Bu-lat-lat (boo-lat-lat) verb: to search, probe, investigate, inquire; to unearth facts Vol. IV, No. 30 August 29 - September 4, 2004 Quezon City, Philippines |
Ninotchka’s
Way
Perhaps
more than any of Ninotchka Rosca’s writings, Jose Maria Sison: At
Home in the World reaffirms her politics and explains why she is
passionate about a lot of things. It puts in context the things that we
knew -- or thought we knew -- about Rosca: her politics, her oftentimes
angry, forceful yet elegant voice, and her tendency to unsettle those
comfortable in their own little niches, be it in politics, literature and
journalism. By
Carlos H. Conde
|
Ninotchka
Rosca, the internationally-acclaimed Filipino writer, journalist and
hell-raiser, was in town recently to launch and promote her new book, Jose
Maria Sison: At Home in the World, a 260-page Q&A with the
Filipino revolutionary now in forced exile in The Netherlands. The book is
colossal not just in terms of its subject (Sison and the revolutionary
fire he started that is still burning all across the country) but also
because it involved the collaboration of two literary and political
behemoths. “I
will never again collaborate on a writing project with anybody. Ever!”
Rosca declared as she attacked a steamed fish during dinner almost two
weeks ago at a Greenbelt restaurant. It’s not because Rosca hated
collaborating with Sison. It was more like a declaration of her admiration
and respect for the man, as if to say, “I have never done anything like
this before and I did it for you and I don’t think I can ever find
another collaborator-subject as interesting and as worthy as you are.” |
Ninotchka Rosca talks about the book and its subject,
|
Perhaps
more than any of Rosca’s writings (including Twice Blessed, which
won the American Book Award), Jose Maria Sison: At Home in the World reaffirms
her politics and explains why she is passionate about a lot of things. It
puts in context the things that we knew -- or thought we knew -- about
Rosca: her politics, her oftentimes angry, forceful yet elegant voice, and
her tendency to unsettle those comfortable in their own little niches, be
it in politics, literature and journalism.
In
a recent conversation with the author (a good portion of which was not
audible, thanks to the miniature waterfall inside the Banana Leaf Curry
House in Greenbelt), Rosca talked about the book, its subject and why
it’s important for writers, journalists and activists not to get
intimidated by the powers that be. Excerpts:
Aside
from the fact that the book is going to be about Jose Maria Sison, what
other force propelled you to him, to write a book about him?
Let’s
put this on the record: I did not ask him! He asked me! It was his choice,
not mine. He emailed to tell me that there’s this publishing house and
so on and so forth. It took me two days to think about it because you
know, the name is so… You’re going to walk into trouble and
controversy again! It took me two days and then I thought about it and
after a while, I said, “The women will be so proud. This will make the
women so proud!” So I emailed him back and I said okay. (“The
women” are Rosca’s comrades at Gabriela USA.)
Did
Joma set any parameters?
No.
He knew me better than that.
Rosca signs autographs, not at all intimidated by the long line |
Did
you know him for a long time? Oh
yes! How
would you describe him, your relationship? Our
relationship is based on certain principles that we held in common. But he
also knew how headstrong I was. We quarreled, yes. In a way, I was like
him: When I think I’m right, I will fight for it. Well, when I was
growing up, the Philippines was not ready for a very headstrong woman.
Haha! So we fought and we quarreled. But I think there was a great deal of
trust and there was a great deal of respect for each other. |
Let’s
talk about the Q&A structure of the book. He had one book before with
basically the same structure. And although he dealt with an earlier stage
of the revolution, obviously, why did you retain the structure? Was it
your idea?
It
was his idea. The introduction is mine. One of the really big difficulties
was how to maintain my voice. So I let him have this structure that he
wanted because he felt that everything that he would say can be used as a
guide by the people…
Like
a primer?
Yes.
So for me to maintain my voice, I did the introduction.
For
a writer like you who is used to the narrative form, how difficult was it?
It
was quite very difficult! There was a certain point when I did not know
anymore where his words begun and where mine ended.
You
kind of meshed?
Oh
yeah, absolutely!
At
which point in the book that the structure became a liability?
Whenever
we talked about his person, aside from the movement. And it’s not only
because of the structure of the book -- it's also the fact that it’s so
difficult for him to think of himself apart from the movement. He has a
very strong ego, you know, which is what is necessary if you are the kind
of person who would think of overthrowing the government. So I was not
surprised that he had difficulty thinking of himself outside of the
movement.
Aside
from occasionally putting up with the likes of Joma Sison, what keeps you
busy?
We
have so many issues to deal with in the U.S.
Is
another book coming along? When?
Hopefully
next year. It’s a novel called Broken Symmetry. Set in the U.S. A
detective story.
Anything
remotely political in the book?
Of
course!
Or
is everything political with Ninotchka Rosca?
Everything
is political, philosophical and elegant.
I
don’t know how plugged in you are in Philippine literary and journalism
circle. I don’t
know how you would evaluate the level of commitment of present day
writers and journalists -- their fire such things as for freedom of
expression.
I
think journalists and writers these days are trying very hard under very
difficult circumstances, what with the consolidation of ownership of media
here and the actual intrusion of owners, of families, in the running of
various publications. That is always a problem.
There’s
not the same kind of commitment that people used to have. There is a
lessening of the level of analysis, of political analysis, and there is a
tendency to just -- much like the media in the US – to support the ones
in power.
I
cannot think of an opposition media right now in the Philippines.
Well,
there are those who rail against Arroyo, but they’re not offering the
kind of…
Meaningful
opposition that we need. These are not opposition newspapers. These are
partisan newspapers. The real opposition newspapers are not there.
There’s
this huge void of analysis, of good reportage, that the public needs now.
Yes.
Yes. I think it was easier to deal with the press under martial law
because it was only censorship. But now, it’s like what one person said
-- a slow rot of the soul. They keep at you and keep at you and keep at
you until you concede.
That
is so true. And the more tragic part here is that several of the editors
that had had brushes with the martial law regime and who should know
better about, for example, freedom of expression… Where are they?
The
ones who knew and appreciated freedom of expression most dearly were the
ones who went to the mountains. In the middle of writing this book, Tony
Zumel passed away. Other people may say different things on other people
but Tony Zumel was beloved by everyone! He was a legend. Even before he
was politicized, he was a legend.
Even
people who did not agree with his politics?
Yes,
absolutely!
How
do you get away with being a writer, a journalist and an activist? In
these times, can you be a journalist without being an activist in some way
or another?
It’s
difficult, I think. I remember somebody asking me what’s the Sison Way.
And I answered with this story: When the European Union put Sison on the
terrorist list, he filed a case against the entire EU. He is also
demanding damages, having been maligned by the EU. To me that’s just the
thing, that is the Sison Way: Never to be intimidated. If you want to be a
great journalist, you should never be intimidated. Bulatlat
Photos by Aubrey Makilan
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