66 pages 2 hours read

Dogeaters

Fiction | Novel | Adult | Published in 1990

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Important Quotes

“They have the greatest respect for sleeping persons, and the greatest curse they can pronounce against anybody is to wish that he die in his sleep. They can not abide the idea of waking a sleeping person, or when they are obliged to do it, it is always done as gently as possible; they carry this repugnance so far that one can hardly expect them to wake up a priest or doctor to come to the aid of a sick person.”


(Part 1, Chapter 1, Page 7)

This epigraph to Part 1 is taken from The Philippines (1846), a study by French doctor and amateur anthropologist Jean Mallat. While the excerpt highlights the sanctity of sleep in Filipino culture, it also sets the stage for exploring Filipino culture through a colonial lens. The narrator views the local customs in a patronizing and even humorous light, underscoring Western science’s role in shaping a perception of Filipino culture that justifies colonialism.

“In this perfect picture-book American tableau, plaid hunting jackets, roaring cellophane fires, smoking chimneys, and stark winter forests of skeletal trees provide costume and setting for Hollywood’s version of a typical rural Christmas.”


(Part 1, Chapter 1, Page 8)

Rio’s perspective on American films reveals the deep impact of Hollywood’s idealized portrayal of American life on Filipino consciousness. This reflection on the quintessential American Christmas scene, with its typical wintry imagery, highlights its distance from life in Manila. Hagedorn uses this observation to critique the romanticized images presented in Western media, emphasizing their role in distorting the Filipino perception of the West within the context of postcolonial culture.

“I have yet to meet a man named ‘Ned’ or anyone with the surname ‘Nickerson.’”


(Part 1, Chapter 1, Page 12)

Rio’s observation about not knowing anyone with this name underscores the disconnect between the Western media and her reality in Manila. This statement highlights the irony of consuming media that depicts a world far removed from her own experience.

“Shelley Winters is so ordinary. She deserves to die.”


(Part 1, Chapter 1, Page 24)

This statement adds depth to Pucha’s characterization, portraying her as someone influenced by and perpetuating these skewed societal values, highlighting the impact of American cultural dominance in the postcolonial Philippines. Her dismissive attitude, equating ordinariness with a deservingness of death, reflects the deep-seated obsession with glamor and the idealization of American pop culture.

“She isn’t sure she wants to marry Pepe Carreon, but she will. She derives no actual pleasure from the touch of his lean, scarred flesh; she recoils from his gruff, aggressive kisses.”


(Part 1, Chapter 3, Page 39)

Baby’s contemplation of marrying Pepe Carreon highlights the societal pressures and expectations placed on women regarding marriage and relationships. Her lack of genuine affection or desire for Pepe, contrasted with her sense of obligation to marry him, underscores the theme of women succumbing to societal and familial expectations, often at the cost of their own happiness and autonomy. This passage also delves into the complexities of self-esteem and the desire for familial approval, illustrating how these factors can compel individuals to endure unfulfilling or even abusive relationships.

“Immortal women, the way I like them.”


(Part 1, Chapter 4, Page 48)

Joey’s remark about Tina Turner and Donna Summer addresses the theme of unattainable standards for women and his own aspirations. This idealization of female celebrities evokes the image of the Virgin Mary, highlighting the unrealistic expectations placed on women to embody perfection. For Joey, these “immortal” women symbolize a form of escapism and a standard he yearns to reach, reflecting his struggle with identity and self-worth in a society that venerates unachievable ideals.

“Having a man pay your way is the only advantage of being born a woman.”


(Part 1, Chapter 8, Page 65)

Trinidad’s mother’s statement reflects the entrenched gender roles and economic dependency expected of women in a postcolonial patriarchal society. This remark encapsulates the limited avenues of empowerment available to women, suggesting that leveraging their femininity is the sole benefit of their gender.

“Like Sal Mineo in Rebel Without a Cause.”


(Part 1, Chapter 8, Page 68)

The reference to Romeo’s hairstyle being like Sal Mineo’s character, Plato, in Rebel Without a Cause serves as a foreshadowing device for his tragic fate. This comparison to a character who also meets a violent end in a classic American film reinforces the theme of the destructive consequences of chasing illusions.

“[T]here was nothing left for us to do but to take them all, and to educate the Filipinos, and uplift and civilize and Christianize them, and by God’s grace do the very best we could by them, as our fellow men for whom Christ also died. And then I went to bed, and went to sleep and slept soundly.”


(Part 1, Chapter 12, Page 93)

President McKinley’s speech epitomizes the colonial mindset, portraying the colonizers’ paternalistic approach to the Philippines. The reference to civilizing and Christianizing the Filipinos underlines the self-justified sense of moral obligation often used by colonial powers. McKinley’s contented sleep after making such a declaration underscores the colonial power’s unassailable self-assuredness.

“When abuelita kisses me, I always think of funerals.”


(Part 1, Chapter 15, Page 119)

Rio’s memory of her paternal grandmother reveals the disconnection from her Filipino heritage, symbolized through the metaphor of funerals. This imagery suggests a sense of loss and mourning, not just for a person but for a cultural identity that is being denied or forgotten. The grandmother’s insistence on her Spanish identity, despite being Filipino, and its association with funerals in Rio’s mind, captures the erosion of cultural roots and the profound impact of colonial legacy on personal and collective identities.

“NO YAYAS ALLOWED TO SWIM.”


(Part 1, Chapter 9, Page 81)

The irony of the Congressman’s daughter drowning and her nanny not being permitted to swim critiques the societal and class disparities in the novel. This situation reveals the paradox of the privileged class: Wealthy women are allowed to swim but often do not know how or only wear bathing suits to show off their figures. This moment encapsulates the absurdity of the social hierarchy, in which unjust rules and norms can have tragic consequences.

“A weeping Madonna is tattooed across his back.”


(Part 1, Chapter 13, Page 97)

This tattoo on a sex worker contrasts the sacred image of the Madonna with the grim reality of exploitation and sorrow in the lives of marginalized individuals. The weeping Madonna becomes a metaphor for the pain and resignation endured by those forced into sexual labor regardless of their own desires or beliefs.

“La Sultana has never been seen leaving her sacred Mercedes-Benz; she claims to lack the need to urinate or defecate, thanks to a miracle performed during her sleep by the Virgin Mary.”


(Part 1, Chapter 18, Page 131)

The depiction of La Sultana as a miraculous figure satirizes the intermingling of religious belief and superstition in Filipino culture. This character’s assertion of divine intervention in her bodily functions is both absurd and symbolic, reflecting the novel’s exploration of the blurred lines between faith, myth, and the realities of everyday life. La Sultana’s character, shrouded in mystique and revered for her supposed otherworldly abilities, exemplifies the novel’s critique of how religious and cultural beliefs can be manipulated or exaggerated, obscuring the more mundane truths of human existence.

“I recognize myself in the absence of light in his eyes, the junkie in him. And something else, something that bothers me. I remember the same doggish look about Neil, how it always made me angry; how my anger always fueled the American’s desire.”


(Part 2, Chapter 28, Page 173)

In this introspective moment, Joey’s realization about his lack of power reveals a deeper understanding of his own exploitation. He perceives a troubling parallel between Rainer’s gaze and that of a previous American, Neil, recognizing a pattern of fetishization and objectification. Joey’s awareness of how his anger intensifies the desire of these tourists underscores the complex, disturbing interplay of power, exploitation, and fetishization in sexual relationships between young locals and foreigners in the novel’s setting.

“She’s a fool.”


(Part 2, Chapter 30, Page 197)

Romeo’s declaration captures the irony of his own folly in pursuing unattainable dreams. This statement, while dismissive of Trinidad, actually mirrors Romeo’s own misguided actions and highlights his inability to recognize it.

[T]sismis. I forget—this country thrives on misinformation.”


(Part 2, Chapter 32, Page 215)

General Ledesma’s remark about the country thriving on misinformation is laced with irony, as he himself is a part of the state’s machinery that perpetuates such misinformation. His comment to Lolita, who inquires about Daisy’s capture, reflects the pervasive culture of rumors and deceit that characterizes the novel’s political landscape. This moment underscores the novel’s critique of those in power, where truth is often obscured or altered for political ends, and even those close to the power, like Lolita, are not immune to the effects of this widespread disinformation.

“Dog eats better than me—I make sure of that.”


(Part 2, Chapter 35, Page 239)

Uncle’s statement foreshadows his eventual betrayal of Joey. The emphasis on prioritizing the dog, a symbol of loyalty, protection, and the regime, over his own needs, mirrors Uncle’s decision to prioritize self-preservation over familial loyalty.

“I knew something was going to happen to you—that dream I had last night, filled with dreadful omens.”


(Part 2, Chapter 38, Page 259)

The quote from the show Love Letters, playing in the background before Daisy’s torture, is an instance of dramatic irony. This juxtaposition of a seemingly innocuous radio drama with the grim reality of impending violence underscores the stark contrast between public façades and private horrors in the novel. The use of this line as a backdrop to a brutal scene deepens the narrative’s exploration of the foreboding sense of doom that pervades the characters’ experiences in a turbulent sociopolitical landscape.

“When there is no more room left on the paper for her drawings, she looks up. Madame remembers why she is here, all dressed up in the immense conference room of the palace, with the bug-eyed foreigner with his questions.”


(Part 2, Chapter 39, Page 271)

The portrayal of the First Lady struggling to maintain her public façade during an interview highlights the performative aspect of her role in the political sphere. Her mechanical responses and momentary distraction with her drawings indicate the weariness of constantly playing a part.

“With movies, everything is okay lang.”


(Part 2, Chapter 39, Page 272)

The First Lady’s comment reveals the theme of escapism and the role of media as a tool for distraction. This statement can be interpreted as her attempt to placate public concerns with entertainment, suggesting a deliberate use of movies to divert attention from political issues. Alternatively, it also reflects her own possible detachment from the realities of her actions and the harm caused by her regime.

“She is not his mother—she’s Andres Alacran.”


(Part 2, Chapter 40, Page 278)

Joey’s dream, where his mother morphs into Andres Alacran, delves into the complexity of Joey’s internal struggles regarding his identity and familial relationships. This metamorphosis in his dream reflects his subconscious effort to reconcile the various influences in his life, including the absence of maternal affection and the presence of figures like Alacran. It highlights the fluidity and confusion in Joey’s perception of relationships and his quest for stability and understanding in a chaotic world. This scene also demonstrates Hagedorn’s use of surreal dream sequences to explore deeper psychological and emotional themes within her characters.

“I’m everyone’s mother!”


(Part 2, Chapter 40, Page 278)

This statement symbolizes a universal maternal presence, offering a sense of belonging and emotional refuge, especially poignant for characters like Joey, who have experienced familial detachment and societal marginalization. Lydia’s role transcends biological motherhood, embodying a nurturing figure within the guerilla camp, a place that contrasts starkly with the oppressive external world. Her assertion resonates with the broader themes of seeking identity, belonging, and comfort in a tumultuous postcolonial society.

“You look like a boy! You look terrible—like Joan of Arc!”


(Part 2, Chapter 41, Page 288)

By comparing Rio to Joan of Arc, a historical figure who defied conventional female roles, Pucha unwittingly highlights Rio’s cutting her hair as an act of rebellion. This moment reflects the tension between societal expectations and personal expression, where altering one’s appearance becomes a quiet yet significant form of resistance. Rio’s decision to cut her hair, especially in the context of her menstruation, symbolizes a rejection of the traditional feminine image, challenging the prescribed notions of beauty and femininity in her culture.

“She points out the fragile, transparent snakeskin shed at the base of the bamboo grove. I am fascinated by its pale, ghostly texture, the ridges of serpent vertebrae so clearly etched in the abandoned shell it makes me shiver.”


(Part 2, Chapter 41, Pages 290-291)

The image of the shed snakeskin symbolizes the shedding of historical and cultural layers in postcolonial Philippines. The fascination with the “pale, ghostly texture” of the snakeskin reflects a curiosity and unease toward the remnants of the past. The reference to the snake, with its biblical connotations of temptation and knowledge, mirrors the intricate history of Spanish missionary influence, as indicated by Rio’s great-great-grandfather’s being a missionary whom Lola Narcisa refuses to talk about. This moment encapsulates the tension between uncovering and understanding the past while grappling with its lingering presence.

“Here, clues to your ghostly presence in the lingering trail of your deadly perfume: wild roses and plumeria, the dizzying fragrance of damas de noche, the rotting bouquets of wilted sampaguita flowers you cradle in your arms.”


(Part 2, Chapter 43, Page 305)

The contrasting scents of wild roses, plumeria, and damas de noche (night-blooming jasmine) with the decaying sampaguita flowers encapsulate the novel’s themes of beauty and decay, reflecting the Philippines’ struggle with its own cultural identity amidst colonial rule. The choice of sampaguita, the national flower designated during American control, further intensifies this symbolism, representing purity and simplicity but also hinting at the underlying themes of political and cultural manipulation.

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