ON THE EVE of my twenty-seventh birthday, I went to my usual bar in the city and finished a flat of Tanduay with my good friend L. Minutes before the clock struck midnight, there was a moment of silence between us and a cheesy, rum-infused thought came to me. It was this particular scene in A Walk to Remember where the giddy Landon (Shane West) pulls his car over to the side and leads Jamie (Mandy Moore) right into the middle of this empty road with the headlights of the parked car spotlighting them. He then tells her she’s now straddling the state line (between North Carolina and Virginia) and asks the yet oblivious Jamie to place each foot on different sides. When she finally realizes she’s in two places at once, she beams her teethy smile at Landon and the rest is all mushy mushy.
For some reason, my friend L and I continued to talk until I forgot about those few seconds before midnight and how, earlier, I felt that sudden obsession at this whole idea of wanting to be there in the moment where both my “feet” were in two different spaces in time all at once. I’ve always had the knack for these kinds of stuff. The ineffable beauty of loss. Subtle passages of time. The few seconds left. The acute awareness to small things. The timbre in a person’s voice. It was only after thirty minutes had passed that L and I both realized it was already my birthday.
Feeling a little buzzed, we finally decided to settle our bill. By now the crowd has doubled, and the muttering voices around us and at the bar hummed steadily, with a few occasional shrieks of laughter. It was a kind of noise that was pleasant to listen to after a bottle of rum. The night was young and didn’t promise of rain. The band was playing some versions of jazz songs. It was my first time being twenty-seven. Goodbye, my twenty-six-year-old self as we proceeded to the next bar.
The most recent message I got from my mother was a greeting on the night of my birthday that included a reminder that Jesus Christ is coming soon and a flood of emojis. I haven’t responded to this yet, as well as the previous messages she’d sent me since I left her and my hometown in 2011. When it came to the subject of my mother, I’ve already rehearsed the lines I was supposed to say whenever a friend would ask me about her. During these conversations, I’ve always felt compelled to distinguish between my biological mother and my foster mother, the latter who passed away recently (see To My Nanay, In Memory).
In retrospect, I’ve always suspected there are two versions of my childhood story. My Nanay’s version was that my biological mother, after giving birth to me, decided to leave me to her care, for whatever reason I forget now. Whenever I keep looking at my birth certificate and I see the black typewritten words “illegitimate child” on that piece of paper, I would pause for awhile, as if the words looked blurry that I needed a few minutes to readjust my focus to see each letter more clearly. To me, they sounded hollow, empty, devoid of meaning. I remember looking up illegitimate in the dictionary once and felt a sudden surge of nausea once I discovered what it actually meant. It sounded accusatory and abject. Like I was being cut open.
So I grew up with Nanay and Tatay with the narrative of my childhood they both crafted as best as they could just like the way, I suspect, they knew how. There was always a hint of some sense of ownership hidden somewhere in her quaking voice whenever she’d recount those months at the apartment building they’d shared with my mother during her pregnancy. How, during those times, Nanay claimed my mother was about ready to get rid of me, and so she tried to take all kinds of herbs and whatnot. It was her intervening which saved my life. At some point she was able to convince my mother to go on with the pregnancy until she gave birth to me, and when asked whether she was prepared enough to raise me, my mother had apparently said no. Nanay, who didn’t have a child of her own with Tatay, took me in and raised me as their own. It was only until I reached my eighteenth year in my last semester in university that I decided to live with my own mother. Nanay was very reluctant about the whole prospect, and I sensed her fear of losing his little boy. “You’re overreacting,” Tatay had told her. She cried on the day I left home.
One early afternoon, as my mother and I were eating our late lunch, I mustered enough courage to ask her about my father. We were finished with our food and were just idling at the table, not saying anything who’s going to do the dishes.
“Tell me something about my father.” I quipped. I wanted it to sound as light as possible without giving her the impression that this would be a start of an interrogation.
“What about him?”
“What’s his name?”
She said she didn’t know. My father was a neighbor who, according to her, had a crush on her for quite sometime. At the time, she was already seeing somebody, and she had no idea who this guy from the neighborhood was. I sometimes imagine the guy she was dating with and how hard it must have been for him to have taken in the news of what happened to her next. One afternoon, she continued, my father came to her apartment and offered her a glass of juice. She drank it and then passed out. She woke up a few hours later, her body throbbing in pain and realized something was wrong. She didn’t go into details about my magical conception story probably, in part, because it still pained her to recall those last few minutes before she passed out and those first few minutes when she woke up and felt the unfamiliar pain. I didn’t press on.
“I heard he died in a car crash somewhere,” she added as she turned the faucet on. She never mentioned his name.
It’s an ill-conceived plot. There’s a lot of important details missing in the story. How did my father get in? Of course, she let him in; otherwise, the juice story wouldn’t be in the picture. Or did he force himself in? Did my father specifically bring a glass or was it a pitcher that they presumably had to share with so that whatever my father’s evil plan was would go unnoticed? Or was my father just too dumb to even notice this seemingly small detail? What was the first thing he said? What did she say? What compelled her to open the door and step back a little away from the doorstep so he could get in? What was the flavor of the juice? Did she suspect anything at the least? How did he introduce himself? What was the color of his shirt? What was his name? These were some of the questions I was forced to confront with on my own after she told me her story and decided to wash the dishes herself. It was my story, too. Her story and mine. But I felt it lacked enough perspective.
In writing, there are three kinds of perspective. First is the first-person point-of-view, which narrows down the perspective of the story simply from the narrator himself, and always with the pronoun “I”, like listening to a friend telling a story or confessing a secret. The second-person point-of-view, using the pronoun “you” but with a few tricks in the bag. The addressee, the “You”, can mean the “other” or the reader. Back in elementary, I used to read the spooky serial books Goosebumps, and nearing the end, the reader is given an array of choices on how to end the story. There’s usually a prompt question asking the reader to turn to this particular page if he or she wants to end the story this way or that page if he wants the other. But “you” can also serve as a mirror for the “I”, as if the narrator of the story is talking to himself. Finally, there’s the third-person point-of-view, which takes on the pronouns “he”, “she”, “it” or “they”. Under this point of view are two types: the third-person limited point-of-view and the third-person omniscient point-of-view. The first one, given, say, two or three characters in the story, a reader will only hear the thoughts of one character and will see the story from the perspective of this character alone, and whatever impressions this character has toward the other two are shaped solely from this character’s experiences. The great Filipino writer Gregorio Brillantes with his story “The Cries of Children on an April Afternoon in the Year 1957” comes to mind with the element of time perfectly played out by this genius author. Or Game of Thrones screenplay writer David Benioff’s “Merde for Luck”. The second one, on the other hand, is much more exciting. The reader is given the chance to eavesdrop some or all of the characters’ thoughts, so that perspectives are shifting constantly, and the reader is offered the best vista to watch the characters lead their miserable lives, for example. One of my most favorite stories under this type is by the Irish writer William Trevor with his short story “The Wedding in the Garden“.
I talk in great lengths about perspective because I find that my childhood narrative has somewhat been reduced to the third-person limited point-of-view. My fiction class professor in university has left me an indelible stamp in approaching stories in order to see the shape of it: he draws in lines and curves. If I do the same thing right now, I’d draw a Venn diagram, the easiest one to pick. One circle will be my mother’s story. The second will be my father’s. The third one will be Nanay and Tatay’s. At the heart of these three circles where they all juxtapose is my narrative.
In approaching my own narrative, I’ve come to accept that there are questions that will always remain unanswered and that sometimes details can no longer be necessary. I will never know who my father is or how he looks like. I will never know who my grandparents are and how they look like. And cousins, too. One day, out of curiosity, I typed my last name on Facebook just to see how many people I shared the name with.One by one I clicked their profiles, hoping to see a resemblance of their faces with mine. I even went as far as inviting some of them to be my friends. Some accepted my request, and for a moment I felt a sense of affinity and kinship. I didn’t send them a message though. In one of our conversations, my mother mentioned in passing that she has two sisters.
There are things that are better kept than said. My mother’s story comes from a place of hurt, and I guess it’s better not knowing all the details to it. The writer Cheryl Strayed said there are things we know. Like Nanay and Tatay’s version of how I ended up staying with them until university. My mother claimed she wanted to take me back and that she tried a lot of times, but Nanay wouldn’t hear of it. Nanay said that every time my mother took me with her for a couple of days, I would end up sick upon my return, and she would be the one having to take care of me, which was why she decided never again. There are also things we know we don’t know, like how things got okay in the end. There are also things we don’t know we don’t know, like my father. I sometimes wonder what he’d say to me if he were still alive and recognized me.
Before Nanay passed away, I received a message from my mother telling me to come home and said I shouldn’t let the day come when I would receive the news of her death. It was a warning sign I missed. I didn’t listen to her. I didn’t receive the news of her death, too.
My name comes from the Bible. Aaron is the brother of Moses and his personal spokesman. James is one of the twelve disciples. The former comes from the Old Testament, and the latter from the New Testament. My mother’s friend from church suggested it. Her name’s Doris. I’m carrying my mother’s maiden name.