Thursday, December 13, 2018
From the border cities of Juárez and El Paso to America’s courtrooms, Sasha Pimentel’s For Want of Water is not a collection to chart a way home. It’s a way to claim one.
Before I could go back to the Philippines in real life, I did so on paper, through my first novel.
The newspapers were quick to christen the members of the underground movement with new names: subversives, communist insurgents, terrorists, guerrillas, rebels. Yet in my mind, they were simply family.
‘Imagination can make things more real than they would be if they were just reported from real life’—the author of In the Country speaks on writing stories of south-south migration and when not to be faithful to a map.
Jessica Hagedorn writes about the city of her birth, where “either nothing surprises you, or everything does.”
In his musical operatic tribute to the former first lady of the Philippines, David Byrne leans on pop psychology to tell the story of the “steel butterfly.”
“Pacquiao became the second man in boxing history to win world titles in six different weight divisions. There he was: our uncle, our Tito, our brother, our kuya.”
In 2017, we stop a deportation flight to Cambodia with thirty fathers, brothers, and sons on board. A few months later, many of them are deported anyway.
From the border cities of Juárez and El Paso to America’s courtrooms, Sasha Pimentel’s For Want of Water is not a collection to chart a way home. It’s a way to claim one.
what I don’t get is why / you choose to come here
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