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"Filipinos Fiction."
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American Made: Hollywood and the “Technicolored Magnificence of the Great American Dream” in Filipino and Filipino American Fiction
In Filipino and Filipino American fiction, the American Dream is a prevalent theme. Specifically, Filipinos’ exposure to the American Dream is facilitated through forms of American media and entertainment. These mediated American spectacles present the myth that the United States is superior in all aspects. This is evident in Nick Joaquin’s The Woman Who Had Two Navels, Jessica Hagedorn’s Dogeaters, Lysley Tenorio’s “Monstress,” and Bino A. Realuyo’s The Umbrella Country, in which Filipino characters internalize U.S. supremacist beliefs and what E.J.R. David calls “colonial mentality” by adopting Western American standards in their everyday lives. Their desire to emulate the American Dream is further seen in their inevitable migration from the Philippines to the U.S. These works of fiction demonstrate the relationship between media and culture, especially as theorized by Marxist critics such as Guy Debord and Stuart Hall who view media as one of the primary tools of dominant societies to disseminate and uphold hegemonic ideologies. By exploring how American media affects Filipinos in these works of fiction, one can see how media plays a significant role in some Filipinos’ beliefs about the Philippines and the U.S. especially in this contemporary age of globalization and mass media.
Journal Article
In the country : stories
\"Mia Alvar's ... debut gives us a vivid ... picture of the Filipino diaspora: exiles and emigrants and wanderers uprooting their families to begin new lives in the Middle East and America--and, sometimes, turning back\"-- Provided by publisher.
Book
America is not the heart
\"How many lives fit in a lifetime? When Hero De Vera arrives in America--haunted by the political upheaval in the Philippines and disowned by her parents--she's already on her third. Her uncle gives her a fresh start in the Bay Area, and he doesn't ask about her past. His younger wife knows enough about the might and secrecy of the De Vera family to keep her head down. But their daughter--the first American-born daughter in the family--can't resist asking Hero about her damaged hands. An increasingly relevant story told with startling lucidity, humor, and an uncanny ear for the intimacies and shorthand of family ritual, America Is Not the Heart is a sprawling, soulful debut about three generations of women in one family struggling to balance the promise of the American dream and the unshakeable grip of history. With exuberance, grit, and sly tenderness, here is a family saga; an origin story; a romance; a narrative of two nations and the people who leave one home to grasp at another\"-- Provided by publisher.
Book
My Hollywood : a novel
Struggling with her television writer husband's long hours and her own lack of childcare experience, composer and new mother Claire hires Lola, a Filipina mother of five who becomes devoted to her employers.
Book
Celebrating Pinoy Representation: An Interview with Filipino Picture Book Authors
This feature celebrates Asian American and Pacific Islander (AAPI) Heritage Month in May with a spotlight on four children’s picture book authors of the Filipino diaspora, specifically Filipino and Filipino American authors living in the United States. Through an email-based interview with Lynnor Bontigao (LB), Sophia N. Lee (SL), Michelle Sterling (MS), and Dorina Lazo Gilmore-Young (DG), we learn about the experiences that motivate them to create and share their stories for young readers.
Journal Article
Filipinx Critique at the Crossroads of Queer Diasporas and Settler Sexuality in Miguel Syjuco’s Ilustrado
This essay reckons with the relationship between Filipinx diaspora and settler colonialism by analyzing the ways that Miguel Syjuco’s novel Ilustrado (2010) aligns queerness with indigeneity. Filipino diasporic fiction and Filipino American studies scholarship have both critiqued the limitations of supposing a racial homogeneity in the construction of “Filipino America.” Queer diasporas critique has similarly affirmed the heterogeneity and multiple affinities that inform diasporic subjectivity. This article explores the ways that Filipinx diaspora is shaped by US settler coloniality and upon return to the “homeland” intensifies extant settler logics in the Philippine archipelago. In doing so, it argues that the straightness of the homeland and the diaspora can potentially collude in a homophobic settler logic that discards queer indigeneity in order to construct the diaspora as a space of literary freedom. Ilustrado curiously centers the “ilustrado,” a mixed-race, even hybrid, subject, around which a unified Filipino national consciousness subscribes to a homogeneity that necessarily reduces the nation. Even so, Syjuco’s novel allows for productive questioning around the relationship between queerness, settler colonialism, and diaspora. Ultimately, this article suggests that the field of Filipinx American studies is in a unique position to pay critical heed to the queer life of settler coloniality in the diaspora and at “home.”
Journal Article