66 pages 2 hours read

Dogeaters

Fiction | Novel | Adult | Published in 1990

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Part 2, Chapters 25-33Chapter Summaries & Analyses

Part 2: “The Song of Bullets”

Part 2, Chapter 25 Summary: “The President’s Wife Has a Dream”

In the First Lady’s dream, she’s alone on an island with a large, white plantation house. She heads to the beach and swims in her beaded gown, moving further from shore until the house is barely visible and the water becomes too thick to swim. She thinks she spots her daughter in a wedding dress on the veranda while a funeral tune plays on a piano.

The scene shifts to the Waldorf-Astoria hotel in New York, where she feels people laughing at her, but she can’t make out their words. She recognizes Christina Ford and George Hamilton among the crowd. Unexpectedly, she starts menstruating, something that hasn’t happened in years.

Alone in her hotel room, she sees Pope John XXIII, her favorite pope, and tries to seduce him. The dream takes another odd turn when she sees a lizard, only to realize it’s just a paper mache iguana. She is confused, believing her husband has played a practical joke on her.

Part 2, Chapter 26 Summary: “Man with a Mission”

The Metro Manila Daily features an interview with General Ledesma. The General talks about his strategies for dealing with rebels, focusing on winning over the Filipino population. He firmly denies any wrongdoing in his methods to suppress the rebellion, including denying any involvement in unjust killings at a church.

The President and First Lady hold a lavish banquet in General Ledesma’s honor. Notable attendees at the event include the actress Lolita Luna and George Hamilton.

The President appears to be in good health and expresses his gratitude to General Ledesma for his efforts in combating the Communist party.

Senator Avila does not attend the gala.

Part 2, Chapter 27 Summary: “Romeo Rosales”

Trinidad purchases a new shirt for Romeo, hoping to lift his spirits. She reassures him about the talent contest he recently participated in, suggesting it was rigged against him, but assures him that the experience will be valuable for future opportunities.

Romeo visits Mabuhay Studios to see Tito Alvarez, his childhood friend. However, an armed guard at the studio dismissively points to his gun and tells Romeo to leave. When Romeo mentions he knows Tito and was recommended for a screen test, the guard merely laughs.

Romeo writes a letter to his mother in which he expresses satisfaction with his life alongside Trinidad. He talks about his plans to audition with a new song from a popular movie, expressing optimism about this decision. He also describes his job at the country club, hinting at a potential promotion mentioned by his boss, Mr. Alacran. Romeo updates his mother on Trinidad’s university studies and their mutual decision to delay marriage to focus on his career in show business.

He concludes the letter with a promise to his mother that he will find success in the entertainment industry. He draws confidence from his ambition and the support of Tito. Romeo even refers to La Sultana’s fortunetelling about his bright future in show business. He assures his mother of his determination not to fail.

Part 2, Chapter 28 Summary: “Paradise”

In anticipation of the Manila International Film Festival, the First Lady oversees a facelift for the city’s slums, including a fresh coat of paint for Uncle’s shack. She also champions the construction of new buildings, branding the project as a cultural center. However, tragedy strikes when one of these buildings collapses, entombing many workers. Despite her tears, the First Lady orders construction to continue over the site of the accident, and the building is hurriedly completed just three hours before the festival begins.

During the film festival, Rainer, a German director, visits CocoRico nightclub. Joey notices Rainer watching him dance, and they are eventually introduced by Andres. Joey is drawn to Rainer, not because of personal attraction, but due to Rainer’s status and the way he looks at Joey. Joey is perturbed by Rainer’s lack of vanity. Andres, meanwhile, expresses disdain for the First Lady’s actions regarding the building collapse and doubts Rainer’s films will bring any real change.

Lolita Luna arrives at the scene with Nestor Norales and Tito Alvarez. She exudes a cinematic presence, flirting with Rainer while inebriated, causing annoyance among the men. As the night unfolds, Joey and Rainer leave together for a mansion, where they engage in drug use and a midnight swim. Rainer asks Joey to stay with him, and after some hesitation, Joey agrees. Rainer feels uneasy under the servants’ gaze.

As Rainer prepares to leave Manila, he confesses to Joey that he is somewhat in love with him, which unsettles Joey. Rainer’s intense attention during meals reminds Joey of his past experiences with Neil, where he felt like a subject of fascination rather than a genuine partner.

While Rainer is occupied with a reporter, Joey seizes the opportunity to take Rainer’s bag, removing the drugs and money. As Joey heads toward the exit, he sees Senator Domingo Avila arriving at the hotel. Suddenly, gunshots echo through the air. Joey instinctively ducks for cover. Senator Avila has been assassinated. Fearful of being implicated, Joey quickly makes his escape from the hotel.

Part 2, Chapter 29 Summary: “The Weeping Bride”

The narrative shifts between the dream Baby Alacran had the night before Senator Avila’s death and her reaction to the assassination. In the dream, Baby fixates on her silver and gold wedding cake, initially claiming it was to be made by the Alacran family dentist, who was detained for an inadvertent smile at the Special Squadron Urban Warfare Unit. The dentist’s son, an underground poet named Santos Tirador, has disappeared, and she refuses to disclose his whereabouts to the Squadron. The dentist is either deceased or never existed, and Isabel actually baked the cake.

Baby envisions her wedding, picturing herself in a long veil and a garlic necklace. The President and his wife are in attendance, with the President paying disconcerting attention to Baby.

Senator Avila’s assassination brings sorrow to his family and friends. Baby, despite only knowing the senator superficially, is also affected by his death. Baby thinks of dinuguan, a dish made with pig’s blood. Baby is repulsed by the ingredients, and it makes her sick when she eats it. She dreams she bathes in it as a form of mourning.

Since the senator’s death, Baby has been confined to bed, afflicted with a mysterious sickness and aching bones. Her husband, preoccupied with work, is often absent, leaving Baby alone. She spends her time watching television, specifically a talent show featuring servants sharing their tragic life stories.

Part 2, Chapter 30 Summary: “Last Chance”

Romeo meets Trinidad at her workplace, SPORTEX, for lunch, but he dreads going into the store. The atmosphere inside SPORTEX always makes Romeo feel self-conscious and poor, in stark contrast to Trinidad who, despite being underpaid, enjoys her job and the connection it gives her to wealthy families.

In the present, as Romeo walks toward SPORTEX, he’s troubled by thoughts of ending his relationship with Trinidad. He considers fabricating a story about Tito offering him a role but knows Trinidad would see through the lie. He recalls a past argument with his mother, who accused him of taking advantage of Trinidad’s kindness, a sentiment echoed by his own conscience. Romeo yearns for a romance like those in movies, not the reality he’s living.

Romeo has had no luck in talent shows, trying every available opportunity without success. Trinidad’s unwavering support only intensifies his resentment toward her. He even confronts his boss at the country club about a promotion Severo Alacran had casually mentioned, only to be threatened with a demotion.

Planning to confront Tito at an upcoming event and demand a role, Romeo reminds himself of their mutual promise to help each other, recalling how he covered for Tito’s minor crimes in the past.

As he gears up to break up with Trinidad during her lunch break, his plans are suddenly disrupted by a commotion outside: A man is being chased by armed individuals. Caught in the turmoil, Romeo is shot. In this moment of crisis, he realizes his love for Trinidad and desperately tries to reach her but is confronted by men in khakis pointing guns at his head.

Part 2, Chapter 31 Summary: “Dateline: Manila”

In an excerpt from Dateline Manila by Cora Camacho, the focus is on the ongoing feud between Lolita Luna and Bootsy Pimentel. The article paints Lolita as a challenging colleague in the film industry, notorious for her unprofessional behavior. She is frequently late to sets and often forgets her lines.

Part 2, Chapter 32 Summary: “Movie Star”

Lolita Luna intentionally bothers General Ledesma with loud music. She finds a sense of satisfaction in annoying him, especially because he detests her defiant attitude. Initially, Lolita held the upper hand, but the General’s growing possessiveness led him to exert control over her. Despite being well-compensated, Lolita is financially strained and seeks the General’s assistance to leave, but he flatly refuses. He also warns her against associating with Girlie Alacran, whom he labels a sex worker.

Lolita confronts the General about Senator Avila’s assassination, and he responds that the assassin has been apprehended. Feeling trapped and desperate to move to America, Lolita pleads with the General to let her go. When he refuses, she breaks down in tears, revealing that her colleagues have received intimidating phone calls. Lolita also raises the rumor of Daisy Avila’s capture, further adding to her anxiety.

As the tension escalates, Lolita demands that the General leave. He reminds her that the apartment’s lease is in his name. Lolita comes to the realization that her only escape might be through participating in pornographic films.

Part 2, Chapter 33 Summary: “Golf”

Girlie Alacran dreams that she and her friends and family are at the country club when they are suddenly ambushed by caddies emerging from the jungle. One of them seizes Girlie by the hair. In a desperate attempt to save herself, she claims no affiliation with her brother and even offers herself to them, but they remain uninterested. 

In the present, Girlie finds herself actually at the club with Tito Alvarez, Boomboom Alacran, and Pepe Correon. The atmosphere becomes tense when Pepe brings up a confession that has been extracted, a topic that bewilders Girlie and annoys Pepe, who expresses a general disdain for women.

Pepe openly expresses his frustration about his wife, Baby, who he says spends too much time sleeping. Tito’s sudden outburst at Girlie startles her, and he touches her leg. Girlie becomes disgusted with them and leaves. Boomboom, meanwhile, appears interested in the details of the confession. Pepe tries to lighten the mood with a joke, but Boomboom inadvertently spoils it. Although Pepe initially appears angry, he joins in the laughter, displaying a volatile demeanor that unsettles Tito.

Part 2, Chapters 25-33 Analysis

Hagedorn employs dreams as a narrative device to expose the internal struggles and sense of guilt of characters who, consciously or unconsciously, contribute to sustaining an authoritarian regime. A notable instance is the First Lady’s dream, where the white plantation house symbolizes elite colonial power, rooted in the plantation economy. The image literalizes this relationship: “She’s perched on her throne of bananas she reigns from a mountain of coconuts” (150). This comical image signifies that she only has symbolic power within a colonial context. The woman in a wedding dress reflects her coerced loss of innocence and the performative role she’s bound to play, resonating with the theme of The Role of Women in a Postcolonial Patriarchy. Her line: “I’m a woman always ready to dance” (149), is delivered almost mechanically, as if it were rehearsed, underscoring her entrapment in a prescribed societal role.

In the same dream, the First Lady’s seduction of Pope XXIII critiques the connection between religious and political power in colonial societies. The transition of the scene with the Pope to a paper mache lizard symbolizes the deceptive nature of these power structures, indicating the First Lady’s internal conflict between her personal ethics and her role. This dream is contrasted in the subsequent chapter with a real-life banquet, where she honors the “war hero” Ledesma and dances with George Hamilton—a scene that she had envisioned in her dream. This juxtaposition not only underscores the facade inherent in such political events but also reinforces the theme of Colonialism and its Relationship to Authoritarianism. Additionally, the contrast between the religious symbols in the First Lady’s dream and Senator Domingo’s accusations of atrocities committed in a church underscores the regime’s cynical and manipulative exploitation of religious imagery to mask its authoritarian practices.

Baby Alacran’s dream featuring the “black blood of a pig” (189) serves as a metaphor for her realization of her indirect complicity in societal oppression: “[S]ilent women baste the roasting flesh of pigs with honey, then smother the lacquered baby pigs under a pile of banana leaves” (187). The imagery of pigs, repeatedly used throughout the narrative, symbolizes the individuals sacrificed under the guise of colonialism. The silent women in this dream, despite being constrained by their societal roles, are depicted as unwitting participants in the perpetuation of a corrupt system.

Girlie Alacran’s dream sequence also brings her to a realization. When assailants in her dream remove her blindfold, forcing her to confront reality, her protestation, “I don’t even like golf!” (220), reflects a desperate attempt to dissociate herself from her family’s actions and the larger societal system. To escape, Girlie attempts to use her body as a form of currency. This act reflects the broader societal context where a woman’s body is often seen as her most valuable, if not only, asset, a currency subject to the whims and interests of others, particularly men in positions of power. Like the First Lady, Girlie realizes through the dream how little power she truly has: “They are not interested. It is the main thing Girlie will remember about the dream” (220). The dreams aligns closely with the theme of The Role of Women in a Postcolonial Patriarchy, illustrating how women, often marginalized and voiceless, find themselves entangled in a cycle of oppression and complicity.

The catastrophic collapse of the First Lady’s cultural center and her continuation of the project over the corpses of workers, lays the groundwork for characters like Lolita Luna and Joey. Their struggle to escape their grim circumstances through the allure of fame is ironically twisted into another form of captivity. Romeo’s encounter with La Sultana gives him false hope when he announces, “Lady Sultana says I have a great future ahead of me all the cards point to the ‘Silver Screen’” (158). This foreshadows his death and tragically highlights that for those not born into power, every aspiration comes with a steep price. This bitter irony is echoed in the lives of Tito and Lolita, who, despite their public acclaim, remain outsiders to the colonial elite and are consequently powerless.

Rainer, as a foreign character, represents the chasm between the privileged and the disenfranchised. His romanticized perception of poverty contrasts with the harsh realities faced by characters like Joey. Andres notes, “Your brilliant movies won’t make any difference” (164), highlighting the futility of superficial empathy and the profound division between those who observer poverty and those who experience it. This theme finds a parallel in the television show watched by Baby Alacran, in which the female participants, all servants, are appraised solely for their tragic stories and entertainment value, rather than for their true worth as individuals.

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