A Nation at Odds with Itself

The Philippines has been lauded by many as one of the most beautiful countries in the world. An archipelago of over seven thousand islands, it has a lush landscape riddled with beaches, mountains, and other natural wonders. It is this exotic paradise that has captivated many across the world. Apart from its natural wonders, the Philippines has a colorful culture that has intermingled with influences of the Chinese, Spanish, American, and even the Japanese. Each island comprising the archipelago has its own charms, its own identity, its own distinct personality that distinguishes it from the other islands. It is for these reasons that the Philippines earned the moniker the Pearl of the Orient Seas. Further, Filipinos are naturally hospitable. They are resilient and are endowed with unending optimism and enthusiasm that makes them see beyond the harsh realities that are before them.

The Philippines is a country of potential, making many consider it an emerging market. Since declaring Independence from the Spaniards on June 12, 1898, the country has been seen by many as an economy with high potential. Apart from its tourism potential. it has rich deposits of minerals that have been mined for centuries. Its seas are brimming with produce and its lands are fertile for agriculture. Its denizens, the majority of whom are fluent in English, are not only resilient but they are also hardworking. It was a foregone conclusion that the Philippines would emerge as one of the world’s top economies in no time. Following the end of the Second World War, it seems that the country was well on its way to becoming a global power. It was more advanced than its peers whose economies were adversely impacted by the war. But everyone, it seems, spoke too soon.

At the onset, the Philippines seemed to be on its way to becoming a powerful economy. It was even tagged as a Second World Country but for decades, it grappled with several factors that have hampered its growth and potential. Plagued by political, social, and economic maladies, the Philippines has played the role of a spectator and a second fiddle while its neighbors and peers have slowly overtaken it in terms of socioeconomic growth. In his socio-political novel, The Preying Birds (also published as Birds of Prey), Filipino writer Amado V. Hernandez probes into the sources of these conditions that persist in the contemporary. Originally published in Filipino in 1969 as Mga Ibong Mandaragit, it was only recently that the book was made available to the global audience by Penguin South East Asian Classics series with an English translation by Danton Remoto; a prior translation had limited reach.

“But this inclination came from our training. As a conquered country, the first thing we learnt was to look up to our colonizer. We were made to believe that they came here to help us. We were also made to believe that they sell what’s good for us. These include their language, commerce, way of life, and surely, even their vices. The Filipino became a great imitator. But the trouble was, we imitated even the bad. Our women don’t wear our native attire any more and prefer sheer textiles that hug the body. Young people are drawn to leisure instead of work. The children now prefer bread over rice, candy over native sweets, apples over bananas.”

~ Amado V. Hernandez, The Preying Birds

The novel takes the readers first to September 1944. It was the twilight of the Second World War. The once ruthless and formidable forces of the Japanese Empire that have committed several atrocities since establishing control over the Philippines have shown signs of decline and weakening. The Allied countries have been relentless in their offensives against the Axis powers. While the Filipinos were awaiting the fulfillment of General Douglas MacArthur’s promise – he famously uttered “I shall return” when he and the American forces retreated from the Philippine Islands – Filipino guerilla fighters were gathering steam. Alongside Filipino soldiers, they took advantage of the Japanese Imperial force’s exposed position to drive them away.

Among these guerilla fighters was Mando Plaridel, the novel’s heart. Before assuming the name Mando Plaridel, “Andoy,” as he was familiarly referred to in the story, was born and baptized Alejandro Pamintuan. He was born into a poor family and to earn, he worked as a servant in the household of Don Segundo Montero, a wealthy landowner and merchant. He used to be subservient to his master’s orders but with the Japanese forces encroaching on his properties, Don Segundo Montero was prompted to take action. Don Segundo had no scruples for betraying the people who looked up to him and worked for him, among them Andoy. When Andoy neglected to salute a Japanese official he passed by, he was slapped. Don Segundo sided with the Japanese and gave him permission to arrest Andoy under the allegation of being a guerilla. With no recourse, Andoy fled to the mountains, joined the guerilla movement, and assumed a new personality.

When the novel commenced, Mando, alongside two fellow guerillas Karyo and Martin wound up in the hut of Tata Matias obscured by the deep thicket of the Sierra Madre mountain range. The trio was forced to retreat from their camp in Sampitan after it was run aground by Japanese soldiers. Tata Matias, like Mando, was a revolutionary; he took arms against the Spaniards and the Americans, two former colonizers of the archipelago. When Tata Matlias and Mando last met, they discussed their concerns and how they became part of the revolutionary movement. A seminal part of their discussion revolved around Dr. Jose Rizal – the Philippine National Hero – and his two novels, Noli Me Tangere and El Filibusterismo. According to Tata Matias, the novels are no mere works of fiction because his family knows the real Padre Florentino, one of the main characters in El Filibusterismo.

Central to the two characters’ discussion was Simoun’s jewelry; Simoun was the main character in El Filibusterismo. Tata Matias believed that this wealth would be integral to the guerillas’ cause. Tata Matias believed in its existence and was one of the reasons why he settled in the Sierra Madre mountains, close to the eastern coast of the country. It is believed that Simoun’s treasures are located at the bottom of the sea. When Andoy, Martin, and Karyo left Tata Matias’ hut, they had no inkling about where to go next. They were uncertain of which places were under the control of the Japanese forces. They then moved to the coast to search for Simoun’s treasure. By a stroke of luck, Mando succeeded in retrieving the chest of jewels. Instead of using the jewels for personal gains, he used them to fight for social justice. He travels the world to sell them and returns to the Philippines to establish a newspaper called Kampilan. The story then charts Mando’s quest for social justice.

“But the nation had no time to grieve in the face of life’s new challenges, which could only be met by strong resolve, hard work, and greater struggle. When the guns had stopped firing, another struggle followed, one that was no less intense or significant: the restoration of peace. Mistakes, neglect, and indifference had reversed the outcomes of the war. The defeated reaped the fruit of victory, or the wheels of change were blocked in spite of the people’s untold sacrifices.”

~ Amado V. Hernandez, The Preying Birds

The allusions to Dr. Rizal’s two literary masterpieces gave depth to the plot. It was one of the story’s main drivers and, as the story moves forward, it becomes increasingly palpable that Mando is merging with the persona of Simoun. Like Simoun, Mando assumed a new personality and adopted a pseudonym; before he became Simoun in El Filibusterismo, he was known as Crisostomo Ibarra in Noli Me Tangere. The inequities they both witnessed, both from the colonizers and their fellow Filipinos, were eye-openers. Mando had a firsthand experience of being exploited by the affluent who saw him as dispensable. This is an experience common to those who were not born with a silver spoon. Wealth and power reside with the few, like Don Montero. They go to extremes to protect their properties and social standing, even if such actions are detrimental to their fellows.

As the old adage goes, the rich get richer while the poor get poorer, a sentiment that reverberates in the contemporary. This was further highlighted in the novel through the proposed introduction of land reforms. Farmers, in clandestine, formed unions to seek reforms that would narrow down the sea of disparity existing between them and the landowners. Landowners, however, have a different idea. The landowners employed ruthless villains to instill fear in the hearts and minds of the farmers. In the case of Don Montero, the villain came in the form of Kapitan Pugot. The struggle between the farmers and the landowners, or to more aptly call them, hacienderos, highlights the lack of agrarian reform in the country. For decades, the two sides locked horns all over the country, some ending in brutal dispersals. This further underscores the inequity between the rich and the poor.

Don Montero’s actions relative to Mando’s incarceration underline one of the realities that plague the country. He was subservient to the imperialists and the colonists. His motivation lies primarily in ensuring that his properties and social standings are safeguarded. He epitomizes the typical Filipino politician, the “trapos” (rags) as they are scathingly referred to; Hernandez did not hold back in his critique of the modern Filipino politicians who have no political will. Their loyalties lie in their personal interest and not in the welfare of the people they are supposed to serve. They turn a blind eye to the atrocities of the colonizers who treated their fellows like second-class citizens in their own country, a harsh reality that Mando experienced himself. From these instances, one can surmise the parallels between Simoun and Mando. Mando’s crusade to shed light on and reduce the inequities persisting in Philippine society mirrors that of Simoun’s.

Justice, however, is a rarity in a society corrupted by greed and selfish ambitions, where those who grew up in privilege are shielded from the ugly realities that sweep the rest of the nation. One is willing to compromise one’s moral compass especially if it entails getting undue advantage. Hernandez probes into the factors that contributed to these social maladies that pervade Philippine society. The legacies of colonialism – the archipelago was colonized by Spain for over three centuries, by the United States for nearly four decades, and by the Japanese for about four years – were among these factors. Being colonized by both the West and the East, the Philippines has lost some of its cultural identity. It is in a cultural quandary because it aims to emulate the West and be above its peers in the East. As a result, Filipino values have become convoluted.

“I am still waiting for a leader who will tell our country that we shall stand on our own feet, that we shall not be clinging vines, but straight and firm like the molave tree atop the mountain, or amid the lashing of hurricane and wind. Either we remain conquered, or we become independent. Frequently asking for doles like a beggar does lessen one’s worth. Who does not admire the ant that toils without stopping, stores food, builds its houses, and dies fighting, even against men, if it is harmed?”

~ Amado V. Hernandez, The Preying Birds

An integral part of the novel’s political discourse was its exploration of communism and socialism, particularly in the Philippine context. Hernandez, a former guerilla during the Japanese occupation who was imprisoned for his involvement with the communist movement, provided in-depth insights into these two schools of political ideologies. Interestingly, Mando’s politics were not as radical as one would expect as he advocated for democracy. He had no scruples riding the high life himself. While he does not avoid violence, his primary means of conveying his message is through the pen; in this facet, he mirrors Dr. Rizal’s stance. The socio-political discourses largely characterized the novel but also had overtones of romance. Love stories gave the novel different textures. They, however, do not gloss over the novel’s main message; Hernandez was steadfast in capturing the Philippines’ socio-political and socio-economic landscapes.

Each of the main characters are allegories of the various members of contemporary Philippine society. Hernandez provided glimpses into the decadent lifestyle of the upper classes while examining the concerns of the marginal. The novel also vividly captures Filipino values and how it is evolving. This can be noted in the dichotomy between the primary female characters. Dolly, the daughter of Don Montero, was liberated and epitomized Western values. Puri, Mando’s cousin, was chaste. Puri was the representation of Filipina female values. Because of her liberated demeanor, Dolly was portrayed as a bad role model. This was a palpable showcase of sexism that aimed to pigeonhole Filipina women by providing what a Filipina should be; a valid critique of Hernandez’s patriarchal values.

In writing the novel, Hernandez drew inspiration from his experiences as an intelligence operative of the guerilla outfit of Marking and Anderson. The novel’s wonderful elements were woven together by Hernandez’s adept writing. His writing was particularly resplendent in detailing Philippine and world history. He had the knack for capturing vividly the atmosphere; there was a sense of place and time. The insightful facet of his writing enriched the political discussions. It was a lush tapestry and it took some time before the novel’s flaws started manifesting. Hernandez has the compunction to be preachy. His arguments were relayed to the audience through the form of a dialogue. The arguments were being force-fed on the spectators and there was rarely room for rebuttal. He also has a fondness for telling rather than showing but when he chooses to do the opposite, his writing is impeccable.

Despite its flaws, The Preying Birds is a searing book that provides glimpses into the various maladies and conditions that continue to plague the Philippine nation. The Preying Birds is, without a doubt, an incisive look at contemporary Philippine society. It is a scathing socio-political novel that strongly echoes the sentiments captured in the works of the Philippine national hero, Dr. Jose Rizal. The book’s hero, Mando Plaridel was reminiscent of Rizal’s Crisostomo Ibarra/Simoun. The same maladies underlined by Dr. Rizal in his novels were the same maladies captured by Hernandez but were updated to be in tune with the time, making it a timely and relevant read despite the passage of time. While The Preying Birds is largely a work of social realism riddled with some biographical elements, some aspects of it require suspension of belief.. The Preying Birds, without a doubt, is an incisive look at contemporary Philippine society.

“Like children without minds of their own, those in charge of our administration follows such advise, until the nation became like a plant without roots, like orchids hanging in the air. We became a caricature of a country, neither Western nor Eastern. While she is made a puppet by the West, which she imitates, she is ridiculed by the Easterners, whom she wishes to belittle. Only a Filipino whose sensibility is not in the heart but in his pockets will not abhor this situation.”

~ Amado V. Hernandez, The Preying Birds
Book Specs

Author: Amado V. Hernandez
Translator (from Tagalog): Danton Remoto
Publisher: Penguin Classics
Publishing Date: 2022 (1969)
No. of Pages: 434
Genre: Historical, Literary, Socio-political

Synopsis

A novel that continues the flaming social realism in the novels of the Philippine national hero, Dr. Jose Rizal.

Mando Plaridel is the lead character in this novel of social realism. His character combines the qualities found in Simoun and Ibarra, the two lead characters in national hero Jose Rizal’s novels: Noli Me Tangere and El Filibusterismo. Simoun is the passive character in Rizal’s novels while Ibarra is the active propagandist who wakes up the people from their centuries-old sleep under Spanish colonialism.

Mando starts out as Andoy, a houseboy in the house of the powerful Montero family. He works hard and gets himself a good education. After the war, society begins to know him as the brave editor of the Kampilan newspaper. He later becomes involved in the problems of the farmers with the abusive Monteros.

Told from an omniscient point of view, Hernandez is able to enter the consciousness of the wealthy characters. He shows how the ruling classes – the politicians, landowners, judges, deputies and bishops – only protect their own interests, that is why they do not want to change the status quo.

Dr. Sabio is the progressive president of a university founded by Mando, who used the treasure thrown into the sea at the end of Rizal’s second novel to help improve society. The money is used to fund Freedom University and set up Kampilan, the brave newspaper. The novel points to the cooperative system of land ownership as the way out for the landless poor. It implies that change can only begin when the eyes of society have been finally opened.

About the Author

Amado V. Hernandez was born on September 13, 1903, in Tondo, Manila to parents who originated from Hagonoy and Baliuag, Bulacan. He grew up and studied at the Gagalangin, Tondo, the Manila High School, and at the American Correspondence School.

Hernandez’s interest in writing started at a young age. When he was a teenager, he started writing for the newspaper Watawat. In 1922, Hernandez became a member of the literary society Aklatang Bayan which included noted Tagalog writers Lope K. Santos and Jose Corazon de Jesus. He would later pursue a career in journalism. He wrote a column for the Tagalog publication Pagkakaisa (Unity). He became the youngest patnugot (editor) of Mabuhay (Long Live) at the age of 28. His writings gained the attention of Manila literary circles. Some of his stories and poems were included in anthologies, such as Clodualdo del Mundo’s Parolang Ginto and Alejandro Abadilla’s Talaang Bughaw. In 1939, he won the Commonwealth Literary Contest for a nationalist historical epic, Pilipinas (Philippines). In 1940, his collection of mainly traditional poems, Kayumanggi (Brown), won the Commonwealth Award in Literature.

During the Japanese occupation of the Philippines (1942-45), Hernandez served as an intelligence officer for the underground guerilla resistance, an experience reflected in his major novel, Mga Ibong Mandaragit (1969, The Preying Birds). His other novels include Luha ng Buwaya (1972, Crocodile Tears) and Pili sa Pinili (1964, Chosen from the Selected). He also wrote scores of poems such as the Bayang Malaya (Free Country), for which he received the prestigious Balagtas Memorial Award. While in jail for the accusation of complicity with the Communist-led uprising, he wrote the satirical poem, Isang Dipang Langit (An Arm’s Stretch of Sky) and the play, Muntinlupa. Hernandez also wrote essays

Following the end of the Second World War, Hernandez organized the Philippine Newspaper Guild in 1945. After his release from prison, Hernandez wrote countless stories under various pseudonyms for the leading weekly magazine, Liwayway (Dawn). He also actively wrote columns for the daily newspaper, Taliba (News), and edited the radical newspapers Ang Makabayan (The Nationalist) from 1956-58 and Ang Masa (The Masses), from 1967-70. He participated in the Afro-Asian Writers’ Emergency Conference in Beijing, China, in June-July 1966. As a political activist, he joined the International War Crimes Tribunal, where he joined the likes of Simone De Beauvoir, Bertrand Russell, and Jean Paul Sartre in November 1966.

For his works, Hernandez received several accolades and honors. Among the recognitions he received include the Republic Cultural Heritage Award (1962) and the National Artist Award in 1973. Hernandez passed away on March 24, 1970.