Si Amapola sa 65 na Kabanata

During my last trip to the Philippines (with only one night shared here), I went to the bookstore to line up find my next read. Si Amapola sa 65 na Kabanata (translation: Amapola in 65 Chapters) was one of two books I bought for myself. I may not be down to zip line, let alone sky dive, but I will (try to) read anything. In the same way I support independent bookstores, I like to venture into Philippine literature and look for local writers I can rave about.

This book was okay. So okay that I was not sure if I should even post about it, but I should really push myself to be more comfortable stating my opinion. So here it is: I wasn’t sold.

I love the way Philippine culture is so entwined with the supernatural and the way this book has manananggals in its fictional society but also portrays them in an almost realistic way: that they are not accepted in society even if some of them are good and do not eat humans. Of course, the book cleans manananggals up to make them less gruesome. There’s even a divide between manananggals that eat humans and the ones that don’t, and the manananggals are described as more human-looking (albeit the long and powerful tongue and the body split in half) in the book.

The other thing that makes Philippine culture so interesting is its subcultures. In this book, the Becky (LGBT) culture is featured because the main character, Amapola, is a gay impersonator/entertainer at a bar. (Here’s a quick Philippine Star blurb from way back to give you a rundown on the subculture.) There’s no denying that Beckys have forged their way into the mainstream and have influenced trends in society. Si Amapola sa 65 na Kabanata is riddled with Becky to the point that I was flabbergasted—I had no idea what they were saying sometimes.

Although the supernatural creatures and the subcultures were amusing to read about, that was about it for the book. The story line was okay, and while I loved reading about Lola Sepa’s love affair with Andres Bonifacio (Andy, per my high school History teacher), I didn’t really like Amapola and the rest of the characters—except Nanay Angie because she has a heart made of gold. I wasn’t a fan of the savior plot, and the Grandiosa vs Montero subplot wasn’t very surprising.

To summarize: cultural depiction great, story line meh.

Ricky Lee is great at creating a picture. This isn’t surprising, as he’s written a lot of films. The tone of the book was incredibly entertaining, and I laughed a lot while reading, but I felt that it lacked a certain art to it. It reminded me very much of the hilarious romantic comedies I would watch during the MMFF, which I have also found to be formulaic money-makers. I know this book is supposed to be satirical, and while I can see it, it doesn’t cause a stir.

I gave this book away right after finishing it. Want to give Philippine literature another shot? Try VJ Campilan’s All My Lonely Islands, which actually made me feel some emotions.

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