Oh, how wonderfully romantic of you. Romantics are really only in love with themselves.
To be an honest writer, you have to be away from home, and totally alone in life.
Love and honesty donβt mix.
I look at western literature and especially North American literature, and I feel like it gets bogged down so much with all of that, with domestic stories and relationships and a woman dealing with the loss of her husband.
'Illustrado' is not an autobiography. Only the ideas are autobiographical; the ideas of bitterness, frustration, unchanging society, an individual lost, social awkwardness... The book satirises archetypes from across Filipino society, and I felt that the least I could do was offer myself up, too.
Touching on universality is an important part of effective storytelling, but the problem with cliches is that they are tired and dull. And that's where writers must try to be artful.
The Miguel Syjuco character is not me. I wanted him to represent my own fears and frustrations and guilt, my own worst tendencies and my optimistic expectations. He's a cautionary tale for me. But he's also an examination of the darkest things that haunt me as a person.
I treat my writing like a day job, like my main job, even if for many years I was doing other jobs to pay the bills. I worked as a copy editor. I was a medical guinea pig. I was an eBay power seller of ladies' handbags. I was an assistant to a bookie at the horse races. I bartended. I did anything I could to make ends meet.
I surprise myself that I'm not dead in the gutter somewhere, surprised that I haven't given up.
I don't see myself as any different from all the other Filipinos who have gone abroad looking for opportunity, to be a nurse, a labourer, a maid or a prostitute.
Postmodernism was a reaction to modernism. Where modernism was about objectivity, postmodernism was about subjectivity. Where modernism sought a singular truth, postmodernism sought the multiplicity of truths.
Fiction is a very powerful tool for teaching history. The Philippines was the first Iraq, the first Vietnam, the first Afghanistan, in the sense that it was the United States' initial or baptismal experience in nation-building.
The Philippines, it has a politics of patronage. Family and favors, in addition to the old cliche of guns, goons and gold, really do still hold a lot of sway.
What I do know is that writing is the thing I am best at, and I don't have the stomach, the ability, the strength or the courage to enter the political arena. And I think writing can be a political act, if only to let those people accountable know they are being watched. Literature can be a conscience.
I have no illusions that my work can rouse the masses to create change, because literature simply doesn't have that power anymore in my country, if it does anywhere. But I do hope that it can be read by those who are in positions to create change, or that it can at least be part of that dialogue.
I read a blog about this young filmmaker in the Philippines who made a short film, and one of the characters in the film reads my novel and then starts discussing the novel with someone. The idea that my book can inspire another artist and be part of that other artist's work... that's the reason I write.
I don't believe in nationalism. I think it's a bunch of slogans. It's a bunch of poor attempts at creating pride. My problem with nationalism is that it becomes exclusionary. We start to exclude people.
