I first read Manuel Arguilla’s ‘How My Brother Leon Brought Home a Wife’ (which is perhaps his most famous work). I read ‘Midsummer’ next, the second most renowned work. Both are love stories. The romantic Manuel Arguilla created characters with the ideal physical features, “The underpart of her arm is white and smooth” the manong in ‘Midsummer’ says. In ‘Heat,’ Mero’s biceps “were bigger, more rounded” than Polo’s, and he had “wide, powerful shoulders, a flat narrow waist, and high, lean hips.” As Jose Dalisay puts it in the book’s introduction, Arguilla’s stories were “lyrical odes to rippling muscles and shapely breasts.” Aside from his romanticism, however, Arguilla is also known for having immortalized the barrio of Nagrebcan in his stories, such as in ‘How My Brother Leon Brought Home a Wife,’ ‘Morning in Nagrebcan’ and others. He described pastoral scenes, scenes of a serene countryside, rolling hills, a roaring river and wide fields.
But Manuel Arguilla was not only a pastoral writer. He also wrote city stories—stories where the main characters live, work and challenge the city. Dalisay also calls them “marriage stories” since married couples are centered in each story. He wrote about a maid who was in love with her employer (‘The Man, the Maid and the Wife’), a grieving man planning to go on a vacation (‘The Long Vacation’) and a teacher who becomes too invested in an inside joke with his wife (‘Mr. Alisangco’). Arguilla also wrote “socialist” stories, so to speak, which foregrounds stories of hardships, poverty and resistance. He contributed to proletarian literature in stories like ‘Caps and Lower Case’ and ‘Rice’ which, for me are the best of his proletarian stories despite the characters being defeated in a sense. (I would prefer to call them social realist stories, but I guess the term used follows from ‘The Socialists’).
Like Dalisay laments in his introduction to the collection, Arguilla had such a short life. Executed by the Japanese for establishing a guerilla intelligence unit during the Occupation, Arguilla only published one (solely-authored) book only four years before his death. “The Essential Manuel Arguilla Reader” is a republication of Manuel Arguilla’s collection of stories, but it includes ‘outliers’ which constitute an additional five stories and an essay published in literary journals back then. These outliers give us deeper understanding into Arguilla’s range and acuity as a writer. He wrote love stories that are different from the pastoral ones which are also dissimilar from his social realist tales. This diversity reminds me of (myself as) a petty-bourgeois who must challenge and resolve contradictions within himself. Thus, reading Manuel Arguilla, for me, was an exercise of self-reflection and evaluation.