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Dekada '70
"Definitely a political novel. More than the individual story of a mother watching her sons grow and plunge into real life, Dekada '70 is an indictment of martial law, and here, Lualhati minces no worlds." - Female Forum, November 21, 1983
228 pages, Mass Market Paperback
First published January 1, 1984
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About the author
Lualhati Bautista
33 books649 followersLualhati Bautista was a Filipina writer, novelist, liberal activist and political critic. She was one of the foremost Filipino female novelists in the history of Contemporary Philippine Literature. Her most famous novels include Dekada '70; Bata, Bata, Pa'no Ka Ginawa?; and ‘GAPÔ.
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January 29, 2016
While I’m on a classic reading binge, I thought it only fair to include a Filipino classic novel (written in Filipino). [Book:Dekada ‘70] translated in English as “Decade ‘70” is an account of a woman living in a “man’s world” during those difficult years when Martial Law was declared in the Philippines. Narrated by Amanda, a mother of five boys, the novel strongly portrays the struggles of a woman during those times when gender equality wasn’t a well-known concept yet and women were seen as subordinates of men.
The story realistically portrays this as Amanda dutifully does her best to meet what the six men at her home, especially her husband, expect of her. It becomes a greater challenge to fulfill a woman’s predefined roles for Amanda due to familial, political and social difficulties at that time but it’s also because of these impediments that Amanda found a way to earn long overdue respect and acknowledgement as a woman.
With the strong feminist approach, tragic tone and emotionally intense and heart-wrenching plot, it’s no surprise that the novel won several literary awards. It’s a historically and socially significant novel that I believe requires more attention. The book was also adapted into a movie released in 2002. I’m sure there’d be English subtitles.^^
January 29, 2016
Note: This review was written as a course requirement for my class: History of Women and Feminism in the Philippines.
“Dahil sila’y mga babae… at imposible para sa babae na kalabanin ang lalaki. It’s a man’s world.” (Translation: It’s because they are women… and it is impossible for women to oppose men, it’s a man’s world.)
These are the words of Julian, a husband, a father, to her wife on why women should not get irritated with him. This is a prime example of a patriarchal man. Contemptible words, yet somehow, are sadly true. How did his wife, Amanda, respond? She rolled her eyes, but she kept quiet. She discerned that to contest this would be futile. Why? Because she didn’t know any better. She was a woman molded in a society that conformed to this belief. Yes, she existed in a nation were men dominated, but she will learn that she was not in a man’s world.
“Maghubad ka na, sabi niya. Ni hindi niya tinanong kung gusto ko nga ba maghubad. Basta ‘maghubad ka na,’ period. Kailangan sakin mismo manggaling ang natitirang pamproteksiyon sa dignidad ko. Puwede bang magpatay muna tayo ng ilaw? Na sinagot niya ng maikli, walang damdaming ‘oh’. No’ng unang gabing ‘yon, ni hindi niya tinanong kund hindi ba ko nasaktan. Basta ng matapos na siya, natulog na siya. Naghilik na siya.”
(Translation: Take off your clothes, he said. He didn’t even ask me if I wanted to take it off. He just said ‘take it off’ period. I had to be the one to protect what little dignity I had. I asked ‘Can we turn off the lights? He answered with a short and empty ‘oh’. That first night, he didn’t even ask if it hurt. He just slept when he was done. He snored.)
“Kakulangan. Sa loob ng dalawampu’t pitong taon ng pagiging asawa ko’y hindi ako ganap na umunlad bilang tao. Nanganak lang ako’t naging ina at wala na. Tumigil na ‘ko sa pagiging ganon. Nawala na ko pagktapos nyon. Nagsilbing bantay na lang ako sa paghanap at pagkatagpo ni Julian ng katuparan niya bilang tao, sa paglaki ng mga bata’t pagtuklas ng kanilang kakayahan at kahalagahan. Sa proseso nito, walang nag-abalang magtanong kung ano na kaya ang mga kaangkinan ko naman. Ni ako, hindi ko alam kung ano pa ako liban sa asawa’t ina. Madalas ngayon ay hinahanap ko ang sarili ko sa harap ng naging papel ko sa buhay…”
(Translation: Emptiness. In the span of twenty-seven years of being a wife I never grew as a person. I gave birth and became a mother then nothing. I stopped there. I was lost after that. I served as a caretaker to Julian as he searched and fulfilled his life’s work, to the growth of my children as they discovered their strengths and importance. In the process, nobody asked me what I have achieved. Even I, I do not know what I am aside from a wife and a mother. Often now, I search for myself in spite of all the roles I have played in life…)
“Ibig kong sabihin,ayoko nang maging doormat mo lang. Taga-abot ng tsinelas mo, taga-timpla ng kape mo! Sa kagaganon, nawala tuloy ako, naging walang klaseng tao ko! Habang panahong nanay na lang! Habang panahong asawa mo lang! Pinaghubad pag gusto, ginanon kung kelan mo gusto! Napaiyak na ko… Bakit hindi pag gusto ko?”
(Translation: I mean I do not want to be just your doormat. Someone whose role is just to pick up your slippers, someone who’s there just to make your coffee! Being that person, I lost myself, I became nothing! Forever just a mother! Forever just a wife! Stripping when you tell me to, being fucked only when you want to! I started to cry… why not when I want to?)
These are the thoughts, the experiences of Amanda, wife of Julian, a mother of 5 boys, a Filipina. This shows the suffering of a typical woman experienced in our country back then and still even in a lot of homes today, she is expected to become a housewife, nothing more. She is boxed, her growth as an individual stunted, she is not given a chance.
The ‘70s was not a kind time to the Filipino people, more so to the Filipino women. Lualhati Bautista’s Award-Winning novel about the awakening of a country and the struggles of a mother, a woman is a gut-wrenching eye-opener to anyone who is willing to hear its angry screams, its searing pleas. The parallelism between the two intertwined stories, the mother and the motherland is truly captivating. The two, the woman and the country are subdued, without true freedom. Dominated, manipulated, chained, one by imperialism and a dictator, the other by a husband and a patriarchal culture. At the start both were as ignorant as babes, as silent as mutes about their rights, about what is theirs. Both were taken for granted, taken advantage of. But slowly, steadily, they progressed. The country was awakened, its people flooded the streets, the masses, the students, priests, nuns, militants full of outrage and passion with shouts of revolution against a dictator that violated their rights and mistreated their countrymen, against a neocolonialist power that stole their lands, raped their livelihood and picked their pockets. The woman, the mother, the wife learned to fight back, to answer, to think for herself. She realized her worth as a woman, as a person, through her own simple way of supporting the revolution because of her children. She realized that to protect her children, her family, she must learn to protect her country. The motherland empowered her; in turn the shackled motherland was empowered equally because of her. Their plights are more connected to each other than it seems, the success of one spelled the success of the other.
“Pero ang babae, talian man ang katawan o suutan man ng chastity belt, ay may uri ng kalayaang hindi mananakaw ng kahit na sino: ang kalayaan niyang mag-isip.”
(Translation: But a woman, you may tie up her body or force her to wear a chastity belt; there is a type of freedom that nobody can take away from her: the freedom to think.)
This passage from the novel reminds me of a particular quotation from one the greatest Feminist writers, someone named Virginia Woolf. “Lock up your libraries if you like; but there is no gate, no lock, no bolt that you can set upon the freedom of my mind.” And it is true, women cannot be restricted, as long as their minds are working, nobody can suppress them. But to really utilize it, this is where education comes in. Women need to be educated about their rights, they must learn to identify the shackles of patriarchy and its brother capitalism, reject their biased culture, spit on these concepts that taught them to be submissive, that taught them to keep quiet and told them they were inferior, these controlling concepts that masks itself as religion, tradition, and good-conduct. But before that, they must first think, and realize that they are in-chains. For how can you set free someone who does not consider themselves as slaves? How can you liberate someone who considers oppression as a state of normalcy? You show them their chains, you rip the veil around their eyes, you educate.
“Naiisip ko… naiisip ko lang naman… wala sanang magalit sakin pero naiisip ko… na kailangan na nga yata natin ng rebolusyon!”
(Translation: I am thinking… I’m just thinking… I wish nobody would get mad at me but I’m beginning to think… that we need a revolution!)
Yes, we have revolted and won the battle for our country to some extent, we brought but down the dictator. Still, we still have a lot of work to do in terms of neo-colonialism though we have achieved great strides. Now, the revolution we need is the revolution against patriarchy. We need a revolution against this entity that paralyzes about half of the people not only in this country, but in the world. We need to revolutionize our way of thinking through education into a more egalitarian one.
Naiisip ko din… na kailangan na natin ng rebolusyon! I am thinking... that we need a revolution. Gender Emancipation! Equality for all!
“Lalakas pa ang tinig ng paghihimagsik, iigting pa ang tapang ng masang Pilipino… hanggang sa makamit ng sambayanan ang tunay at ganap na kalayaan!”
(Translation: The shouts of revolution will get louder; the bravery of the Filipino masses will intensify… until the people achieve true and utter freedom!)
Our country will never achieve true and utter freedom unless its women are free from the chains of patriarchy. After all, it’s a woman’s world too.
“Dahil sila’y mga babae… at imposible para sa babae na kalabanin ang lalaki. It’s a man’s world.” (Translation: It’s because they are women… and it is impossible for women to oppose men, it’s a man’s world.)
These are the words of Julian, a husband, a father, to her wife on why women should not get irritated with him. This is a prime example of a patriarchal man. Contemptible words, yet somehow, are sadly true. How did his wife, Amanda, respond? She rolled her eyes, but she kept quiet. She discerned that to contest this would be futile. Why? Because she didn’t know any better. She was a woman molded in a society that conformed to this belief. Yes, she existed in a nation were men dominated, but she will learn that she was not in a man’s world.
“Maghubad ka na, sabi niya. Ni hindi niya tinanong kung gusto ko nga ba maghubad. Basta ‘maghubad ka na,’ period. Kailangan sakin mismo manggaling ang natitirang pamproteksiyon sa dignidad ko. Puwede bang magpatay muna tayo ng ilaw? Na sinagot niya ng maikli, walang damdaming ‘oh’. No’ng unang gabing ‘yon, ni hindi niya tinanong kund hindi ba ko nasaktan. Basta ng matapos na siya, natulog na siya. Naghilik na siya.”
(Translation: Take off your clothes, he said. He didn’t even ask me if I wanted to take it off. He just said ‘take it off’ period. I had to be the one to protect what little dignity I had. I asked ‘Can we turn off the lights? He answered with a short and empty ‘oh’. That first night, he didn’t even ask if it hurt. He just slept when he was done. He snored.)
“Kakulangan. Sa loob ng dalawampu’t pitong taon ng pagiging asawa ko’y hindi ako ganap na umunlad bilang tao. Nanganak lang ako’t naging ina at wala na. Tumigil na ‘ko sa pagiging ganon. Nawala na ko pagktapos nyon. Nagsilbing bantay na lang ako sa paghanap at pagkatagpo ni Julian ng katuparan niya bilang tao, sa paglaki ng mga bata’t pagtuklas ng kanilang kakayahan at kahalagahan. Sa proseso nito, walang nag-abalang magtanong kung ano na kaya ang mga kaangkinan ko naman. Ni ako, hindi ko alam kung ano pa ako liban sa asawa’t ina. Madalas ngayon ay hinahanap ko ang sarili ko sa harap ng naging papel ko sa buhay…”
(Translation: Emptiness. In the span of twenty-seven years of being a wife I never grew as a person. I gave birth and became a mother then nothing. I stopped there. I was lost after that. I served as a caretaker to Julian as he searched and fulfilled his life’s work, to the growth of my children as they discovered their strengths and importance. In the process, nobody asked me what I have achieved. Even I, I do not know what I am aside from a wife and a mother. Often now, I search for myself in spite of all the roles I have played in life…)
“Ibig kong sabihin,ayoko nang maging doormat mo lang. Taga-abot ng tsinelas mo, taga-timpla ng kape mo! Sa kagaganon, nawala tuloy ako, naging walang klaseng tao ko! Habang panahong nanay na lang! Habang panahong asawa mo lang! Pinaghubad pag gusto, ginanon kung kelan mo gusto! Napaiyak na ko… Bakit hindi pag gusto ko?”
(Translation: I mean I do not want to be just your doormat. Someone whose role is just to pick up your slippers, someone who’s there just to make your coffee! Being that person, I lost myself, I became nothing! Forever just a mother! Forever just a wife! Stripping when you tell me to, being fucked only when you want to! I started to cry… why not when I want to?)
These are the thoughts, the experiences of Amanda, wife of Julian, a mother of 5 boys, a Filipina. This shows the suffering of a typical woman experienced in our country back then and still even in a lot of homes today, she is expected to become a housewife, nothing more. She is boxed, her growth as an individual stunted, she is not given a chance.
The ‘70s was not a kind time to the Filipino people, more so to the Filipino women. Lualhati Bautista’s Award-Winning novel about the awakening of a country and the struggles of a mother, a woman is a gut-wrenching eye-opener to anyone who is willing to hear its angry screams, its searing pleas. The parallelism between the two intertwined stories, the mother and the motherland is truly captivating. The two, the woman and the country are subdued, without true freedom. Dominated, manipulated, chained, one by imperialism and a dictator, the other by a husband and a patriarchal culture. At the start both were as ignorant as babes, as silent as mutes about their rights, about what is theirs. Both were taken for granted, taken advantage of. But slowly, steadily, they progressed. The country was awakened, its people flooded the streets, the masses, the students, priests, nuns, militants full of outrage and passion with shouts of revolution against a dictator that violated their rights and mistreated their countrymen, against a neocolonialist power that stole their lands, raped their livelihood and picked their pockets. The woman, the mother, the wife learned to fight back, to answer, to think for herself. She realized her worth as a woman, as a person, through her own simple way of supporting the revolution because of her children. She realized that to protect her children, her family, she must learn to protect her country. The motherland empowered her; in turn the shackled motherland was empowered equally because of her. Their plights are more connected to each other than it seems, the success of one spelled the success of the other.
“Pero ang babae, talian man ang katawan o suutan man ng chastity belt, ay may uri ng kalayaang hindi mananakaw ng kahit na sino: ang kalayaan niyang mag-isip.”
(Translation: But a woman, you may tie up her body or force her to wear a chastity belt; there is a type of freedom that nobody can take away from her: the freedom to think.)
This passage from the novel reminds me of a particular quotation from one the greatest Feminist writers, someone named Virginia Woolf. “Lock up your libraries if you like; but there is no gate, no lock, no bolt that you can set upon the freedom of my mind.” And it is true, women cannot be restricted, as long as their minds are working, nobody can suppress them. But to really utilize it, this is where education comes in. Women need to be educated about their rights, they must learn to identify the shackles of patriarchy and its brother capitalism, reject their biased culture, spit on these concepts that taught them to be submissive, that taught them to keep quiet and told them they were inferior, these controlling concepts that masks itself as religion, tradition, and good-conduct. But before that, they must first think, and realize that they are in-chains. For how can you set free someone who does not consider themselves as slaves? How can you liberate someone who considers oppression as a state of normalcy? You show them their chains, you rip the veil around their eyes, you educate.
“Naiisip ko… naiisip ko lang naman… wala sanang magalit sakin pero naiisip ko… na kailangan na nga yata natin ng rebolusyon!”
(Translation: I am thinking… I’m just thinking… I wish nobody would get mad at me but I’m beginning to think… that we need a revolution!)
Yes, we have revolted and won the battle for our country to some extent, we brought but down the dictator. Still, we still have a lot of work to do in terms of neo-colonialism though we have achieved great strides. Now, the revolution we need is the revolution against patriarchy. We need a revolution against this entity that paralyzes about half of the people not only in this country, but in the world. We need to revolutionize our way of thinking through education into a more egalitarian one.
Naiisip ko din… na kailangan na natin ng rebolusyon! I am thinking... that we need a revolution. Gender Emancipation! Equality for all!
“Lalakas pa ang tinig ng paghihimagsik, iigting pa ang tapang ng masang Pilipino… hanggang sa makamit ng sambayanan ang tunay at ganap na kalayaan!”
(Translation: The shouts of revolution will get louder; the bravery of the Filipino masses will intensify… until the people achieve true and utter freedom!)
Our country will never achieve true and utter freedom unless its women are free from the chains of patriarchy. After all, it’s a woman’s world too.
August 31, 2022
“… hindi ipinagdiriwang ang araw ng Kalayaan… ipinagbubunyi lang natin and patuloy na pakikibaka ng mga mamamayang Pilipino.”
Pasismo, imperyalismo, sistemang macho-feudal ibagsak.
Mini-discussion on my booksta!
Review
I’m so glad I finished this before Buwan ng Wika ends (and on National Heroes’ Day no less)!!
To those of you who don’t know, the Philippines has over 180 living languages; and for the entire month of August every year, we celebrate the national language (although critics often point how the annual observance tends to exclude the celebration of the diversity of indigenous Philippine languages — a discussion for another time lol).
For this reason and for the very sad fact that I have barely read literature written in my native tongue (or even any Philippine lit for that matter — something I’m planning to rectify starting now), I decided to pick up Dekada ‘70.
I’ve read it once before, as it is a required read in the Philippine curriculum. But perusing its pages now, years later, after thousands have been killed by a baseless drug war that targeted the marginalized, after the son of the dictator responsible for all the atrocities laid out in the text has been elected president— it certainly made my precursory sentiments about this book even more chilling and acute. I felt my stomach lurch with emotion; I felt that simmering indignation against the powers that have sunk my nation and my people into a state of poverty.
Time and time again, Dekada ‘70 has been acclaimed as an essential work of fiction in further understanding the state of the Philippines under martial law. While I more than agree, I have to point out that I think that its value as a women’s fiction has been vastly understated.
The novel utilizes a very comprehensive and intersectional lens in analyzing sociopolitical matters. There are times when the writing takes on a more telling over showing approach, but in this case, it served as a strength. Bautista doesn’t hide names or use creative convolutions of facts to fit them in fiction. She expertly maps out how imperialism and neocolonialism, fascism and tyranny, and macho-feudal systems fuel each other in a never-ending vicious cycle.
Pasismo, imperyalismo, sistemang macho-feudal ibagsak.
Mini-discussion on my booksta!
Review
I’m so glad I finished this before Buwan ng Wika ends (and on National Heroes’ Day no less)!!
To those of you who don’t know, the Philippines has over 180 living languages; and for the entire month of August every year, we celebrate the national language (although critics often point how the annual observance tends to exclude the celebration of the diversity of indigenous Philippine languages — a discussion for another time lol).
For this reason and for the very sad fact that I have barely read literature written in my native tongue (or even any Philippine lit for that matter — something I’m planning to rectify starting now), I decided to pick up Dekada ‘70.
I’ve read it once before, as it is a required read in the Philippine curriculum. But perusing its pages now, years later, after thousands have been killed by a baseless drug war that targeted the marginalized, after the son of the dictator responsible for all the atrocities laid out in the text has been elected president— it certainly made my precursory sentiments about this book even more chilling and acute. I felt my stomach lurch with emotion; I felt that simmering indignation against the powers that have sunk my nation and my people into a state of poverty.
Time and time again, Dekada ‘70 has been acclaimed as an essential work of fiction in further understanding the state of the Philippines under martial law. While I more than agree, I have to point out that I think that its value as a women’s fiction has been vastly understated.
The novel utilizes a very comprehensive and intersectional lens in analyzing sociopolitical matters. There are times when the writing takes on a more telling over showing approach, but in this case, it served as a strength. Bautista doesn’t hide names or use creative convolutions of facts to fit them in fiction. She expertly maps out how imperialism and neocolonialism, fascism and tyranny, and macho-feudal systems fuel each other in a never-ending vicious cycle.
January 16, 2016
Walang subersibo dito. Bakit magiging subersibo ang katotohanan?
(There's nothing subversive here. Why will the truth be considered subversive?)
– Dekada '70
Lualhati Bautista gained notoriety when Dekada '70 came out in 1984, after having shared the grand prize for the Palanca Award for Best Novel one year previous. This novel about a Filipino family drastically affected by forces beyond their control was a national narrative of resistance against the Marcos dictatorship, against its repression of individual and societal rights and liberties. The story was told by Amanda Bartolome, wife to a dominating husband, mother to five sons, and – as she learned in the course of the novel – woman of her own mind. We found Amanda contemplating her role beyond her family of men, beyond a traditional patriarchy where a woman is only expected to serve a husband and rear children. This even as her world was being swept by the tides of history. Her strong-willed eldest child, Julian Jr. (Jules), was becoming more and more sympathetic to the ideology of leftist groups even as he increasingly felt alienated to the national government's raw display of totalitarian power. When the President handed down martial law in 1972, civil rights suffered in consequence. Student councils and school papers were closed down; the freedom of the press and the freedom to organize were curtailed; curfews were set; the writ of habeas corpus was suspended. It was only a matter of time before Jules joined the communist insurgency and his mother lost many a nights' sleep over her son's uncertain fate.
What started as a domestic drama suddenly became a politically charged look at the lives of ordinary individuals in repressive regimes. Bautista dramatized the temper of the times using explicit images, language, and scenes. The action of the novel revolved only around a single family and yet she managed to infuse the domestic conflicts among brothers and parents with conviction. The Bartolomes were a nuclear family that could be viewed as a microcosm of a country descending into chaos. We followed Amanda as she began to question her relationship with her husband and internalize the violence threatening her children. From the seventies until the lifting of martial law in 1981, and even beyond that, we were privy to Amanda's increasing awareness of injustices around her, the socioeconomic and political issues hidden from sight, and her emerging political and feminist principles – these two principles becoming inseparable and closely tied together.
As the Bartolomes braved the dark shadows of military rule, vigilante killings, and social unrest, the reader was witness to a freak history. There were some wrenching scenes that seared into the mind, yet there were simple moments in the book that were equally hard-hitting in its emotional tenderness. Dekada was squarely in the tradition of José Rizal's 19th century protest novels against Spanish colonialism, the Noli and Fili, because it dared to question and critique the ruling power and its cohorts, and because it presented a forceful synthesis of abuses, corruption, and violence under martial law. No other novel had so lived up to its titular era as perhaps no other could have proposed its own "truthful", and hence "subversive", aesthetic of resistance against a dictatorship regime.
The family is the basic unit of society, we are taught and constantly reminded in schools. Bautista had shown that its values are also its pillars and that the seeds of resistance to any unjust authority at any time could very well dwell in a family. Dekada, arguably the defining novel of the period, had set the bar for a martial law novel so high that I shall be reading succeeding Filipino novels on the topic against Bautista's standard. She managed to distill an epoch of madness in those trying times, in that "world of men" that Amanda was starting to reject. For the record, in her record, in the words of her protagonist, the novelist defined the role of the writer in those circumstances: "Manunulat ang nagpe-preserb sa katinuan ng lipunan nya." ("It is the writer who preserves the sanity of her society.") Indeed they do, the very best of them, the authentic ones. They restore it to its senses. They slap it so hard that it may wake from its long sleep.
First published in edited form in 1984, Dekada anticipated the 1986 EDSA Revolution that toppled President Marcos from power. In one of its deft ironic touches, it was prescient in detecting a major change in the air: Naiisip ko . . . naiisip ko lang naman . . . wala sanang magalit sa 'kin pero naiisip ko . . . na kailangan na nga yata natin ang rebolusyon! (I was thinking . . . I was just thinking . . . let no one mind me but I was thinking . . . that maybe it's time we need a revolution!)
The writing style of Dekada was considered controversial during its time because some passages in the novel were written in Taglish, a mixture of Tagalog and English words. Language purists must have felt discomfort at the threat to the purity of the Tagalog vernacular and so failed to acknowledge the realist style of Bautista's language. Her writing was also deemed "unpolished" for its straightforward, colloquial dialogue and presentation even if that's how Filipinos talked then and now. The Taglish aspect of the prose is one consideration for the translator should the novel be translated into English.
Read as part of the martial law fiction reading project .
(There's nothing subversive here. Why will the truth be considered subversive?)
– Dekada '70
Lualhati Bautista gained notoriety when Dekada '70 came out in 1984, after having shared the grand prize for the Palanca Award for Best Novel one year previous. This novel about a Filipino family drastically affected by forces beyond their control was a national narrative of resistance against the Marcos dictatorship, against its repression of individual and societal rights and liberties. The story was told by Amanda Bartolome, wife to a dominating husband, mother to five sons, and – as she learned in the course of the novel – woman of her own mind. We found Amanda contemplating her role beyond her family of men, beyond a traditional patriarchy where a woman is only expected to serve a husband and rear children. This even as her world was being swept by the tides of history. Her strong-willed eldest child, Julian Jr. (Jules), was becoming more and more sympathetic to the ideology of leftist groups even as he increasingly felt alienated to the national government's raw display of totalitarian power. When the President handed down martial law in 1972, civil rights suffered in consequence. Student councils and school papers were closed down; the freedom of the press and the freedom to organize were curtailed; curfews were set; the writ of habeas corpus was suspended. It was only a matter of time before Jules joined the communist insurgency and his mother lost many a nights' sleep over her son's uncertain fate.
Higit kailanman ay ngayon ko nadarama ang mga trahedya ng maging ina. Hindi pala natatapos ang hirap at kirot sa pagsisilang ng anak, may mga sakit na libong ulit na mas masakit kaysa mga oras ng panganganak.
(Now more than ever I feel the tragedies of being a mother. It appears that my pains and sacrifices did not end with my giving birth to my son. There are pains a thousand more painful than the hours of labor.)
What started as a domestic drama suddenly became a politically charged look at the lives of ordinary individuals in repressive regimes. Bautista dramatized the temper of the times using explicit images, language, and scenes. The action of the novel revolved only around a single family and yet she managed to infuse the domestic conflicts among brothers and parents with conviction. The Bartolomes were a nuclear family that could be viewed as a microcosm of a country descending into chaos. We followed Amanda as she began to question her relationship with her husband and internalize the violence threatening her children. From the seventies until the lifting of martial law in 1981, and even beyond that, we were privy to Amanda's increasing awareness of injustices around her, the socioeconomic and political issues hidden from sight, and her emerging political and feminist principles – these two principles becoming inseparable and closely tied together.
As the Bartolomes braved the dark shadows of military rule, vigilante killings, and social unrest, the reader was witness to a freak history. There were some wrenching scenes that seared into the mind, yet there were simple moments in the book that were equally hard-hitting in its emotional tenderness. Dekada was squarely in the tradition of José Rizal's 19th century protest novels against Spanish colonialism, the Noli and Fili, because it dared to question and critique the ruling power and its cohorts, and because it presented a forceful synthesis of abuses, corruption, and violence under martial law. No other novel had so lived up to its titular era as perhaps no other could have proposed its own "truthful", and hence "subversive", aesthetic of resistance against a dictatorship regime.
The family is the basic unit of society, we are taught and constantly reminded in schools. Bautista had shown that its values are also its pillars and that the seeds of resistance to any unjust authority at any time could very well dwell in a family. Dekada, arguably the defining novel of the period, had set the bar for a martial law novel so high that I shall be reading succeeding Filipino novels on the topic against Bautista's standard. She managed to distill an epoch of madness in those trying times, in that "world of men" that Amanda was starting to reject. For the record, in her record, in the words of her protagonist, the novelist defined the role of the writer in those circumstances: "Manunulat ang nagpe-preserb sa katinuan ng lipunan nya." ("It is the writer who preserves the sanity of her society.") Indeed they do, the very best of them, the authentic ones. They restore it to its senses. They slap it so hard that it may wake from its long sleep.
First published in edited form in 1984, Dekada anticipated the 1986 EDSA Revolution that toppled President Marcos from power. In one of its deft ironic touches, it was prescient in detecting a major change in the air: Naiisip ko . . . naiisip ko lang naman . . . wala sanang magalit sa 'kin pero naiisip ko . . . na kailangan na nga yata natin ang rebolusyon! (I was thinking . . . I was just thinking . . . let no one mind me but I was thinking . . . that maybe it's time we need a revolution!)
The writing style of Dekada was considered controversial during its time because some passages in the novel were written in Taglish, a mixture of Tagalog and English words. Language purists must have felt discomfort at the threat to the purity of the Tagalog vernacular and so failed to acknowledge the realist style of Bautista's language. Her writing was also deemed "unpolished" for its straightforward, colloquial dialogue and presentation even if that's how Filipinos talked then and now. The Taglish aspect of the prose is one consideration for the translator should the novel be translated into English.
Read as part of the martial law fiction reading project .
July 30, 2016
Hindi ko namalayan nang nagkaroon ng Martial Law sa Pilipinas. Hindi dahil bata pa ako pero dahil noong panahong iyon, 1972-1981 ay nakatira ang aming pamilya sa isang isla sa Dagat Pacifico. Ang natatandaan ko lang ay may mga araw na walang pasok at si Ina at Ama ay nakikinig ng radyo halos buong hapon. Nauulinigan ko pa ang boses ni Marcos: malumanay, mabagal at parang pagod. Sabi ni Ama, ganoon daw talaga ang matatalino, mabagal magsalita.
Curfew pagdating ng hatinggabi? Sa isla noon, nakahiga na ang mga tao pagdating ng takipsilim. Wala pang kuryente noon. Tanging mga gasera’t patundut lang ang nagbibigay liwanag sa mga kabahayan. Kung hindi ka rin lang pumapasok pa sa paaralan, ano naman ang gagawin mo kapag wala nang araw?
Ano nga ba ang nangyari sa Maynila noong panahon ng Martial Law ni Marcos?
Sa mga nabasa ko na at napanood, parang itong aklat na ito ni Lualhati Bautista ang pinakamahusay na paglalahad ng mga halimbawa ng mga pangyayari noong panahong iyon. Sinakop nito hindi lang ang level na pang-personal na pananaw kung hindi ang pang mas malawakang pang-pamilya, pambansa at internasyonal na perspektibo.
****SPOILER ALERT****
Si Amanda Bartolome ay malapit nang mag-singkuwenta. Siya ay isang simpleng maybahay ng kanyang kabiyak na inyenhero na si Julian, Sr. Sa simula ng kuwento, ang pagpasok ng dekada ’70, ang kanilang mga anak na sina Jules, Gani, Em, Julian, Jr. at Bingo ay mga bata pa. Matatapos ang kuwento sa pagkamatay ni Sen. Benigno Aquino (1983) at ang maliliit na bata ay malalaki na o di kaya’y patay na: Si Jules, matapos magkaasawa’t magkaanak ay nakulong dahil sa pagiging miyembro ng NPA ay muling namundok. Si Gani, matapos pumunta sa Amerika bilang US Navy at iwan ng asawa ay muling nag-asawa. Si Em ay naging manunulat at aktibo sa mga sulating pampulita. Si Julian, Jr. ay patay na matapos malulong sa droga at i-salvage ng militar at si Bingo na lang ang natitira sa poder ng mag-asawa.
****SPOILER ENDS****
Mahusay at matapang ang pagkakalahad ng kuwento. Para mo lang isang kaibigan (o Nanay, o Tita, o Lola) si Amanda Bartolome na nagtsi-tsika tungkol sa kung ano ang dinanas na pamilya nila noong mga panahong iyon. Hindi ito pagtuligsa sa mga mali ng Martial Law. Hindi nito sinasabing demonyo si Marcos o ang rehimen ng US-Marcos. Bagkus, ipinakita lang nito ang kung ano ang epekto ng mga polisiya ng rehimeng iyon an gang mga pagmamalabis ng militar upang masuportahan ang maganda sanang intensyon ng dating pangulo.
Ang pinakamahusay na bahagi ng nobela, sa aking palagay ay ang transpormasyon ng mga tauhan hindi lamang sa kamalayang pampulitika kung hindi sa mga pagbabago upang maiiyos ang kanilang mga relasyon at sariling pagkatao. Sa unang tinggin, ang masasabing sukdulan o climax ng nobela ay ang pagkamatay ni Julian, Jr. Pero sa akin, bilang isang may-asawa, ay ang paghahamon ng paghihiwalay ni Amanda kay Julian, Sr. Paanong ang isang simpleng maybahay na ni minsa’y hindi naman nagreklamo ay biglang makakaisip ng ganoon? Nguni’t pinalayog pa ni Bautista ang tagpong iyon nang sinabi ni Julian, Sr. na hindi rin daw siya masaya sa ”ganun” nila.
Napakalakas ng dating sa akin ng tagpong iyon. Isang mag-asawang nagsasama ng tahimik. Nagpapalaki ng mga anak. Sa isang gabi, sa isang paguusap. Nanganib na magwakas ang lahat sa isang hiwalayan. Ang naging solusyon? Mag-usap sila bilang mag-asawa. Dalas-dalasan. Yong usap na sinasabi nila ang kanilang iniisip o nararamdaman.
Biglang naisip ko: baka napapasobra na yata ang pagbabasa ko’t hindi ko na rin nakakausap ang asawa ko.
Curfew pagdating ng hatinggabi? Sa isla noon, nakahiga na ang mga tao pagdating ng takipsilim. Wala pang kuryente noon. Tanging mga gasera’t patundut lang ang nagbibigay liwanag sa mga kabahayan. Kung hindi ka rin lang pumapasok pa sa paaralan, ano naman ang gagawin mo kapag wala nang araw?
Ano nga ba ang nangyari sa Maynila noong panahon ng Martial Law ni Marcos?
Sa mga nabasa ko na at napanood, parang itong aklat na ito ni Lualhati Bautista ang pinakamahusay na paglalahad ng mga halimbawa ng mga pangyayari noong panahong iyon. Sinakop nito hindi lang ang level na pang-personal na pananaw kung hindi ang pang mas malawakang pang-pamilya, pambansa at internasyonal na perspektibo.
****SPOILER ALERT****
Si Amanda Bartolome ay malapit nang mag-singkuwenta. Siya ay isang simpleng maybahay ng kanyang kabiyak na inyenhero na si Julian, Sr. Sa simula ng kuwento, ang pagpasok ng dekada ’70, ang kanilang mga anak na sina Jules, Gani, Em, Julian, Jr. at Bingo ay mga bata pa. Matatapos ang kuwento sa pagkamatay ni Sen. Benigno Aquino (1983) at ang maliliit na bata ay malalaki na o di kaya’y patay na: Si Jules, matapos magkaasawa’t magkaanak ay nakulong dahil sa pagiging miyembro ng NPA ay muling namundok. Si Gani, matapos pumunta sa Amerika bilang US Navy at iwan ng asawa ay muling nag-asawa. Si Em ay naging manunulat at aktibo sa mga sulating pampulita. Si Julian, Jr. ay patay na matapos malulong sa droga at i-salvage ng militar at si Bingo na lang ang natitira sa poder ng mag-asawa.
****SPOILER ENDS****
Mahusay at matapang ang pagkakalahad ng kuwento. Para mo lang isang kaibigan (o Nanay, o Tita, o Lola) si Amanda Bartolome na nagtsi-tsika tungkol sa kung ano ang dinanas na pamilya nila noong mga panahong iyon. Hindi ito pagtuligsa sa mga mali ng Martial Law. Hindi nito sinasabing demonyo si Marcos o ang rehimen ng US-Marcos. Bagkus, ipinakita lang nito ang kung ano ang epekto ng mga polisiya ng rehimeng iyon an gang mga pagmamalabis ng militar upang masuportahan ang maganda sanang intensyon ng dating pangulo.
Ang pinakamahusay na bahagi ng nobela, sa aking palagay ay ang transpormasyon ng mga tauhan hindi lamang sa kamalayang pampulitika kung hindi sa mga pagbabago upang maiiyos ang kanilang mga relasyon at sariling pagkatao. Sa unang tinggin, ang masasabing sukdulan o climax ng nobela ay ang pagkamatay ni Julian, Jr. Pero sa akin, bilang isang may-asawa, ay ang paghahamon ng paghihiwalay ni Amanda kay Julian, Sr. Paanong ang isang simpleng maybahay na ni minsa’y hindi naman nagreklamo ay biglang makakaisip ng ganoon? Nguni’t pinalayog pa ni Bautista ang tagpong iyon nang sinabi ni Julian, Sr. na hindi rin daw siya masaya sa ”ganun” nila.
Napakalakas ng dating sa akin ng tagpong iyon. Isang mag-asawang nagsasama ng tahimik. Nagpapalaki ng mga anak. Sa isang gabi, sa isang paguusap. Nanganib na magwakas ang lahat sa isang hiwalayan. Ang naging solusyon? Mag-usap sila bilang mag-asawa. Dalas-dalasan. Yong usap na sinasabi nila ang kanilang iniisip o nararamdaman.
Biglang naisip ko: baka napapasobra na yata ang pagbabasa ko’t hindi ko na rin nakakausap ang asawa ko.
July 2, 2011
Madalas na nabanggit ang mga katagang "it's a man's world" sa akda, ngunit ganoon nga ba? Sa bandang huli'y binawi din ang mga katagang ito ng "...it's a woman's world, too." Ako ay naniniwala sa pagkakapantay-pantay ng mga kasarian. Ganon pa man, hindi ko maisantabi ang malinaw na malinaw na pangingibabaw ng kababaihan sa obrang ito ni Lualhati Bautista: Ina ang may-akda. Ina rin ang tagapagsalaysay ng kuwento ng kanyang mag-anak, sa gitna ng mga kasakitan ng Inang Bayan. Ina ng tahanan, Inang Bayan - parehong unti-unting namulat sa kalagayan ng kanilang kasarinlan.
Isa nga itong obrang maituturing, sa dami ng parangal na tinanggap, na kahalintulad na rin ng dami ng mga nadaanang pagsubok. Higit sa lahat, isa itong obra sapagkat may kapangyarihan itong magpamulat kundi man magpakilos o magpabago sa mambabasa. Hindi lamang isa o dalawang beses na nangilid ang aking luha, sa pakikisimpatya kay Amanda at sa bayan. Karapat-dapat nga lang na ito ay maging takdang babasahin sa ating mga paaralan.
Nabanggit ng may-akda ang mga alok na isalin sa ibang wika ang aklat na ito, ngunit hindi na sinabi kung ano ang kinahantungan ng mga mungkahing ito. Sana nga ay matuloy (kung hindi pa natutuloy), nang sa gayon ay hindi lamang tayong mga Pilipino ang makinabang sa walang-kakupasang kwentong ito.
Isa nga itong obrang maituturing, sa dami ng parangal na tinanggap, na kahalintulad na rin ng dami ng mga nadaanang pagsubok. Higit sa lahat, isa itong obra sapagkat may kapangyarihan itong magpamulat kundi man magpakilos o magpabago sa mambabasa. Hindi lamang isa o dalawang beses na nangilid ang aking luha, sa pakikisimpatya kay Amanda at sa bayan. Karapat-dapat nga lang na ito ay maging takdang babasahin sa ating mga paaralan.
Nabanggit ng may-akda ang mga alok na isalin sa ibang wika ang aklat na ito, ngunit hindi na sinabi kung ano ang kinahantungan ng mga mungkahing ito. Sana nga ay matuloy (kung hindi pa natutuloy), nang sa gayon ay hindi lamang tayong mga Pilipino ang makinabang sa walang-kakupasang kwentong ito.
October 22, 2023
Napatanong na lang talaga ako kung bakit after all the kademonyohang nangyari sa librong 'to dahil sa martial law, nagawa pa rin ng karamihan sa mga pinoy magluklok ng isa na namang Marcos. Putangina talaga!
Anyway, hindi lang tungkol sa Martial Law ang librong 'to, actually parang settings nga lang ang Martial Law at hindi ang main focus ng libro, dahil ang bida talaga dito ay si Amanda Bartolome at ang pamumukadkad nga isip niya sa kung ano nga ba ang gampanin at pagkatao niya bilang babae, ina, at asawa.
Nagustuhan ko kung paanong hindi in-your-face ang pagbibigay ng impormasyon about sa mga ganaps ng dekada 70, at kung paanong ang natural ng atake nito pagdating sa narration at dialogues!!!
Sabi ko habang nagbabasa, parang ito 'yung type ng libro na gaganapan ni Vilma Santos, and guess what, pag-search ko ng movie nito... SI VILMA NGA ANG BUMIDA!
Nagustuhan ko 'to. Gusto ko magsulat si Lualhati Bautista, at babasahin ko pa ang ibang mga libro niya. Sana ikaw rin. Hehe.
Anyway, hindi lang tungkol sa Martial Law ang librong 'to, actually parang settings nga lang ang Martial Law at hindi ang main focus ng libro, dahil ang bida talaga dito ay si Amanda Bartolome at ang pamumukadkad nga isip niya sa kung ano nga ba ang gampanin at pagkatao niya bilang babae, ina, at asawa.
Nagustuhan ko kung paanong hindi in-your-face ang pagbibigay ng impormasyon about sa mga ganaps ng dekada 70, at kung paanong ang natural ng atake nito pagdating sa narration at dialogues!!!
Sabi ko habang nagbabasa, parang ito 'yung type ng libro na gaganapan ni Vilma Santos, and guess what, pag-search ko ng movie nito... SI VILMA NGA ANG BUMIDA!
Nagustuhan ko 'to. Gusto ko magsulat si Lualhati Bautista, at babasahin ko pa ang ibang mga libro niya. Sana ikaw rin. Hehe.
May 6, 2013
In one of the darkest period of Philippine history where a dictator had led us and brought the government on corruption era; where political interest mattered more than the public welfare; where freedoms were suppressed; and where communist-led movements for ousting Marcos' administration had emerged; and where women were disregarded in the "men's world", have you ever wondered how a woman sees the society?
Portrayed in the Martial Law era, Lualhati Bautista had enveloped me the thoughts most of the women during that era had. In a feminist approach, Bautista had crafted a novel with the finest details Amanda, the protagonist, sees in the society.
Amanda as a wife had been portrayed by Bautista as nothing but a mere tool of her husband; voiceless; held to opine; and constricted by her husband's superiority. As a mother, she was portrayed nothing far from the usual caring mother. What was interesting was her role as an individual of the society.
First part of the novel she was shown as uninterested and not privy in the political situation that the country have been facing; her world revolves in her family.
On the later part of the story her character had matured thanks to Jules, her son, that let her see through the society. Being a member of a communist group, Jules had awakened Amanda to look on the current dictatorship of the government; he had made her skeptic on her belief that what the government do is for the betterment of the people and country itself.
The totality of the novel engaged on the political impediments Philippines had suffered during Martial law, family relations and the role of women in society.
Portrayed in the Martial Law era, Lualhati Bautista had enveloped me the thoughts most of the women during that era had. In a feminist approach, Bautista had crafted a novel with the finest details Amanda, the protagonist, sees in the society.
Amanda as a wife had been portrayed by Bautista as nothing but a mere tool of her husband; voiceless; held to opine; and constricted by her husband's superiority. As a mother, she was portrayed nothing far from the usual caring mother. What was interesting was her role as an individual of the society.
First part of the novel she was shown as uninterested and not privy in the political situation that the country have been facing; her world revolves in her family.
On the later part of the story her character had matured thanks to Jules, her son, that let her see through the society. Being a member of a communist group, Jules had awakened Amanda to look on the current dictatorship of the government; he had made her skeptic on her belief that what the government do is for the betterment of the people and country itself.
The totality of the novel engaged on the political impediments Philippines had suffered during Martial law, family relations and the role of women in society.
December 10, 2014
This historical fiction novel by Lualhati Bautista focuses on the struggles of a middle-class family against the age of repression of human rights brought on by the Martial Law. The story was told in the point of view of Amanda Bartolome, a wife with a chauvinist husband and a mother to five sons. In the first chapters of the book, we see Amanda as a submissive wife wondering about her stagnant growth as a person. She realized that in her life as a mother and a wife, she never had another chance to be what she really wanted to be in the society. She started to question her liberties and the growing injustice present in her family. As the Philippines was slowly ravaged by political killings, harsh military procedures, and general mass unrest, Amanda went through many moments of hopelessness and despair because of these very events that drastically affected her family--as her sons were swept away by the violence and chaos occurring all over the place. But despite all odds, she survived, and she continued not just to adhere to her newfound principles, but to also voice them out loud.
The plot initially concerning just the household problems of a mother and wife became amplified by its political elements. The Bartolome family became a representation of the Philippines as a whole, and Amanda's development from being docile and superficial to being liberal and resilient perfectly mirrored the rise of the masses against the tyrants. This novel is still relevant today: despite the time change, the Philippines is still beset by oppressive people and their wickedness. It's absolutely up to us, the citizens, what to do about it. In that note, "Dekada '70" is truly a remarkable novel highlighting the importance of compassion, fortitude, equality, and most especially, the ability to speak and fight for what one think is right.
The plot initially concerning just the household problems of a mother and wife became amplified by its political elements. The Bartolome family became a representation of the Philippines as a whole, and Amanda's development from being docile and superficial to being liberal and resilient perfectly mirrored the rise of the masses against the tyrants. This novel is still relevant today: despite the time change, the Philippines is still beset by oppressive people and their wickedness. It's absolutely up to us, the citizens, what to do about it. In that note, "Dekada '70" is truly a remarkable novel highlighting the importance of compassion, fortitude, equality, and most especially, the ability to speak and fight for what one think is right.
May 26, 2021
I read this book back in 2019 and as a student activist now, this book heavily influenced my political and social awareness. (I know Lualhati Bautista said negative things about activists in her social media but we cannot erase the fact that her books made a great impact to many readers like me.)
Dekada ‘70 is a political novel that follows the life of a filipino family during the time of Marcos’ Martial Law. We also follow Amanda Bartolome’s journey to her social and political awakening as a mother, wife, woman and a filipino. It depicted here the many suffering of women back in the days, who were being restricted and boxed into motherhood. However, this book is not just about Amanda and her family, it also showed here the suffering of the masses in the hands of a dictator (Marcos) under martial law and how it affected the Bartolome’s.
This book made me understand how hard it must have been as a woman, as an activist and as a filipino fighting for freedom to live in this time period. Society is plagued by patriarchal paradigms and the country being under the Marcos regime that aggravates and deepens the oppression and exploitation of the people by the evil triad of imperialism, feudalism and bureaucrat capitalism.
The events in this book are still significant as of today, activists being red tagged and killed left and right in our country and even branded as terrorists by the state. I recommend reading this novel if you want an easy read to understand this period in our history. Personally, as I have said in the beginning, this book somewhat played an important role in my awareness that pushed me to be a student activist that serves the masses.
September 4, 2008
Ang aklat na ito ay kalimitang ipinapabasa sa mga mag-aaral ng Pre-Law pero sa aking palagay ito ay nararapat mabasa ng bawat Pilipino. Ito ay makatotoong paglalarawan ng buhay sa nakaraang Martial Law at rehimeng Marcos. Kung saan ang babae ay walang layang mag-isip o gumawa ng kahit ano para sa sarili niya.... kung saan ang pagbibigay ng sariling pananaw ay maaring magresulta sa iyong pagkadakip, pagka-salvage o pagkawala na hindi na nakikita ng pamilya at kaibigan... na ang sa salitang Metrocom at PC ay sapat na para manginig sa takot ang mga nakakarinig.
Hindi ko naabutan ang kasagsagan ng panahong ito (maliban na lamang sa pagkabaril na kay Ninoy) ngunit nakapagbukas ito sa aking isipan na pahalagahan ang mga bagay na natatamasa ko ngayon. Mga bagay na pilit ipinaglalaban ng ating mga kapatid ng mga panahong iyon.
Hindi ko naabutan ang kasagsagan ng panahong ito (maliban na lamang sa pagkabaril na kay Ninoy) ngunit nakapagbukas ito sa aking isipan na pahalagahan ang mga bagay na natatamasa ko ngayon. Mga bagay na pilit ipinaglalaban ng ating mga kapatid ng mga panahong iyon.
April 16, 2022
Mahusay na pagkakasulat. I love how it doesn't deliver the atrocities of the Marcoses on a condescending and essay-type way. I like how it started from a victim of misinformation developing to sociopolitcally aware characters. The development of the misogynistic tendencies of some of the characters is just chef's kiss.
August 11, 2025
super solid!! i can't believe this was written in 1988... luabau won't win 5 palanca awards if this is not good. this is a must read for everyone, an eye opener
April 13, 2024
English Translation at the end!
Matagal na noong huli kong napanood yung pelikula nito. Sinimulan ko ang nobelang ito sa akalang ito ay tungkol lamang sa Batas Militar. Hindi ko akalaing mayroong mga temang peminismo kay Amanda Bartolome, pagpapakita ng pagkahiwalay ng masa at ng mga burgis, at sining bilang paraang pambabatikos. Oo, siyempre, tungkol nga naman ito sa Batas Militar, pero mas marami pang aspeto ng buhay ang makikita sa nobelang ito.
Si Amanda Bartolome ay isang babae (nakakagulat, no) Asawa, ina at tagapag-alaga. Ang librong ito ay nasa kaniyang point of view. Nababasa natin ang kaniyang isipan at mga kagustuhan. Masasabi kong iba ang tinatawag na voice ng nobelang ito. Matutulad ko siya sa isang diary or journal sa kung paano nailalatag ang mga isip at damdamin ni Amanda.
Si Amanda ay pinapalibutan ng mga lalaki (sana ol eme), limang anak, lahat lalaki. “It’s a man’s world” nga naman sabi ni Julian. Pero makikita rin natin ang dismaya ni Amanda sa buhay na ito. Bawal siya magtrabaho sabi ni Julian. Hindi nasasatisfy ang mga gusto ni Amanda (pisikal at emosyonal). Minsan pa nga’y nakakalimutan ng mga tao na nakakaranas din ng sexual desire ang mga kababaihan (kaparehas na tema sa “Bata, Bata, Pa’no Ka Ginawa?”) Nararamdaman niyang nawawalan na siya ng pagkatao. Isa na lang siyang asawa at ina sa isipan niya. Pero ang pananaw niya rito’y magbabago.
Isa sa mga paborito kong parte ng nobela ay ang pag-usap ni Amanda, sa isipan niya, sa Diyos. Nandito rin ang isa saking pinaka paboritong quote sa nobela: ”Mamamatay ako’t iiwan ko ang mga lalaking ito… ‘yon ang umpisa. Sa’n ako pupunta pagkagaling dito, sa ‘taas o sa ibaba? Hindi ko sigurado. Ang sigurado ko lang, ke sa ‘taas ke sa ‘baba, magrereport ako sa isa na namang lalaki.” Dito natin makikita ang talunan ni Amanda at ng Diyos. Makikita ang lahat ng problema ni Amanda sa mundo bilang babae, bilang ina, bilang asawa.
Ang nagustuhan ko sa istorya ni Amanda ay hindi natupad mga pangarap niya. Wait lang, hear me out hehe. Sa simula ng nobela gusto niya magtrabaho, magkaroon ng buhay na hiwalay sa asawa’t anak, magkaroon ng ambag sa lipunan. Ngunit sa huli ng nobela, wala namang nagbago. Ganon parin siya, asawa ni Julian, ina ng limang anak (well…apat pero hehe charot). Ang nagbago lang sa kaniya is ito’y pinili niya. Pinili niyang manatiling asawa ni Julian, pinili niyang maiwan sa bahay upang maging tagapag-alaga, pinili niya maging ina. Makikita sa nobela ang iba pang mga babaeng karakter na sinasalamin ang mga kagustuhan ni Amanda. Si Evelyn at si Mara. Mga babaeng nagtratrabaho at lumalaban.
Wala namang mali sa pamumuhay ni Amanda bilang housewife. Ang mali ay ang pagpilit sa lahat ng babae sa ganitong kapalaran at tinatanggalan sila ng karapatang mamili ng pansariling pamumuhay. Ibang lakas ang pakikisama sa kilusan, ibang lakas ang paglaban para sa karapatang pantao, ibang lakas ang magtrabaho para sa sarili, at ibang lakas rin ang maging ina.
Siyempre hindi ko nakalimutan ang Batas Militar. Nasa pangalan na eh charot
Masasabi ko ring coming-of-age story itong nobela. Ang coming-of-age ay hindi lang para sa mga kabataan, tungkol rin ito sa kahit anong pagbabago ng pananaw at growth, maski matanda o bata pa man. Isa itong coming-of-age story ni Amanda at ni Julian, na mula sa pagiging burgis na pamilyang walang pakialam sa nangyayari, ay naging mulat dahil sa impluwensya ng mga anak.
Lagi ring binabanggit ang socioeconomic divide sa nobela. Pinapamukha talaga kina Amanda at Julian na kaya simple’t maayos ang buhay kasi burgis sila, may kaya, mayaman. Ngunit sa kabilang panig, naghihirap ang masa, mga manggagawa, mga estudyante, mga mahihirap. Hindi rin nagtagal at hindi na rin sila mapoprotektahan ng pera mula sa basurang pamamalakad at ugali ng militar.
Ang nobelang ito’y ay masasabi ko ring isang retrato sa isa sa pinakamadilim na panahon sa kasaysayan ng Pilipinas. Malaking parte ng nobelang ito ay isinasalaysay lang ni Amanda ang mga nangyayari noon: ang mga pangyayaring kaapihan at abuso na nasasalamin ng kasalukuyang Pilipinas. Marcos ulit ang nasa trono. Ito na ba yung Deja Vu? Eme. Hindi na mauulit, hindi na malilimutan.
(Add ko lang na nagustuhan ko rin na ang pinaka-unang paraan ng paglalaban ni Jules at Em ay gamit ang sining, musika at panitikan)
Overall, maganda. Eme. Nagsisisi ako na ngayon ko lang binasa. Mga ilang buwan rin nasa shelf ko lang ito, hindi pinapansin. Dapat nga’y gawin itong necessary readings para sa Filipino subject, bilang classic; katulad ng Noli at El Fili. Hindi ko alam sa iba pero samin dati pinapanood lang yung pelikula. Hindi ko na gaano maalala yung pelikula kaya hindi ko masasabi ang mga pinagkaiba nila.
English Translation kasi bida-bida ako:
It’s been a while since I last saw the film adaptation of this book. I went into it with the impression that it’s just a book about the Martial Law. I didn’t expect the themes of feminism through Amanda Bustamante, socioeconomic divide, and art as political critique. Yes, this book IS about Martial Law, but it contains different aspects of life in that time period.
Amanda Bartolome is a woman (shocking). A wife, a mother, and a caretaker. This book is told from her point of view. We see her inner thoughts and desires. I would also say that the book uses a different voice. I would compare it to a diary or journal with how Amanda’s thoughts and feelings are freely shown.
She is surrounded by men (me when), 5 sons. “It’s a man’s world.” But we also see his dissatisfaction for this kind of life. She’s forbidden from working by Julian. She’s never satisfied (physically and emotionally). Sometimes people forget the women have sexual tendencies and desires too (similar to “Bata, Bata, Pa’no Ka Ginawa?”) She feels as if her humanity is gone. In her mind, she’s nothing more than a wife and a mother. But her views will change later on.
One of my favorite parts is when Amanda imagines a conversation between her and God himself. It has one of my favorite quotes (I’m not a credible translator so bear with me): “I will die and leave these men behind… that’s the start. Where will ago from here, up or down? I’m not sure. What I am sure about is that, up or down, I’ll have to report to another man.” Here we see Amanda argue with God. She explains all her problems with the world as a woman, as a mother, as a wife.
What I liked about her story is that her dreams don’t come true. Hear me out. At the start of the novel, she dreams of working and having another life outside of her husband and sons—to have a contribution to society. However, by the end of the novel, nothing changes. She still Julian’s wife, mother of 5 sons (well…4 sons). What changes is that she CHOSE this life. She chose to stay with Julian, she chose to remain at home and be a caretaker, she chose to remain as a mother. We see other women in the novel who reflect Amanda’s dreams. Evelyn and Mara. Women who work and fight.
There is nothing wrong with being a housewife. What’s wrong is forcing women to this fate and denying them of their right to choose their lives. It’s a different kind of strength to fight for a revolution, a different strength to fight for human rights, a different strength to work for yourself, and a different strength to be a mother.
Of course, I didn’t forget about the Martial Law. It’s literally in the name.
I would also call this novel a coming-of-age novel. Coming-of-age is not just for adolescents, but for anyone who experiences personal grow and a change in perspective, young or old. It’s Amanda and Julian’s coming-of-age story, from being a rich family indifferent to what’s happening, to being aware because of their children’s influence.
The topic of the socioeconomic divide is also frequently mentioned. The novel emphasizes the idea that the Bartolome family is leading a care-free and easy life because they are rich. In contrast, the common folk, the working class, the students, the poor, they are all suffering. Eventually, they realize that their class and money won’t shield them from the corrupt practices and injustice of the military.
This novel is also a snapshot of one of the darkest parts of Philippine history. Large sections of this novel only involve Amanda describing the events at the time. Abuse and oppression that mirror the current state of the Philippines. Marcos at the throne again? Is this Deja Vu? JK. Never forget.
(I wanna add that I really liked how the first forms of political critique used by Julian and Emmanuel were through the arts: music and literature.)
Overall, it’s amazing. I regret not reading it sooner; the book rotted in my shelf for months. This really should be a necessary reading for the Filipino subject as a classic novel similar to Noli and El Fili. I don’t know about everyone else but in my school we were only tasked to read the film adaptation. I don’t remember it that much so I can’t really explain their differences.
Matagal na noong huli kong napanood yung pelikula nito. Sinimulan ko ang nobelang ito sa akalang ito ay tungkol lamang sa Batas Militar. Hindi ko akalaing mayroong mga temang peminismo kay Amanda Bartolome, pagpapakita ng pagkahiwalay ng masa at ng mga burgis, at sining bilang paraang pambabatikos. Oo, siyempre, tungkol nga naman ito sa Batas Militar, pero mas marami pang aspeto ng buhay ang makikita sa nobelang ito.
Si Amanda Bartolome ay isang babae (nakakagulat, no) Asawa, ina at tagapag-alaga. Ang librong ito ay nasa kaniyang point of view. Nababasa natin ang kaniyang isipan at mga kagustuhan. Masasabi kong iba ang tinatawag na voice ng nobelang ito. Matutulad ko siya sa isang diary or journal sa kung paano nailalatag ang mga isip at damdamin ni Amanda.
Si Amanda ay pinapalibutan ng mga lalaki (sana ol eme), limang anak, lahat lalaki. “It’s a man’s world” nga naman sabi ni Julian. Pero makikita rin natin ang dismaya ni Amanda sa buhay na ito. Bawal siya magtrabaho sabi ni Julian. Hindi nasasatisfy ang mga gusto ni Amanda (pisikal at emosyonal). Minsan pa nga’y nakakalimutan ng mga tao na nakakaranas din ng sexual desire ang mga kababaihan (kaparehas na tema sa “Bata, Bata, Pa’no Ka Ginawa?”) Nararamdaman niyang nawawalan na siya ng pagkatao. Isa na lang siyang asawa at ina sa isipan niya. Pero ang pananaw niya rito’y magbabago.
Isa sa mga paborito kong parte ng nobela ay ang pag-usap ni Amanda, sa isipan niya, sa Diyos. Nandito rin ang isa saking pinaka paboritong quote sa nobela: ”Mamamatay ako’t iiwan ko ang mga lalaking ito… ‘yon ang umpisa. Sa’n ako pupunta pagkagaling dito, sa ‘taas o sa ibaba? Hindi ko sigurado. Ang sigurado ko lang, ke sa ‘taas ke sa ‘baba, magrereport ako sa isa na namang lalaki.” Dito natin makikita ang talunan ni Amanda at ng Diyos. Makikita ang lahat ng problema ni Amanda sa mundo bilang babae, bilang ina, bilang asawa.
Ang nagustuhan ko sa istorya ni Amanda ay hindi natupad mga pangarap niya. Wait lang, hear me out hehe. Sa simula ng nobela gusto niya magtrabaho, magkaroon ng buhay na hiwalay sa asawa’t anak, magkaroon ng ambag sa lipunan. Ngunit sa huli ng nobela, wala namang nagbago. Ganon parin siya, asawa ni Julian, ina ng limang anak (well…apat pero hehe charot). Ang nagbago lang sa kaniya is ito’y pinili niya. Pinili niyang manatiling asawa ni Julian, pinili niyang maiwan sa bahay upang maging tagapag-alaga, pinili niya maging ina. Makikita sa nobela ang iba pang mga babaeng karakter na sinasalamin ang mga kagustuhan ni Amanda. Si Evelyn at si Mara. Mga babaeng nagtratrabaho at lumalaban.
Wala namang mali sa pamumuhay ni Amanda bilang housewife. Ang mali ay ang pagpilit sa lahat ng babae sa ganitong kapalaran at tinatanggalan sila ng karapatang mamili ng pansariling pamumuhay. Ibang lakas ang pakikisama sa kilusan, ibang lakas ang paglaban para sa karapatang pantao, ibang lakas ang magtrabaho para sa sarili, at ibang lakas rin ang maging ina.
Siyempre hindi ko nakalimutan ang Batas Militar. Nasa pangalan na eh charot
Masasabi ko ring coming-of-age story itong nobela. Ang coming-of-age ay hindi lang para sa mga kabataan, tungkol rin ito sa kahit anong pagbabago ng pananaw at growth, maski matanda o bata pa man. Isa itong coming-of-age story ni Amanda at ni Julian, na mula sa pagiging burgis na pamilyang walang pakialam sa nangyayari, ay naging mulat dahil sa impluwensya ng mga anak.
Lagi ring binabanggit ang socioeconomic divide sa nobela. Pinapamukha talaga kina Amanda at Julian na kaya simple’t maayos ang buhay kasi burgis sila, may kaya, mayaman. Ngunit sa kabilang panig, naghihirap ang masa, mga manggagawa, mga estudyante, mga mahihirap. Hindi rin nagtagal at hindi na rin sila mapoprotektahan ng pera mula sa basurang pamamalakad at ugali ng militar.
Ang nobelang ito’y ay masasabi ko ring isang retrato sa isa sa pinakamadilim na panahon sa kasaysayan ng Pilipinas. Malaking parte ng nobelang ito ay isinasalaysay lang ni Amanda ang mga nangyayari noon: ang mga pangyayaring kaapihan at abuso na nasasalamin ng kasalukuyang Pilipinas. Marcos ulit ang nasa trono. Ito na ba yung Deja Vu? Eme. Hindi na mauulit, hindi na malilimutan.
(Add ko lang na nagustuhan ko rin na ang pinaka-unang paraan ng paglalaban ni Jules at Em ay gamit ang sining, musika at panitikan)
Overall, maganda. Eme. Nagsisisi ako na ngayon ko lang binasa. Mga ilang buwan rin nasa shelf ko lang ito, hindi pinapansin. Dapat nga’y gawin itong necessary readings para sa Filipino subject, bilang classic; katulad ng Noli at El Fili. Hindi ko alam sa iba pero samin dati pinapanood lang yung pelikula. Hindi ko na gaano maalala yung pelikula kaya hindi ko masasabi ang mga pinagkaiba nila.
English Translation kasi bida-bida ako:
It’s been a while since I last saw the film adaptation of this book. I went into it with the impression that it’s just a book about the Martial Law. I didn’t expect the themes of feminism through Amanda Bustamante, socioeconomic divide, and art as political critique. Yes, this book IS about Martial Law, but it contains different aspects of life in that time period.
Amanda Bartolome is a woman (shocking). A wife, a mother, and a caretaker. This book is told from her point of view. We see her inner thoughts and desires. I would also say that the book uses a different voice. I would compare it to a diary or journal with how Amanda’s thoughts and feelings are freely shown.
She is surrounded by men (me when), 5 sons. “It’s a man’s world.” But we also see his dissatisfaction for this kind of life. She’s forbidden from working by Julian. She’s never satisfied (physically and emotionally). Sometimes people forget the women have sexual tendencies and desires too (similar to “Bata, Bata, Pa’no Ka Ginawa?”) She feels as if her humanity is gone. In her mind, she’s nothing more than a wife and a mother. But her views will change later on.
One of my favorite parts is when Amanda imagines a conversation between her and God himself. It has one of my favorite quotes (I’m not a credible translator so bear with me): “I will die and leave these men behind… that’s the start. Where will ago from here, up or down? I’m not sure. What I am sure about is that, up or down, I’ll have to report to another man.” Here we see Amanda argue with God. She explains all her problems with the world as a woman, as a mother, as a wife.
What I liked about her story is that her dreams don’t come true. Hear me out. At the start of the novel, she dreams of working and having another life outside of her husband and sons—to have a contribution to society. However, by the end of the novel, nothing changes. She still Julian’s wife, mother of 5 sons (well…4 sons). What changes is that she CHOSE this life. She chose to stay with Julian, she chose to remain at home and be a caretaker, she chose to remain as a mother. We see other women in the novel who reflect Amanda’s dreams. Evelyn and Mara. Women who work and fight.
There is nothing wrong with being a housewife. What’s wrong is forcing women to this fate and denying them of their right to choose their lives. It’s a different kind of strength to fight for a revolution, a different strength to fight for human rights, a different strength to work for yourself, and a different strength to be a mother.
Of course, I didn’t forget about the Martial Law. It’s literally in the name.
I would also call this novel a coming-of-age novel. Coming-of-age is not just for adolescents, but for anyone who experiences personal grow and a change in perspective, young or old. It’s Amanda and Julian’s coming-of-age story, from being a rich family indifferent to what’s happening, to being aware because of their children’s influence.
The topic of the socioeconomic divide is also frequently mentioned. The novel emphasizes the idea that the Bartolome family is leading a care-free and easy life because they are rich. In contrast, the common folk, the working class, the students, the poor, they are all suffering. Eventually, they realize that their class and money won’t shield them from the corrupt practices and injustice of the military.
This novel is also a snapshot of one of the darkest parts of Philippine history. Large sections of this novel only involve Amanda describing the events at the time. Abuse and oppression that mirror the current state of the Philippines. Marcos at the throne again? Is this Deja Vu? JK. Never forget.
(I wanna add that I really liked how the first forms of political critique used by Julian and Emmanuel were through the arts: music and literature.)
Overall, it’s amazing. I regret not reading it sooner; the book rotted in my shelf for months. This really should be a necessary reading for the Filipino subject as a classic novel similar to Noli and El Fili. I don’t know about everyone else but in my school we were only tasked to read the film adaptation. I don’t remember it that much so I can’t really explain their differences.
August 20, 2016
Minsan lang kung magbigay ako ng 5 stars sa isang libro. Minsan lang din naman kung makabasa ako ng librong talagang deserving ng 5 stars. Laging may kulang, o may sobra. Pero dito sa nobelang ito ni Lualhati Bautista, tamang tama. Nasa tren ako nung huli kong sinara ang pabalat nito, at tanda ko pag-unat ng ulo ko mula sa pagkakayuko sa libro, wala akong masabi, at walang pumapasok sa isip. Tubig kung pakuluin ni Lualhati ang bawat tagpo sa libro. Simula sa pagiging ina ni Amanda Bartolome, sa mga kapangahasang naganap noong mga taon ng dekada 1970, at ang kaniyang unti-unting pagkamulat sa hungkag na kalagayan niya bilang babae, bilang Pilipino, at, higit sa lahat, bilang tao.
Librong dapat pa rin basahin ng lahat ng taong may pakialam sa kalagayan ng kaniyang bansa. Lalo na ng mga nasa puwesto, at ng mga loyalistang hanggang ngayon ipinipilit pa rin ang kahunghangang maayos daw ang panahon noong sumailalim tayo sa batas militar ni Ferdinand Marcos. Paano tayo nagkaroon ng limpak-limpak na utang sa IMF at World Bank? Bakit naghihirap ngayon ang Pilipinas? Bakit noong 1945 dalawang piso lamang halos ang halaga ng isang dolyar, at ngayong 2016 ay halos singkuwenta pesos na? Paano tayo bumagsak, at bakit atrasado pa rin ang Pilipinas hanggang kasalukuyan?
Hindi rin matatawaran ang pagsisiwalat ni Bautista ng mga isyu patungkol sa mababang katayuan ng kababaihan sa patriyarkal, piyudal, at materyalistikong lipunang ating ginagalawan. 'Ika nga ng isang tauhan sa nobela, "It's a man's world." Paano na'ng mga babae? Hindi ba't may karapatan din sila sa mundo?
Simple ang wikang gamit ni Bautista sa librong ito. English-Tagalog, magaan, ngunit mabigat ang dala. Parang asidong tila tubig kung umagos, pero hayop kung manglapnos. Basahin at matuto.
Librong dapat pa rin basahin ng lahat ng taong may pakialam sa kalagayan ng kaniyang bansa. Lalo na ng mga nasa puwesto, at ng mga loyalistang hanggang ngayon ipinipilit pa rin ang kahunghangang maayos daw ang panahon noong sumailalim tayo sa batas militar ni Ferdinand Marcos. Paano tayo nagkaroon ng limpak-limpak na utang sa IMF at World Bank? Bakit naghihirap ngayon ang Pilipinas? Bakit noong 1945 dalawang piso lamang halos ang halaga ng isang dolyar, at ngayong 2016 ay halos singkuwenta pesos na? Paano tayo bumagsak, at bakit atrasado pa rin ang Pilipinas hanggang kasalukuyan?
Hindi rin matatawaran ang pagsisiwalat ni Bautista ng mga isyu patungkol sa mababang katayuan ng kababaihan sa patriyarkal, piyudal, at materyalistikong lipunang ating ginagalawan. 'Ika nga ng isang tauhan sa nobela, "It's a man's world." Paano na'ng mga babae? Hindi ba't may karapatan din sila sa mundo?
Simple ang wikang gamit ni Bautista sa librong ito. English-Tagalog, magaan, ngunit mabigat ang dala. Parang asidong tila tubig kung umagos, pero hayop kung manglapnos. Basahin at matuto.
December 13, 2024
This should be a required reading.
In contrast with the film adaptation, the topics of motherhood and womanhood was tackled more extensively in this book. Insightful, unflinching, informative.
I like how Ma'am Lualhati Bautista infuses the book with chapters that are basically a lesson 101 on Martial Law and the US-Marcos partnership, and the Marcos Years in general.
I'd give it a 6/5 if I could. I'm so glad to have finally read it but also quite miserable and enraged that some (many) societal issues (whether politics or feminism) discussed in the book is still relevant to the current day Philippines... Infuriated that even though over 3 decades has passed since the publication of this book, and 52 years since the start of the '70s, we're still having the same problems.
Anyway, A MUST READ!
Again, very glad to finally have been able to read this, more specially cuz it's Buwan ng Wika month 😊 #Wikathon
Check out my bookstagram 🦑
In contrast with the film adaptation, the topics of motherhood and womanhood was tackled more extensively in this book. Insightful, unflinching, informative.
I like how Ma'am Lualhati Bautista infuses the book with chapters that are basically a lesson 101 on Martial Law and the US-Marcos partnership, and the Marcos Years in general.
I'd give it a 6/5 if I could. I'm so glad to have finally read it but also quite miserable and enraged that some (many) societal issues (whether politics or feminism) discussed in the book is still relevant to the current day Philippines... Infuriated that even though over 3 decades has passed since the publication of this book, and 52 years since the start of the '70s, we're still having the same problems.
Anyway, A MUST READ!
Again, very glad to finally have been able to read this, more specially cuz it's Buwan ng Wika month 😊 #Wikathon
Check out my bookstagram 🦑
October 6, 2012
"Habang nakagapos sa kaapihan at kahirapan ang malaking bilang ng mamamayang Pilipino, hindi tayo malaya."
Matapos basahin ang Dekada, napagpasyahan ko na basahin pa ang iba pang libro ni Lualhati Bautista, gaya ng Bata, bata... at Desaparesidos. Natapos ko nang basahin ang Gapo.
Tahasang pagsusulat. Walang takot. Bulgar.
Habang binabasa ang libro, naiisip ko ang aking Ina. Ang pag-aaruga niya sa amin ng Kapatid ko. Kung ano na nga ba'ng gusto niyang gawin sa buhay bukod sa pag-iintindi sa amin ng kapatid ko.
Papanuorin ko rin ang Pelikula. Sana di ako maiyak. . .
Matapos basahin ang Dekada, napagpasyahan ko na basahin pa ang iba pang libro ni Lualhati Bautista, gaya ng Bata, bata... at Desaparesidos. Natapos ko nang basahin ang Gapo.
Tahasang pagsusulat. Walang takot. Bulgar.
Habang binabasa ang libro, naiisip ko ang aking Ina. Ang pag-aaruga niya sa amin ng Kapatid ko. Kung ano na nga ba'ng gusto niyang gawin sa buhay bukod sa pag-iintindi sa amin ng kapatid ko.
Papanuorin ko rin ang Pelikula. Sana di ako maiyak. . .
February 4, 2022
Of all the Lualhati Bautista novels I've read, her characters are always revolutionist mothers who are different from the usual mothers in the Philippines, except for Amanda Bartolome. Hindi siya pulitikal kung tutuusin. Normal na nanay siya na nagsisilbi sa asawa at nagaalaga ng anak. Pero habang lumalaki ang mga anak nya, napapansin nyang mas natututo siya sa kanila kesa ang kabaliktaran na mga anak dapat ang natututo sa kanya.
Makikita sa nobela ang pagkakaiba ng dalawang henerasyon, in simple terms ang henerasyon ng magulang at henerasyon ng anak. Lagi naman tong nakikita bawat panahon pero ang pagkakaiba talaga nito ay yung magulang ang natututo sa mga anak. Open si Amanda sa kalagayan at ginagawa ng mga anak nya kaya kung sa simula'y hindi siya "mulat" pero pagdating sa huli'y nagising na rin siya. We all know what happened during Martial Law (except for a few *wink*) so I didn't really focus much on the history but more on the characters, which I think is what the author wanted...
Indeed a very Filipino novel. Medyo refreshing makabasa ng magulang Pilipino na open makinig sa mga anak nila hahaha.
Makikita sa nobela ang pagkakaiba ng dalawang henerasyon, in simple terms ang henerasyon ng magulang at henerasyon ng anak. Lagi naman tong nakikita bawat panahon pero ang pagkakaiba talaga nito ay yung magulang ang natututo sa mga anak. Open si Amanda sa kalagayan at ginagawa ng mga anak nya kaya kung sa simula'y hindi siya "mulat" pero pagdating sa huli'y nagising na rin siya. We all know what happened during Martial Law (except for a few *wink*) so I didn't really focus much on the history but more on the characters, which I think is what the author wanted...
Indeed a very Filipino novel. Medyo refreshing makabasa ng magulang Pilipino na open makinig sa mga anak nila hahaha.
February 18, 2024
Nakakalungkot dahil ang daming pagkakapareho ng mga pangyayari sa libro na ito at sa nangyayari sa Pilipinas ngayon. Ngunit itinuro rin ng librong ito na lahat tayo'y may magagawa upang tumulong, maliit man 'yan o malaki. Kaya isang pag-asa ang iniwan nito sa akin, pag-asang makakamit din ng mga Pilipino ang tunay na kalayaan.
November 24, 2025
Ich habe dieses Rezensionsexemplar auf Netgalley angefragt, weil der Orlanda Verlag für mich ein Garant für relevante feministische Literatur ist und leider im Meer der Neuerscheinungen oft untergeht. "Die 70er" von Lualhati Bautista ist ein feministischer Klassiker der Philippinen, der die politischen und gesellschaftlichen Umbrüche der 1970er Jahre aus der Perspektive einer Mutter erzählt. Amanda Bartolome reflektiert über Familie, Macht, Gewalt und die Rolle der Frau in einer Gesellschaft unter Kriegsrecht. Das macht den Roman zu einem wichtigen Zeitzeugnis.
Der Stil war für mich zunächst gewöhnungsbedürftig. Annette Hug hat die Umgangssprache des Originals (Tagalog) und die Anglizismen ins Deutsche übertragen, was ich grundsätzlich spannend finde, aber nicht immer als gelungen empfand. Manche Phrasen rufen im Deutschen andere Assoziationen hervor, die vermutlich im Original nicht beabsichtigt waren. Trotzdem lohnt es sich, sich darauf einzulassen, denn die klare und kraftvolle Stimme der Autorin bleibt spürbar.
Was mich beeindruckt hat: Die Vielschichtigkeit der Themen von familiären Konflikten über politische Gewalt bis hin zu feministischen Fragen und die Art, wie Amanda versucht, die Widersprüche ihres Lebens zu verstehen. Dieses Buch ist nicht nur Literatur, sondern ein Stück Geschichte, das zum Nachdenken anregt.
Der Stil war für mich zunächst gewöhnungsbedürftig. Annette Hug hat die Umgangssprache des Originals (Tagalog) und die Anglizismen ins Deutsche übertragen, was ich grundsätzlich spannend finde, aber nicht immer als gelungen empfand. Manche Phrasen rufen im Deutschen andere Assoziationen hervor, die vermutlich im Original nicht beabsichtigt waren. Trotzdem lohnt es sich, sich darauf einzulassen, denn die klare und kraftvolle Stimme der Autorin bleibt spürbar.
Was mich beeindruckt hat: Die Vielschichtigkeit der Themen von familiären Konflikten über politische Gewalt bis hin zu feministischen Fragen und die Art, wie Amanda versucht, die Widersprüche ihres Lebens zu verstehen. Dieses Buch ist nicht nur Literatur, sondern ein Stück Geschichte, das zum Nachdenken anregt.
June 17, 2022
Putangina nilang lahaaaaaaaaaaaaaatttttttttttttttttttt
June 29, 2022
“Ang payapang pampang ay para lang sa mga pangahas na sasalunga sa alimpuyo ng mga alon sa panahon ng unos.
- isang bilanggong pulitikal”
- isang bilanggong pulitikal”
June 15, 2025
isa ito sa pinaka-importanteng aklat na mayroon ako ngayon sa buhay ko. mayroong ako bago ko ito basahin, at mayroong ako pagkatapos.
September 10, 2007
I had to read "Dekada '70" back in college as an assignment, but thankfully, it turned out to be a good read...The book, I believe, gives good insights to the perils of martial law...But more importantly, I think the book tells more of a woman's "enlightenment" and journey to "self-empowerment"...
On a personal note, I remember lending it to my mom. When she returned it to me, she said the book made her paranoid a couple of hours after having read it. Apparently, she was on duty when went through the book (she was alone, too), and she said she became somewhat scared for her children. You see, "Dekada '70" is also a story of a mother of five young sons (her name is Amanda Bartolome). As a mother, Amanda experienced a lot of gruelling and tumultuous moments involving her sons. Thus, Amanda had to learn how to cope with changes not only within her family but changes in the society they are living in and how it affected her family...
On a personal note, I remember lending it to my mom. When she returned it to me, she said the book made her paranoid a couple of hours after having read it. Apparently, she was on duty when went through the book (she was alone, too), and she said she became somewhat scared for her children. You see, "Dekada '70" is also a story of a mother of five young sons (her name is Amanda Bartolome). As a mother, Amanda experienced a lot of gruelling and tumultuous moments involving her sons. Thus, Amanda had to learn how to cope with changes not only within her family but changes in the society they are living in and how it affected her family...
July 11, 2022
Grabe 'to. Hindi ko lubos maisip kung anong mga salita ang dapat gamitin para sa review ko rito. Hindi naman siya tipo ng libro na mamamangha ka sa sobrang ganda ng pagkakasulat pero grabe, sobrang malaman siya. Akala ko nung unang basa ko (~10 years ago) ang dami kong natutunan, pero hindi pa pala. Iba na yung perspective ng pagbasa ko ngayon at MAS MARAMI pa akong natutunan.
Hindi ko talaga alam sasabihin ko. Hahaha. Kasi nakikita ko sarili ko kay Amanda, kay Jules, kay Em, pati kay Julian na rin.
May part na ang hopeful ng ending, pero pagkasara ko ng libro (at habang nagbabasa), napaisip talaga ako... hindi ba ito rin ang mga nangyayari ngayon? AY! AMBOT. Kailangan ko ng kausap, yung maiintindihan yung frustration ko about this book. Send help.
4.5/5
Hindi ko talaga alam sasabihin ko. Hahaha. Kasi nakikita ko sarili ko kay Amanda, kay Jules, kay Em, pati kay Julian na rin.
May part na ang hopeful ng ending, pero pagkasara ko ng libro (at habang nagbabasa), napaisip talaga ako... hindi ba ito rin ang mga nangyayari ngayon? AY! AMBOT. Kailangan ko ng kausap, yung maiintindihan yung frustration ko about this book. Send help.
4.5/5
March 14, 2021
Dekada '70, considering the time it was written and published, is indeed mapangahas. The characters did have a realistic personality, especially in portraying the boomer generation. Lualhati's fight for women's right was evolutionary and courageous especially since the 60s, 70s, and 80s were decades when the Philippines was strictly modelled to the patriarchal paradigm. I applaud Miss Lualhati for that.
However, since there was not a concrete rule back then for Filipino grammar, there were some words that would seem erroneous in today's standards. There were also some typographical errors that can be seen in the book. I wish they would try to re-edit this book since it's one of the most celebrated Filipino classic.
However, since there was not a concrete rule back then for Filipino grammar, there were some words that would seem erroneous in today's standards. There were also some typographical errors that can be seen in the book. I wish they would try to re-edit this book since it's one of the most celebrated Filipino classic.
January 14, 2015
I chose this book to read for our Tagalog book review in our Filipino subject. I was a bit hesitant on reading this mainly because I'm more comfortable reading English novels....but this book, I swear.. was surprisingly (not just good but) great. I really did enjoy it and understood more about Philippines' history and how the right ones are oppressed, and the women, while they play a GREAT role in the community, is usually treated like a servant.
All in all, this book is really great. It captured a lot of things that happen in a common household not just during the '70s but also nowadays.
I HIGHLY recommend it to anyone who can understand Tagalog.
All in all, this book is really great. It captured a lot of things that happen in a common household not just during the '70s but also nowadays.
I HIGHLY recommend it to anyone who can understand Tagalog.
March 30, 2022
napakaganda ng librong ito. saktong sakto sa kahit anong panahon. saktong sakto sa mga taong komento nang komento sa mga nakikibaka’t mga aktibista ngunit hindi naman nila naiintindihan at hindi pinipiling intindihin kung ano ang mga ipinaglalaban ng mga nakikibaka.
muling nabuksan ang aking puso at isipan na ialay ang sarili para sa bayan. dagdag na lang sa iskor (kung iniiskoran man) ang paggamit ng ingles sa ilang parte ng libro. tipikal na depiksyon ng isag pinoy household.
at muli, wag sana nating kalilimutan,
Marcos. Hitler.
Diktador. Tuta.
muling nabuksan ang aking puso at isipan na ialay ang sarili para sa bayan. dagdag na lang sa iskor (kung iniiskoran man) ang paggamit ng ingles sa ilang parte ng libro. tipikal na depiksyon ng isag pinoy household.
at muli, wag sana nating kalilimutan,
Marcos. Hitler.
Diktador. Tuta.
April 22, 2012
I like the simplicity of this book. This is very accessible to any reader. I love the way it is so short and yet full of startling and sometimes unsettling scenes. I learned a lot of how things used to be when Martial Law was implemented. Besides, I do admire this great writers works. L love the succinct way of her storytelling, but the impact it gives are very good.
March 25, 2009
endless struggle.
woman's oppression in the society, dilemma of teenagers trying to prove that they have something to say, tyranny of the fathers at home. girl power...
woman's oppression in the society, dilemma of teenagers trying to prove that they have something to say, tyranny of the fathers at home. girl power...
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