we’d hear only as numbers without names.
This was why—when I could help it—I forbade myself from getting in close contact with people close to me. In the past year and a half of the pandemic, I barely saw my mother in her house somewhere in Bantayan. She was 86 years old, still quite active and lucid for her years—but her age was a vulnerability the acuteness of which had only sharpened in our pandemic times.
After the pandemic began in February, she would frequently text me: “
’Ga, I miss you.” Or: “
’Ga, I love you.” Or: “’
Ga, gaunsa man ka? Ako ra usa sige sa balay.” It did not take enough to read between the lines: the pandemic had made us isolated from each other, especially from our loved ones, but the only proper way to deal with it was still separation.
For six months, I did not see her. Once, during a morning walk sometime in August last year—and sometime after we both celebrated our shared birthday—I could not help but follow my feet to her driveway and to her front door: in her bedroom where she was already awake doing her morning prayers and devotion, I hugged her like I had never hugged her before. All my precautions melted away in that instant.
But there was also this: after that reunion, I felt enormously guilty. What if, by visiting her, I invited unknowingly the coronavirus in her midst? It was a terrible thought that gnawed at me—and I waited with bated breath the next few days for messages I did not wish to come. (Gladly, no such messages came.)
I’d see her again on Christmas on the most forlorn
noche buena ever. I’d see her again on the second day of January. Once on February. And then much later, sometime in March. And with the end of every visit, again the gnawing guilt would come. For the longest time, I wished she could at least get vaccinated. For her sake, and for my peace of mind.
And so when the A2 category’s turn came in the prioritization call, I asked my brother Dennis to fill in her registration for vaccination from the Dumaguete City Health Office—and we waited. And waited. And waited. Day after day after day, I’d see pictorial posts of senior citizens I knew who were getting their first doses, and then, after two weeks, their second.
Still, there was no call for my elderly mother.
Friends began to worry with me.
But what else was there to do except wait?
I already knew about the precarious supply of vaccines allotted each local government unit. (“How come they are already doing A4s in Siquijor?” The answer: All LGUs are allocated the same number of vaccine doses, and it is easier for smaller communities to race through the vaccination program compared to bigger LGUs, like Dumaguete.) I already knew about the procedural bottleneck the local city health office was facing. (“How come it took me hours to wait in line for my vaccination?” The answer: Protocols take time to settle in like clockwork—and our health workers are overstretched.) And I could not blame people enmeshed in a national system that was flawed in the first place. Yet my own understanding of all these felt too intellectual, too theoretical—and my own emotive concern for my mother felt more immediate, more impatient.
And then, on June 14, my brother messaged me: “Mama is in Pulantubig getting her first dose.”
“Send me pics!” I immediately texted back.
He soon sent a flood of pictures of my grey-haired mother, in face shield and face mask, wearing a teal ensemble that meshed well with the teal color of her monobloc chair. I saw her getting attended to by a health worker, injection in hand. It was the perfect picture for rejoicing, for relief.
Peace of mind.
And then things began to change quickly when the A3 category—persons with comorbidities not otherwise included in the preceding categories—was announced. Suddenly we were seeing Facebook posts of people we knew (high school classmates, former lovers, office mates), some even younger than us, getting their “
bakuna selfies”—and the same persistent question hang over our heads like a taunt: “What comorbidity does this person even have?” Comorbidities meant having heart disease, kidney disease, bronchial asthma, immunodeficiency, cancer, diabetes mellitus, and hypertension—and then we began hearing stories of people getting doctors they knew to issue them bogus medical certificates to claim one thing or other in the name of getting into that A3 list.
That was when “vaccine envy” set in for real—when we began to realize the system could be gamed, and here we were, still waiting for our call to come, our patience running thin, our anxiety running high.
No peace of mind.
On June 28, in the midst of a pandemic twist that saw the coronavirus spewing off deadly variants—Alpha [first detected in the United Kingdom], Beta [first detected in South Africa], Gamma [first detected in the United States but initially identified in travelers from Brazil], and what seemed worst of all: Delta [first detected in India]—the World Health Organization, via its Director-General Tedros Adhanom Ghebreyesus, took to task the richer counties of the world who were hoarding vaccines and who were now slowly opening up their societies and even vaccinating young people who were not at great risk from COVID-19—while the poorest countries still lacked doses they needed to stem their ravaged health systems. Ghebreyesus, an Ethiopian, called the neglect a global failure: “Our world is failing. As the global community we are failing,” he told a news conference. “I mean that attitude has to be a thing of the past. The problem now is a supply problem. Just give us the vaccines.”
Ghebreyesus continued: “The difference is between the haves and the have nots, which is now completely exposing the unfairness of our world—the injustice, the inequality, let’s face it.”
This is “vaccine envy” at play at the highest levels.
On the ground, it looks like this:
You seeing photos of friends in New York watching A Quiet Place Part II in a movie theater.
Friends in Los Angeles having their first brunch with other friends in a restaurant.
Friends in Washington, D.C. visiting the houses of their friends, reconnecting old bonds laggard from disuse.
Friends in Toronto attending an actual graduation.
People in Wimbledon watching professional tennis without face masks on.
Friends visiting museums in Chicago.
Friends attending the Cannes Film Festival.
Live late night talk shows on TV with full audiences.
The photos go on and on, a whole litany of unfairness.
There were no “likes” or “loves” for these Facebook posts from me—and I realized I was seething from a jealousy that felt rabid. I found myself catching my breath, steeling myself from feeling too much, and assuaging myself with a promise that felt suddenly hollow: “Patience,” I’d tell myself. “Your turn will come.”
But it felt severely unfair that there were parts of the world already enjoying life like it was back in the old normal—while the rest of it,
of us, still tiptoe about in caution and social distancing, still grieve of new deaths, still wait for some reprieve to come.
We waited, and we waited, and we waited.
Friends sometimes would message me: “Have you gotten your call from the City Health Office yet?”
“No, not yet,” I’d reply.
“Check your phone constantly.”
“I do!”
We waited, and we waited, and we waited.
No peace of mind just yet.
Then on a Friday afternoon, July 2, while I was settling into my office chair and readying to tackle work after a hearty lunch of Jo’s Chicken Inato, an unlisted number suddenly rang on my cellphone. When I answered hello, a voice boomed back at me: “Is this Sir Ian Casocot?”
“Yes?”
“This is the Dumaguete City Health Office.”
Continued here…
Labels: coronavirus, dumaguete, family, life, vaccine
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Monday, June 14, 2021
3:39 PM |
Mom Gets Her First Jab Today
I'm so happy! Towards peace of mind, here we go.
Labels: coronavirus, dumaguete, family, life
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Tuesday, April 20, 2021
7:50 PM |
Claveria-ized
This is Governor General
Narciso Claveria y Zaldua, the one responsible for the Hispanization of most of our surnames in the Philippines, courtesy of the
Catalogo Alfabetico de Apellidos, implemented by the
Claveria Decree of 1849. It imposed control on the population via naming, thus erasing the native conventions of naming.
But the catalogue also contained pre-approved "native names" for families to choose from. I searched for my obviously non-Spanish surname to see if it's there, and the closest I could find was "Casocoy," which makes me wonder: Did my Boholano ancestors get their name from the catalogue? And did they eventually misspell it with a "T" over the ensuing decades?
You can find the catalogue
here.
Labels: family, history, names, philippine history
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Sunday, February 07, 2021
My niece caught me trying to hammer out a short story today. Gave it a good go, but I’m currently stuck.Labels: family, life, writing
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Friday, January 01, 2021
8:14 AM |
New Year Morn, New Year Mom
Woke up early today, after good sleep, to see the first sunrise of the year off Piapi Beach. I have not done this since the year 2000, but what compelled me was the urgency of its symbolism: to embrace the new that's to come after a hellish year. Besides I wanted to start the year walking; the sunrise would be a good rest stop. Waiting for the sky to brighten in the horizon, I meditated, I prayed. And then when things were bright enough around 6 AM, I continued on my regular route, and followed my feet to mother's house in Bantayan, surprising her with my visit. We prayed for the New Year, and then we had breakfast, where I made her do this pose:
Happy New Year, everyone!
Labels: family, life, new year
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Friday, December 25, 2020
12:00 PM |
Two Unplanned Noche Buenas
I had no plans to do
noche buena for Christmas this year. This pandemic year has upended all expected things—and while I have not seen my family in months, I also had no wish to be in close range with them, indoors, and trust in fate to keep us safe and in check, health-wise. My mother was nearing 90, a demographic of some concern, and I felt keenly for her well-being—and so when my brother Dennis texted me the details of our Christmas dinner—"Be here by 5:45 PM"—I was ready to ignore the invitation, and keep to an inchoate wish to stay in the confines of my little apartment, eat what I could find in my refrigerator, and do some lonesome chilling with Netflix.
But the s.o. dropped by around 5 PM, full of cheer and love, and wanted to know what I was doing Christmas Eve. "I don't want you to be alone," he said.
Something in his voice, in his genuine care for my welfare, touched me profoundly, and I found myself asking for a lift to my brother's house in Pulantubig, as well as a promise he'd pick me up at 8 PM so I could join his own family for their midnight Christmas
salubong feast.
So I had my family, and my s.o.'s family, for Christmas company—a bittersweet turn of events that makes me think deep about the depths of love, the frailties of life, and the chance we give ourselves for slivers of happiness.
Labels: christmas, family, holidays, life, love
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Monday, August 17, 2020
2:12 PM |
My Mother Turns 88
Happy birthday, mom! It's also my mother's birthday today. She turns a gracious 88, and has plans to reach a hundred.
Labels: birthday, family
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Wednesday, July 29, 2020
10:00 AM |
The Film Meme No. 95
[95th of 100]. Time is gold. We have been told this since we were young and malleable enough to learn maxims -- but this one is true, and gets even truer as we grow older. Spending time with people you love -- friends and family -- is a gift: there's just no other way we can best show appreciation for others except by being there for them. I know this, but I also know I'm a big transgressor of this. There's just something in me that wants to hide from the world; it is part of the same shadow that makes me believe I am alone and have no one. It's a lie, of course -- but it does keep me from spending time with people I love, like my mother. I think of these things sharply after watching once more this 1953 masterpiece from Yasujiro Ozu, whose films stir with so much tumult under such pristine surfaces. They're mostly about domestic misgivings that threaten to erupt, but are eased away by gentle talk and subtly measured misdirections. Sometimes the result is tragic, sometimes somebody keen enough to be honest does speak up -- but almost all ends in the resignation that proclaims, "Isn't life disappointing?" Ozu's answer is a gentle nod, and a push that says, "Let's live anyway." This is perhaps an understandable response to post-War Japanese realities. Like Leo McCarey's
Make Way for Tomorrow [1937] before it, a Hollywood film which galvanised Japanese audiences and inspired screenwriter Kogo Noda to do a loose adaptation, Ozu's most acclaimed film [it is regularly touted as one of the best films ever made] is designed to not just be a heartbreaking tearjerker, it's also a rebuke to the shortcomings of children with regards the welfare of elderly parents. [And in doing so, it also makes a case of indicting changing contemporary mores.] Here we meet a couple in the twilight of their lives. They live in Onomichi in Hiroshima Prefecture, quite a long distance from the capital. They have five children -- two who live in Tokyo: Kōichi, now a doctor, and Shige, now a beautician; one who lives in nearby Osaka: Keizō, a journalist; one lives at home with them: Kyōko, a student; and one who is presumed dead in World War II, but his wife Noriko, who also lives in Tokyo, remains loyal to her in-laws, eschewing remarriage for personal reasons. The couple, Shūkichi and Tomi, are excited to go on an extended trip to Tokyo to see their children -- but the trip proves a disappointment, although they are careful not to criticise. They find that, despite superficial shows of excitement, their children find their visit an unwanted intrusion into their busy lives. They find quick ways to pawn them off: booking them on a disappointing stay in a cheap resort in Atami, or making their sister-in-law Noriko entertain them in their stead, which Noriko does with aplomb and with genuine care for her in-laws. The ending is a tragedy where no one learns their lessons, except for the youngest, Kyōko, who calls her siblings "selfish" -- but not to their faces. It is Noriko who remains the truest of them all, but also one with the most practical view of the situation. To Kyōko's outrage, she responds with what seems like wisdom culled from life's disappointments: "As children get older, they drift away from their parents ... They have their own lives to look after ... I may become like that, in spite of myself." She believes this, but her action belies her view -- because she never drifts away, and she never stops caring, even for people who are not even her real parents. It all makes me feel guilty: my mother lives only a kilometer away from me, but I rarely see her, ascribing it all to "being busy." Such a lie. I hope I'm brave enough to call my own bullshit, and spend time the way it's meant to be spent: in the company of people I love. What's the film?
For the introduction to this meme, read
here.
Labels: family, film
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Sunday, October 15, 2017
Should I call this "a weekend of cinematic siblings -- a love/hate story"? Because it does feel that way, and with no deliberate design on my part.
But it was interesting to see Noah Baumbach's
The Meyerowitz Stories on a Saturday and then Cathy Garcia-Molina's
Seven Sundays on a, well, Sunday -- and see two stories that perfectly parallel each other, and yet be so culturally distinct, be so colored by their own directorial sensibilities. [But let's not talk about the ending of Seven Sundays, a racist miscalculation disguised as a comic bit.] Both films feature adult siblings at odds with each other and yet still remain irrevocably bonded by blood. And then, when forced to be together because of a sick father, their unsaid recriminations boil over but depicted with sly humor and surprising tenderness. Tenderness is important.
From Baumbauch, my take-away was more philosophical, even artistic. From Molina, perhaps because she knows what makes a Filipino moviegoer tick, my take was more visceral, immediate, and emotional. By God, I tried hard to remain above it all, to disregard the conventional manipulations of this Star Cinema confection -- but I was truly a mess when the film was through with me. And I don't think I was alone in that regard: the theater I was in was filled with people suddenly made quiet with contemplation for their own familial misdeeds. (It's Ozu's
Tokyo Story with more hope.)
For who among us there in the darkened theater could not identify in ways with the travails of the Bonifacio family onscreen? Who among us do not delude ourselves constantly into thinking we're too busy to see an aging parent at least for the weekend? Who among us do not harbor resentments for being ignored, for being belittled, for being "used" by kin? I finished
The Meyerowitz Stories with the pleasure of having my brain stimulated. I finished
Seven Sundays emotionally adrift, but in a good way, sending me off on a contemplative mood that made me ask what else I can do to make up for all the "pagkukulang" I have for the family.
Preferably over crispy pata, or Rebisco biscuits, to the soundtrack of Apo Hiking Society singing "Batang-Bata Ka Pa."
Labels: family, film, life, review
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