fresh, unseen pieces of writing and artwork—cut scenes, false starts, experiments, and digressions—no less elegant, nor less refreshing, for being so curious.
A Letter from the Editor
Neighborhoods

Issue 1

Dreams of speaking
(Book for weeds)

Single channel HD video, 7m 16s

2020
Lesley-Anne Cao

Issue 1 of e.g. journal opens onto the teeming panorama of the barangay of Yñiga, much as Wilfrido Nolledo’s But For the Lovers (Exploding Galaxies, 2023) centers on the thick description of the boardinghouse of Ojos Verdes. But pruning back such sprawling life to allow for a clear narrative to emerge is part of the process of writing: enabling others to see this world-newly-shaped outside of your own cacophony, outside of your own imagination. 

What we have here is the gift of Glenn Diaz’s false start to his novel—an early, alternate opening to Yñiga that he ultimately abandoned. In this issue, it both stands on its own and looks onto what it paved to take its place. 

Lesley-Anne Cao’s artistic process of creating studies helps to highlight such starting and restarting and pruning, and draws an especially marked contrast when placed alongside her finished work—books treated as objects, stacks set already in stone.

Yñiga False Starts

Written by Glenn Diaz

I tried to do a Rizal in this, one of the false starts that I had for my sophomore novel Yñiga. A cast of characters large enough for omniscience, a LeGuinesque narrator narrating in decorous sentences, a crocodile even, though this last one was subliminal, which I didn’t realize was straight out of the Noli until much later. 

The attempt went to about three chapters or so, easily 18,000 words, before its progress was arrested. Too slow, my PhD supervisor said—a reminder that the creative component for the thesis was closer to a novella at 60,000 words—you’re already a third of the way and still introducing characters, what gives? Samples were identified. Pedro Paramo, As I Lay Dying, Sula, a ton of Cesar Aira. Two weeks later, I sent in a new first chapter, brisker and less profuse, hyper-focused but less cacophonous, and the reply was unambiguous: this is it; you’ve nailed it. I celebrated. Revisiting the false start years later, I was surprised by the grief that this beginning promised and was never allowed to deliver, a talkative child embarrassed into silence. But I’m also comforted by the (Borgesian) idea that the published version, finite as it is, contains all the ghosts and specters of the unfinished ones, itself a provisional form toward which the other invisible false starts accumulated: words replaced with better ones, paragraphs and sections moved, characters recalibrated to be less monstrous, place names redacted, narration made even more unreliable, etc., etc. And even if little from them survived the false starts still meant, at the very least, time spent in the world of the would-be book. Nothing, in writing as in life, is wasted.


—Glenn Diaz

Chapter 1

Sleep was beginning to finally visit the insomniacs and drunkards of Barangay Bagong Pag-Asa when a commotion louder, more ominous than the usual domestic squabble erupted from the second floor of Mang Calixto’s bakery. Footfalls on crunchy GI sheets. Objects falling on hardwood. A female screech. And when it was over, out came, from the side door below, the dazed, emaciated figure of the retired general. Dazed but also smiling, the remnant no doubt of a megalomania that ran unchallenged for too long. Escorted by soldiers in high battle gear, the decorated butcher of peasants and activists looked jolted from sleep, hair long and gray, a shadow of his former self. 

From across the narrow street, Yñiga’s view grew increasingly obstructed, first by an ambulance, then several menacing black SUVs, and finally a van that disgorged a reporter and a yawning cameraman. Soon the scene was engulfed in a forest of people’s bodies. Among the early birds: the gang that always gathered in the lugawan nearby, the mourners from a wake down the street still carrying their styrofoam cups, a group of high schoolers practicing a play in the makeshift basketball court, the stay-in workers of the plastic factory by the river. Then the dogs, the cats, the children who must have been awaken by the blare of the siren, followed by their mothers, who quickly found each other amid a volley of conjectures. One by one the bright glare of fluorescent traced the outlines of shut windows, and the glow of ten-watt bulbs peeked from behind the patchworks of plywood and concrete, no doubt interrupting sleep and weed smoking and hurried trysts. A street away the psychedelic sounds of a videoke machine abruptly stopped. Above the roofs, like an alien protrusion, the lights on a far-away derrick flickered. A rooster crowed, hours ahead of schedule. The colossal balete next to the chapel and barangay hall appeared to lean closer to the site of the capture.

Unable to see a thing, Yñiga reached to the ground to pet the furry insistence on her legs: Jestoni surely roused by the ruckus, the faint alarm in the air not unlike oncoming rain. Light sleepers, she and the cat, while the train could derail off the tracks nearby, careen headlong into their homes, and Diego would still be knocked out on their mattress. From the corner of her eye, she saw Denise step out of her bungalow, the biggest thing in the area, and really the only one which most resembled the kind of proper house drawn by all school-age children the world over. She was followed by her American lover Brad, who proceeded, as was his wont, to narrate the scene in sing-song English. Lourdes, who collected the street’s garbage, arrived with her cart, then loaded with wooden planks and plastic bottles and discarded furniture, the pile twice her size; from her wrist, as usual, hung the mysterious red purse that she always carried around. She and Yñiga caught each other’s eyes, exchanging the most imperceptible of nods. More dogs. Someone alighted from a pedicab and winced in pain as she took the first few steps—Jennifer, still wearing the bright orange beret that was part of her uniform at the motel. 

What happened? Jennifer called out. Yñiga said the name of the general, and Jennifer sighed in relief. Thought it was a fire. She rubbed her bare arms. Or the crocodile. Not sure which is worse. What happened there? Yñiga asked, pointing to her feet. Jennifer shrugged. They took away our chairs. Better for the back, they said. Helps me stay up so no complaints. Didn’t I tell you to quit and sing full time? Yñiga asked. If only it were that easy! Jennifer said. Wait, so all these years Mang Calixto had been— she pointed to the bakery’s second floor. Only for the past three months, Yñiga said. His wife’s the cousin of the general’s aide, and they hand-picked this area, even with all the people here who want him dead, like hiding in plain sight, they said. He’d wear a wig (Jennifer’s mouth opened) then just walk out and get a bowl of lugaw and tokwa. Jennifer covered her mouth. So he could’ve bought lugaw next to me? Mang Polly, who owned the printing shop next to the bakery, lifted his cane toward them and called out, Hey how’d you know all those details? Jennifer laughed. Your hearing’s amazing for your age, Mang Polly! The old man chuckled. It’s the malunggay that I put in my rice every lunch, he said, gesturing vaguely to the tiny garden beside his shop. And I’m a widow. Seventeen years. Orgasm weakens your hearing. I read that somewhere. 

What? Yñiga asked in a near shout, and it took some time before they got the joke.

Their laughter was drowned out by the crowd-parting blare of the ambulance, which must have carried the general, and the baleful beeps of the SUVs, on the backseat of one Mang Calixto and his wife sat, probably stunned. Both vehicles sped off to the direction of the main road, the van in their trail. She couldn’t tell if the gentle rustling in the air was applause or the usual shower of leaves from the balete. In the fresh silence: the slow, disappointed slapping of rubber slippers on pavement, the murmured summary of what had just taken place, the first notes of a videoke machine being restarted.

Turn me loose from your hands
Let me fly to distant lands

Yñiga watched the crowd recede to reveal the doomed bakery, just this morning the site of furiously wholesome communal activity, the source for years of warm pan de sal and warmer gossip for everyone within a five-hundred-meter radius. Now it was dark and boarded up, cordoned off by taut tape, its dirty roll-up door set to adorn the front pages of tomorrow’s newspapers. She gave Jestoni, asleep on her feet, a wake-up scratch behind the ears. Mang Polly of course knew why she knew the details of the arrest. She might begin close to the end, just hours ago, when she made the anonymous tip to the military. Or a couple of months ago, when a routine writing assignment led her to uncover the curious link between their little lives in Barangay Bagong Pag-Asa and the fugitive general who for three years evaded a massive government manhunt. Or earlier still, close to the beginning, in fact, when she saw a garbage collector casually jump off the back of a truck to hand Mang Calixto a package. An innocent, if odd, transaction, and she would have forgotten about it had she not seen Jennifer come home carrying something similar weeks later: both the size of a shoebox, both wrapped in shiny orange plastic, and both bearing the logo of a motel with a sleazy reputation, but which was also famous for its crispy pata and pancit canton, a favorite, it seemed, of people in cramped, windowless spaces. …

Chapter 2

A crocodile was seen in the river.

As usual, word of the sighting spread quickly, widely, and without verification, easily drowning out all the other rustling gossip, including the one about Mang Calixto's secret life of crime for which the bakery was merely a front (the orange package contained either cocaine or jueteng-related paperwork, depending on who one asked). Rumor had it that the famous high school theater group trooped to the small resort next to the abandoned tenement by the river after school, and one of them, a boy, saw from the platform of the tallest slide, just over the low fence, a smooth gliding motion in the murky waters. Not a clump of water lily or island of garbage. Too small, too submerged to be an abandoned barge. And which moved—paddled?—ever so gently so he knew it wasn’t a corpse this time (thank god). Buwaya! the boy screamed, with a force so primal that it stunned the vicinity awake, the pigeons and the dogs mid-trawl, the half-dozing resort goers and the usual population of sketchy elements that congregated by the riverbank. The lifeguard on duty, who was also the waiter and resort security guard and so came too late to the platform to confirm, nevertheless excitedly told a group from the plastic factory eating at Magda’s lugawan that night, and everyone who passed by must have heard a capsule version. A crocodile in the river—how could it not captivate? Just two elements, arresting and easy to remember, which rolled off the tongue. Buwaya sa ilog. So soon after that python was caught near Mang Nestor’s furniture shop, behind all the bamboo and unvarnished cabinets! And just in time for election season when the real crocs surfaced ha-ha-ha! Like monsoon, the rumor picked up speed and intensity as it made its way from house to house, from mouth to mouth. By the time it breached the high walls around Denise’s bungalow, it had sufficiently absorbed all of the community’s many fears and fantasies.

A crocodile? Denise wondered. In the river? Won’t it suffocate from all the disposable diapers or something? Even fish with iron lungs will find it difficult to survive that murk—

Denise had always imagined that she lived above and apart from Baranagay Pag-Asa (from the ghetto but not of the ghetto, as she heard some rapper proclaim). It certainly helped that she was the neighborhood’s de facto source of emergency cash, at least next to Raj, the Bengali who made weekly rounds in the area astride his beat-up Suzuki. Lately, Denise had been trying to do something about the resentment she felt for her neighbors, bad for the heart, her feng shui guy said. Part of her effort was her growing friendship with Jennifer, the motel receptionist, and Yñiga, whose love affair everyone in the neighborhood knew but whose mode of living few did. Yñiga was her age more or less, while Jennifer was younger, so it was a perfect balance. Both of whom now stood outside her iron-grilled gate, through which she leaned. Gathering at the spot, just after she watered her orchids, had become a nice midmorning routine for the three, when they waited for the sundry wares that passed through the street: first the pakbet vegetables at around eight, followed by the kakanin, then the chop suey vegetables last at half past nine (the men who sold plasticware and fixed umbrellas would come at weird, unpredictable hours—men, they scoffed). 

Wait, do fish have lungs? Jennifer asked, big brown eyes growing even bigger. Yñiga hummed, devoutly unengaged as usual. Denise tried to remember the fish she and Brad had for dinner last night and recalled them gasping for air after being fished from the giant aquarium at the grocery. Wait, you’re right, Denise said, they don’t. You’re so smart I’ve always wondered why you have the job that you have. Jennifer laughed. My mother said so, too. Yñiga looked impatiently around the street. The pakbet lady is late, she mumbled.

Denise could no longer remember when and how she started cooking. Growing up she had taken roundabout pride in her aversion to anything girly; she didn’t seem to be any good at it, so why not hate it? High school home economics she remembered for the messy backstitches, the bland ginisang munggo, the failure to memorize the steps in starching a theoretical husband’s favorite shirt. In line to get their hands slapped by the teacher’s ruler once (for god knew what dumb infraction), the boy next to her, a transferee from Batangas whose stylish middle-part people said predated Wowie de Guzman’s, asked her why he should learn something that he knew for a fact someone would gladly do for him someday? Right? She winced, unsure if what she heard was admirable or stupid, and she remained so deep in thought that she didn’t even notice the two crisp hits her open palms took. Wow, the transferee told her when they returned to their seats, you did not flinch at all. You’re different from the other girls. 

The boy would be expelled by the end of the school year (for throwing tomatoes freshly harvested from the class garden onto the homeroom ceiling fan), but not before confusing the hell out of Denise, who then still went by her given name Dominga. Here was a boy who said he admired her strength and yet insisted on carrying her backpack, who constantly told her she was pretty and yet scolded her whenever her bra strap peeked from her blouse, who said he enjoyed her company and yet openly shushed her whenever she’d get excited mid-story. It all became clear one morning during English. The word coquettish came up in the middle of a discussion of Le Morte d’Arthur. When the teacher explained what it meant, Dominga joined the class in subdued laughter before looking around to see that many of them, the boy included, were for some reason looking at her. She was what? Coquettish? Flirtatious in a feminine way, like when someone hikes their voice while talking to guys? Her sixteen-year-old mind processed the label with curiosity and bewilderment but also, and this surprised her, delight. Pride even. A feminine way? This birthed a philosophy that she had found useful since: being a woman was both weakness and weapon, and it was up to her, and her alone, to decide.

You may purchase the published copy of Yñiga here
and in bookstores nationwide.

Studies

Artwork by Lesley-Anne Cao

White Work
Various white material gathered in
Manila and Jakarta, handwritten lists

2015

Lesley-Anne Cao

Proposal: From Manila and then in Jakarta, I will collect material that possess two simple characteristics: white and powdery. This will include things like various kinds of salt, sugar, flour, flavoring, medications, talc, and tawas (potassium alum), among others, and including those that are specific to either location, and will be assembled as a singular form within the exhibition space. A complete list of all included material will function as the artwork label.

On seven lost drawings
Charcoal on paper
11 x 4.9 ft

2021

A series of exercises in marking surfaces, in making intentions. A catalog of framed gestures. A constant calculation that exists in the process with the deliberate choice of material, media, and technique, with a proclivity towards the insolence of charcoal to the steady restraint and nervous slips of the hand. This is an archive that traces the artist’s own thread of interests: stories of lost drawings, musical phrases singing about breath, some boys, accumulated title drafts, a puzzle of pencils, and a vision of a dog (a gift). A physical, rudimentary, and repeated act rendered line after line until the tangible image comes to its fore, whose focus is a type of disobedient play rather than precision or producing a perfect copy. This, at its core, is a matter of attention and intention: what becomes the weight of drawing, of a line or of a shade? (IAF/LAC)

Thread
Text embroidered on various textiles, metal stands

2015

Having been invited to participate in an art exhibition for a fashion magazine, I decided to work with the idea of fashion writing and look into literary texts that contain references to clothing or beautification rituals. Passages were lifted from novels and poems where concepts of age, psychology, and eroticism offer a different perspective on how we look, what we wear, and why we wear them.

The hand, the secretary, a landscape


Small Gallery and 4th Floor Atrium Cultural Center of the Philippines, Manila 7 Jun - 12 Aug 2018

A ray of light yawns, stretches, and embraces the mouth of a plastic pot. The window nearby recognizes it as a fading rainbow, and greets the child inside: look, it is morning. (text:Michelle Esquivias)

Pool (2016-2018)

Inkjet prints on paper, rocks
27.9 x 21.6 x 10.8 cm (11 x 8.5 x 4.6 in)

2018

Pool (2016-2018) is a translation of my accumulated analog black and white photographs into a thick, grayscale stack of cheap inkjet prints on plain office paper, installed as a stump of a non-existent column on the corner edge of an abandoned structure at Makiling Botanic Gardens, set in place by a sheet of volcanic rocks found on-site, exposed to heat, rain, and dew, a ream of images simultaneously exposed and out of sight.

I draw from this pool of photographs for material in other work such as in videos, zines, and installations but do not present them in/as themselves, sometimes reusing the same images across different projects and media. Placed in this environment, I imagined the leaves sticking to each other and the images eventually lost, (trans)forming (into) a black brick, a dead, new object.

A hand draws a hand


52 engraved glass cards, glass box
8.89 x 6.35 x 0.32 cm each
7.3 x 11.5 x 16.9 cm box


2020

Each piece is the size of a basic playing card, the size of a palm. Suspended in glass is text: each selection in the pool of words were weighed by their direct association with magic and simultaneous common usage outside of it. Clear glass is often meant to be imperceptible, but materially expresses weight, color, and texture. It is between states; materials scientists refer to it as an amorphous liquid, never quite setting into a solid.

Amphibian palm (For eternity)


Glass tank, mirror, glass counterweights, waterproof paper, clear acrylic box, wave makers, relay timer, water
60 x 45 x 35 cm

Photo credit:
Photo by Ray Leung. Image courtesy of the artist and Blindspot Gallery, Hong Kong.

Continuing a series that explores the materiality and objecthood of books, Lesley-Anne Cao imagines books made from different materials, ranging from textile to fruit wrappers. Each book is placed inside water-filled tanks, where each book interacts with water and artificial waves. It is an experiment that not only asks what makes a book but also what constitutes the task of reading. Here, the human reader is displaced by an atmospheric activity of pages gently undulating from one to the next. (Carlos Quijon, Jr.)

A vitrine, then a window
7-channel HD video installation


2019
In collaboration with Dennese Victoria

This suite of 7 videos were dispersed around a house-turned-gallery, each documenting a unique object related to metals, and abstracted through film and installation.

This work is interested in the translation and fidelity of objects as they pass through different people, renderings, and lenses — each made by different hands, passed on to a collaborator to be filmed, in various locations, pointing elsewhere from the exhibition’s own space and time.

The longest (A neck or a wrist) was filmed at the old Manila house in which the eventual exhibition took place. It was conceptualized alongside preparations for a concurrent exhibition for which I responded to a transnational film collaboration between Hong Kong and Manila. In “Sanda Wong” (1955), bandits covet a family’s treasures for which a snake had been hypnotized as protector. A gold necklace chain was installed in both exhibition spaces, here encircling the two-storey house in a closed loop: combining treasure, guardian, and hiding place into one entity. It is a gesture meant to bridge disparate places, or insist that they are not separate, by suspension of disbelief in magical objects. The chain was removed after filming, only the video (as part of the suite) was present at the exhibition.

Untitled (When the cup is heavier than the whale,)

Text, grass
17.4 x 5.5 m (57.1 x 18 ft)

2017

This untitled work — made with local students and gardeners in a public park with a military history — is an ephemeral intervention that operates between the intimacy of words and the vastness of natural spaces.


The fragment “When the cup is heavier than the whale,” [當杯子比鯨魚重的時 候,] echoes a recent report by the Ellen MacArthur Foundation saying that by the year 2050, there will be more plastic in the ocean than all fish combined.

If time is an arrow, what is its target
Coconut wax, silicone, birch wood, heat lamps

2023

Bell 0
3D printed resin 2023

2023

Interviews

Glenn Diaz

1. Had you decided to go with this alternate opening to Yñiga rather than the one you did ultimately publish, how do you think it would have changed the novel that followed it?

It would have been a different book even if the key thematic nodes and contexts are the same, i.e., the spate of political killings in 2000s Philippines and counterinsurgency. The narrative would have stayed in the city, the fire would have been the climax instead of the starting point, and it would have dug more deeply into the other characters instead of just Yñiga and the family.


2. Do you have any rituals associated with your writing process; could you give us an example of one?

More a simple requirement than ritual--just constant background noise and a sturdy, comfortable chair.

Glenn Diaz’s books include The Quiet Ones (2017) and Yñiga (2022), recipients of the Philippine National Book Award, and When the World Ended I Was Thinking about the Forest (2022), published by Paper Trail Projects. His writing has appeared in The New York Times, Rosa Mercedes, Liminal, The Johannesburg Review of Books, and others. Born and raised in Manila, he holds a PhD from the University of Adelaide and currently teaches with the Department of English and Comparative Literature at the University of the Philippines Diliman.

Lesley-Anne Cao

1. Books often enter your work as objects. Could you briefly elaborate the role they’ve occupied in your pieces, for example, in Dreams of speaking (Book for weeds)?

I’m interested in how the book is often seen as a solid object but is actually fluid and malleable as form and idea. In my work I think of the book as time (a film, a clock), body (substance, system, data), weight (a box, a rock), activity (reading, playing, building), construction (a chair, a code), choreography (an opening, a lift, a scroll, a turn), et cetera.

Some works, such as Dreams of speaking (Book for weeds) and Amphibian palm, reimagine the book as a plastic object and suggest the potential to embrace or endure different environments or conditions. Overall, they are prompts to reconsider what constitutes a book, what constitutes reading. They play with and go in between legibility, intelligibility, and meaning-making. They explore possibilities of the book as medium and metaphor for germination, transformation, improvisation, endurance, and decay.

2. What is one part of your artistic process that remains unseen?

Everything that is not perceivable in the work itself or in documentation elsewhere.

Lesley-Anne Cao’s practice explores the interplay of materiality, language, and artmaking. She works with self-produced and found objects, images, and text — often involving collaborators in different fields, alongside mutable materials, machines, and environmental elements — to explore the possibility of alternative narratives departing from the familiar.

She completed her Bachelor of Fine Arts degree from the University of the Philippines College of Fine Arts in 2014. She has held solo exhibitions at the Cultural Center of the Philippines, MO_Space Gallery, The Drawing Room Gallery, and Underground Gallery. She has presented work in group exhibitions and screenings in Hong Kong, Singapore, South Korea, Indonesia, Malaysia, Australia, and the UK. She has been granted artist residencies in Keelung, Taiwan; Örö, Finland; HART Haus, Hong Kong; and Gasworks, London.

Alongside her artistic practice, she worked as a researcher for Asia Art Archive. Her writing has been published by Para Site, Hong Kong; West Space, Melbourne; Traffic Books, Quezon City/Lucban; and Ctrl+P Journal of Contemporary Art, Manila.

Additional material from Glenn Diaz and Lesley-Anne Cao will be featured in the special limited print edition of e.g. issue 1

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