
Hagedorn's controversial masterpiece exposes the raw underbelly of Marcos-era Philippines, reclaiming a colonial slur as its defiant title. A National Book Award finalist that sparked outrage and admiration alike - now a Penguin Modern Classic that forces readers to confront American imperialism's lasting shadows.
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In the heart of Manila under Marcos rule, reality shifts like quicksilver. The city transforms instantly from crowded slums to palatial drawing rooms, creating a world where time flows like "a river of dreams." Radio broadcasts create a carefully orchestrated cacophony-news bulletins about the Marcoses' White House invitation clash with urgent reports of jeepney strikes and economic troubles plaguing ordinary citizens. This contradictory nature extends into every aspect of Filipino society. Consider the Manila International Film Festival's opening night-a perfect metaphor for the city's duality. While Hollywood celebrities grace the red carpet in designer wear, the building itself harbors a dark secret: dozens of construction workers buried alive in its foundation after floors collapsed during rushed construction to meet Imelda's deadline. The First Lady, dressed in an elaborate terno, tearfully insists to international media that only eight men died, not a hundred, while defending the Film Center as a celebration of Filipino beauty. Her carefully maintained facade mirrors the city's surface glamour masking deeper tragedies. Even entertainment venues serve dual purposes. Studio 54, a pulsing disco in Manila's vibrant Malate district, functions as both nightclub and clandestine resistance hub where the magnetic drag performer Perlita arranges escape routes for political targets through an underground network. The glittering surface provides perfect cover for resistance activities-music and survival intertwined in the shadows of neon lights.
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Cree par des anciens de Columbia University a San Francisco
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Cree par des anciens de Columbia University a San Francisco

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