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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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© 2002-2021
IAN ROSALES CASOCOT
Tuesday, October 26, 2010
9:11 AM |
No Chimes Here

The problem with Wing Kit Hung’s
Soundless Wind Chime [2009] is that it wants to be poetic and engaging, but refuses to commit itself to the emotional core that would have brought those qualities on. It is an attempt to ponder on the themes of death and memory, love and loss — but mistakes long shots of people endlessly looking sad [or sleeping] for profundity. Which is a shame, because the story — about a young Chinese food delivery boy in Hong Kong and his Swiss lover — has a potential for an explosive exploration on interracial romance. But that is not even the biggest problem with this film, which was nominated for the Teddy Award in the Berlinale. Hung’s use of intercutting time frames as well as merging of reality and memory are audacious and applaudable — but he never for once makes us believe in the bond between the lovers. They share passionate embraces and they move well together, but there is not a single spark of intimacy between them. And so, when we are finally asked to consider their tragedy in the end with the fullspring of pathos, it just does not come, and we are forced to end the film having realized we have wasted too much time rooting for people who does not care about being rooted for in the first place.
Labels: film, queer
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