Primeros reseñadoresEric Gamalinda

Two men, each unaware of the other, share a common family secret: they were sold for adoption by their American father shortly after their births in the Philippines. Three alternating stories interweave the experiences of father Andrew Breszky and the two sons who try to connect and piece together the puzzle of their reckless, impulsive father. One lives in New York and the other grows up in the south of France, later traveling all over Asia as a documentary filmmaker. Both will discover that their relationships somehow echo that of the young man whose history eludes them. Celebrated Filipino writer Eric Gamalinda's international debut novel is a contemporary work of ideas that combines mystery, film noir, and existential philosophy. Highly intricate and written in a style reminiscent of the maverick narrative techniques of such filmmakers as Andrei Tarkovsky and Béla Tarr, and with some of the philosophical underpinnings of Michel Houellebecq or Javier Marías. Named after the region of the moon where Apollo 16 landed in the same year these men were born, The Descartes Highlands demonstrates that for lives marked by unrelieved loneliness, the only hope lies in the redemptive power of love.

Launched with the summer ’04 award-winning best-seller Brooklyn Noir, Akashic Books continues its groundbreaking series of original noir anthologies. Each book is comprised of all-new stories, each one set in a distinct neighborhood or location within the geographical area of the book. Original stories by Lourd De Veyra, Gina Apostol, Budjette Tan & Kajo Baldisimo, F.H. Batacan, Jose Dalisay Jr., Eric Gamalinda, Jessica Hagedorn, Angelo Lacuesta, R. Zamora Linmark, Rosario Cruz-Lucero, Sabina Murray, Jonas Vitman, Marianne Villanueva, and Lysley Tenorio. One of the most populous cities in the world, Manila provides the ideal, torrid setting for noir. It’s where the rich rub shoulders with the poor, where five-star hotels coexist with informal settlements, where religious zeal coexists with superstition, where “hospitality” might be another word for prostitution, where politics is often synonymous with celebrity and corruption, where violence is nothing out of the ordinary and pretty much anything can be had for a price. From the Introduction by Jessica Hagedorn: “Manila is not for the faint of heart. Built on water and reclaimed land, it’s an intense, congested, teeming megalopolis, the vital core of an urban network of sixteen cities and one municipality collectively known as Metro Manila. Population: over ten million and growing by the minute. Climate: tropical. Which means hot, humid, prone to torrential monsoon rains of biblical proportions. I think of Manila as the ultimate femme fatale. Complicated and mysterious, with a tainted, painful past. She’s been invaded, plundered, raped, and pillaged, colonized for four hundred years by Spain and fifty years by the US, bombed and pretty much decimated by Japanese and American forces during an epic, month-long battle in 1945. Yet somehow, and with no thanks to the corrupt politicians, the crime syndicates, and the indifferent rich who rule the roost, Manila bounces back. The people’s ability to endure, adapt, and forgive never ceases to amaze, whether it’s about rebuilding from the latest round of catastrophic flooding, or rebuilding from the ashes of a horrific world war, or the ashes of the brutal, twenty-year dictatorship of Ferdinand Marcos . . . Many years have passed since the end of the Marcos dictatorship. People are free to write and say what they want, yet nothing is different. The poor are still poor, the rich are still rich, and overseas workers toil in faraway places like Saudi Arabia, Israel, Germany, and Finland. Glaring inequities are a source of dark humor to many Filipinos, but really just another day in the life . . . Writers from the Americas and Europe are known for a certain style of noir fiction, but the rest of the world approaches the crime story from a culturally unique perspective. In Manila Noir we find that the genre is flexible enough to incorporate flamboyant emotion and the supernatural, along with the usual elements noir fans have come to expect: moody atmospherics, terse dialogue, sudden violence, mordant humor, a fatalist vision.”