Ms sect b 20170409 sunday

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SUNDAY, APRIL 9, 2017 Adelle Chua, Editor

Opinion

Joyce Pangco Pañares, Issue Editor

mst.daydesk@gmail.com

EDITORIAL

POP GOES THE WORLD JENNY ORTUOSTE

OF ‘KUTO,‘ ‘KILI-KILI,‘ AND ‘ASWANG‘

tend to take whatever we see online at face value. It may be good faith—but these days good faith can lead to bad results. Remember a supposed study by the Harvard Institute of Socio-Political Progression (HIS-PP) that said Filipinos were the

LYNDA Barry is a writer and cartoonist, who is almost unknown in the Philippines, a condition I shall attempt to rectify with this column. She is hailed in the US for her groundbreaking, reality-based works. Her “Ernie Pook’s Comeek,” was published in the late ‘70s by Matt Groening (of The Simpsons fame) and comedian John Keister in their college newspapers, without Barry’s knowledge. Later the comic strip was carried by some 70 alternative publications over the years until it was discontinued in 2008. Among the books she has authored are collections of her comic strips, graphic novels, and workbooks-slashtutorials-slash-memoir. At first glance her art looks crude, gross, and childish, channeling Mad magazine if anything, but her drawings are authentic and sincere. They are warm, like something your granddaughter drew, and in their innocent enthusiasm they succeed in charming the reader and making relation easier to achieve. What deserves deeper perusal is her writing. The language flows, it is conversational but capable of lyrical turns and gestures. The tone is melancholy; most, if not all, of her work, is based on real life, and by her own account her childhood was not happy. Lynda Barry’s work is relevant to Filipinos because she has Filipino heritage and grew up with a Filipino grandmother. Her mother was halfFilipino, half-Irish, her father Norwegian and Irish. In One! Hundred! Demons! (2002), Barry tackles some of the monsters that haunted her life. She begins the book by saying, “Please note: This is a work of autobifictionalography.” She asks, in carefully written cursive: “Is it autobiography if parts of it are not true? Is it fiction if parts of it are?” This is the dilemma of the memoirist. Inspired by the art of 16th century Japanese Zen monk Hakuin Ekaku, Barry took up ink stick, ink stone, and an Asian brush. Then “the demons began to come.” They were not the ones she expected, but “then she started to love watching them come out of her paintbrush.” Her first demon is head lice. When she was fifth grade, Barry went to “visit relatives in the Philippines.” The kids there were fascinated by her red hair and white skin. They surmised she must have white “kuto” even as theirs were brown like their skin. “Even the Holy Virgin had kuto,” her friend Pilar tells her. When Barry repeats this to her mother, she gets smacked. “N’ako! If Pilar said diamonds fell out of her armpits, would you believe her? [sounds better in Tagalog].” Her mother is tormented and tyrannical, and her grandmother is often her shield, not out of fondness for Barry but because of her antagonism against her daughter, Barry’s mother. (Barry does not fully understand why.) It is Grandma who encourages Lynda and her baby brother to dance in the kitchen (“Segie-segie-na baby!), and who encourages her to get her groove back when adolescent embarrassment drives it away (“Aie n’ako! Dancing is never stupid, my dear.”), pointing to the gleeful joy of her baby brother (“N’ako! Look at him! Segie na baby! What is he doing!?! Ha-la! Segie! Only God knows the name of that dance!”). It is a coming-of-age piece, of peer pressure and family, and of later coming to terms with what matters most. In “Common Scents”, Barry tells of a neighbor whose air fresheners and candles made her house stink worse than fried fish and cigarettes made Barry’s own reek. The chapter is about the power of smell to bring

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THE SUFFERING OF MANY

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T HAS become fashionable on social media to find various ways to express solidarity with people who have become victims of violence and strife. For example, when 10 journalists and two cops were killed in an attack on the newsroom of the French magazine Charlie Hebdo in January 2015, many draped the French flag over their profile pictures. Je suis Charlie, many said—I am Charlie, one with those who were killed and the community that was attacked. Countless other places and thousands of other people have suffered attacks and injustice in many forms. The fortunate ones survive and live to tell about what they went through. Some live but lose their homes, families and all hope. Others pass on without even being known. Their families cannot grieve them, much less the outside world who are only made aware of them through the media. This week, it was Syria. The government of Bashar al-Assad launched a chemical attack on rebel forces. Alas, most of the casualties were civilians—children, specifically. In reaction, the United States launched a missile strike on Syria. It’s war, and there are political and diplo-

matic consequences especially since the latter attack could not have pleased US’ newfound friend, Russia’s Vladimir Putin. But we leave that to high-level, foreign policy experts. War takes many prisoners, and many of them do not have to be taken by the other party and put behind bars. Often, out of sheer randomness of birth, people are in the wrong place at the wrong era, strangers to many things that people in other parts of the world take for granted. We the fortunate did not have to do anything to be spared from this kind of trouble. This is exactly why it is foolhardy to be indifferent to the suffering of others. Then again, we do not have to look far or look hard to witness others’ ordeal in the name of some ideology, or campaign. Expressing oneness through social media is one form, but is not an end in itself. Be aware of the issues and their underlying causes. Follow developments. Make a mental note of the people affected and as many individual stories as possible. Ponder how the world could be better and if there were one tiny deed one can do to make the slightest dent. The world is far from perfect, but it does not mean people should stop trying to empathize with those who bear the brunt of its imperfections. And then perhaps indiscriminate killing, conspicuous spending and hateful language will at least be diminished.

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FIGHTING FAKE NEWS LONG STORY SHORT ADELLE CHUA

FAKE news is a concern that we did not have 10, 20 years ago. At least, not at the alarming levels that we see it now. It’s technology, or the ease and speed in which information spreads. In the past you did not have to worry about whether the news story in front of you was legitimate, satirical, or downright fake. You were just

grateful to have that piece of information at all. These days, however, we see all sorts of articles being shared online. Perhaps in our desire to show that we are passionate about the subject matter, or whether we sincerely just want to spread what we think is important information to our friends, we

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Philippine Press Institute The National Association of Philippine Newspapers

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Managing Editor Associate Editors News Editor City Editor

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Adelle Chua Honor Blanco Cabie Romel J. Mendez Roberto Cabrera

Chairman Emeritus, Editorial Board

Opinion Editor Night Editor Art Director Chief Photographer


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