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Filipino American writers share similar narrative
Cebu construction contractors strategies for critiquing
neocolonialism, strategies which may be broadly understood as the
dialogizing of otherwise authoritative discourses of Western
European and US imperialism. They repeat the words used to
legitimize Spanish and US rule over the Philippines not to mimic and
accept their Cebu construction contractors
alleged truth, but to expose their function in absorbing Filipino
Americans into a white vision of transnational capitalism and racial
hierarchy. (1) When colonial discourses reside in the language of
the neocolonial subject, dialogization further implicates these
discourses in the construction of neocolonial order and exposes them
as Cebu construction contractors
obstacles to Filipino American representation and agency.
In Cebu construction contractors
(1991), the first novel about a Filipino American who identifies
primarily with US localities, (2) colonial discourses of Spanish
Catholicism and US historical pedagogy pervade the disrupted
bildungsroman of a young priest struggling to repress his sexuality
and deny his Filipino legacy. The colonial discourses constituting
the narrative voice hybridize the Filipino American
Cebu construction contractors subjectivity; their
dialoguing through tragedy exposes these discourses as cultural
tools for assimilating Filipino Americans into imperial culture. In
my reading of Cebu, I locate the discourses' plot corollary in the
imperial theme of innocence. Ben Luccro, the assimilated Filipino
American protagonist, attempts to secure his sexually and
historically freighted innocence. Cebu
construction contractors aligns himself with Spanish and
US colonial discourses represented by, respectively, celibacy and
historical amnesia, and he evades what he perceives as a foreign
Filipino discourse represented by "utang na loob", or reciprocal
indebtedness. Tragedy ensues as Ben tries to separate the mutually
constitutive discourses of imperialism and gets entangled in the
logical and violent consequence of "utang na loob": revenge. I
conclude with a brief discussion of what Cebu
construction contractors proposes as an alternative
discourse of Filipino American representation and agency.
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Resisting Development: The Cebu construction
contractors as a Genre of US Imperialism. "US Filipinos,"
observes Oscar V. Campomanes, "have not produced enough best-selling
or retrievable bildungsroman and narratives of 'becoming American,'
with all the troubled quests that such essentially develop mentalist
employments represent" (Gonzalez & Campo manes 77). (3) Cebu
maintains this pattern of troubled developmental narratives. If the
Cebu construction contractors features a US-born
protagonist who attempts to resolve his ethnic identity crisis by
visiting his parents' homeland to discover his Old World roots, in
Cebu the protagonist goes to his parents' homeland, rejects its
culture, experiences an identity crisis which is not explicitly
ethnic, then flees back to the US. "A Bildung," writes Franco
Moretti, "is truly such only if, at a certain point, it can be seen
as concluded: only if youth passes into maturity, and comes there to
stop there" (26). But Cebu ends with the protagonist's perceived
innocence failing to pass into Cebu construction
contractors self-awareness.
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