Dogeaters

Dogeaters, first published in 1990 by Jessica Hagedorn, is a literary and historical fiction novel set in the 1950s Manila, Philippines. Hagedorn, a Filipino American playwright and writer, uses her background to explore the complexities of Filipino society influenced by Spanish imperialism, class struggles, and American cultural dominance. The novel, known for its ensemble cast of characters like Rio Gonzaga, intertwines various narratives that gradually connect, reflecting the diverse social fabric of the Philippines.

Dogeaters won an American Book Award and was nominated for the National Book Award in 1991. It is a significant work in Filipino American literature, noted for its portrayal of a pivotal historical era.

This guide refers to the 2013 Open Road Integrated Media e-book edition.

Content Warning: The source material features depictions of graphic sexual violence, suicidal ideation, miscarriage, exploitation, abortion, drug addiction, foul language, offensive terms for people of color, racism, graphic violence, and murder.

Plot Summary

The novel is written from various characters’ points of view, moving between present and past tense. It begins with Rio Gonzaga reminiscing about her youth in Manila in 1956. She and her older cousin Pucha watch the American film All that Heaven Allows in an “English Only” movie theater. Post-movie, the pair visits a café, where Pucha flirts with boys.

Rio’s maternal grandmother, Lola Narcisa, resides with the Gonzaga family while her husband, Rio’s grandfather, Whitman, receives medical treatment in an American hospital. Delores, Rio’s mother, finds Lola’s presence somewhat burdensome due to her fervent display of her Filipino roots. This behavior contrasts sharply with that of Rio’s paternal grandmother, who despite her Filipino origin, is a devout Catholic from Spain and insists on being addressed as Abuelita Soccoro.

Rio’s father Freddie’s identity aligns with that of his mother, Abuelita Soccoro, as he too does not see himself as Filipino, instead gravitating toward Spanish culture and interests. He is employed by the affluent Alacran family, the wealthiest and most powerful in the country. The patriarch, Severo Alacran, is known for his extravagant lifestyle. His wife, Isabel, shares a commonality with Rio’s mother Delores, as both were former beauty queens. Despite the outward appearance of a harmonious marriage, Severo and Isabel’s relationship is fraught with conflicts. Their daughter, Baby Alacran, faces her own struggles, grappling with health issues and anxiety that lead to physical deformities, much to her mother’s dismay. In a decision driven more by obligation than affection, Baby resolves to marry Pepe Carreon, the trusted aide of the notoriously ruthless General Ledesma.

The country is governed by the President and First Lady, who are vocal supporters of General Ledesma. Rumors abound about the General’s torture camps, which allegedly target those who oppose the government, but they are consistently denied by official sources. The central figure of the political opposition, Senator Domingo Avila, is portrayed as a champion of the people, desiring to liberate the Philippines from its colonial past. Despite possibly being a relative of General Ledesma, he is a staunch critic of the regime. A revolutionary movement supporting Avila gains momentum.

Senator Avila stages a public mock trial, symbolically convicting the General’s Special Assistant, Pepe Carreon, of war crimes, and directly challenging the regime. His wife, Maria Luisa, is an outspoken history professor while their daughter, Daisy, emerges as a key protagonist in the story. Daisy’s involvement in a beauty pageant for the Philippines sets her on a controversial path. Rather than feeling like a triumph, her unexpected victory triggers depression. She withdraws from the public eye, avoiding interviews and secluding herself. This behavior draws severe criticism from the First Lady and the media, who label her a national embarrassment. In a moment of defiance, Daisy confronts these accusations on live television, boldly criticizing the First Lady for perpetuating unrealistic standards for women.

Joey Sands, a sex worker, represents Manila’s darker side. His mother, also a sex worker, sold young Joey to her pimp, a man named Uncle, before dying by suicide. Joey’s father was an African American soldier who was once stationed in the Philippines but isn’t in Joey’s life. Uncle, who abuses Joey and forces him into the sex trade, is the only parental figure Joey has ever known. Joey finds some escape from this life by working as a club DJ, but even there, he faces exploitation from the tourists who visit the city.

Romeo Rosales, an aspiring actor, is captivated by the allure of American movies and culture. Romeo is adored by his girlfriend, Trinidad, however, their relationship is strained because Trinidad doesn’t embody the Hollywood heroine stereotype that Romeo idolizes. This mismatch causes a growing irritation in Romeo, who starts to unfairly blame Trinidad for his own stalled career.

After rising political tensions, Senator Avila is assassinated. Joey Sands, who happens to be at the hotel, witnesses the assassination. He flees, knowing that he could be blamed for a crime he didn’t commit.

Romeo is on his way to break up with Trinidad when he gets caught in the chaos of the assassination. He is shot, and in his final moments, he realizes that he truly loves Trinidad. Trinidad, standing up for Romeo, publicly declares his innocence. However, soon after her public statement, Trinidad mysteriously disappears.

Daisy falls for Santos Tirador, a guerrilla revolutionary. Ignoring warnings about the risks involved, Daisy and Santos decide to run away together, driven by their shared passion and ideals. However, their plans are shattered when Daisy is captured by the General’s forces. In the camp, she is confronted with pictures of Santos, mutilated and dead. The General and his men subject Daisy to torture and rape while a Filip plays in the background. Ultimately, Daisy is released but is permanently exiled. 

Joey hides at Uncle’s house, but Uncle drugs him and betrays him to the authorities. Joey manages to escape but kills Uncle’s beloved dog in the process. His friend Boy-Boy helps smuggle Joey out of the city to a guerrilla camp in the jungle. Here, Joey encounters Daisy and her cousin Clarita, who are using fake names for their protection. For the first time in his life, Joey experiences a sense of belonging, even opening up to Daisy about his mother.

Rio’s family remains distant from the political unrest in their country. Her mother, Delores, moves her to America, where Rio spends several years. When Rio eventually returns to the Philippines, her childhood home is in ruins. This sight stirs deep feelings of restlessness and displacement, and she grapples with her identity and where she truly belongs in the world.

Pucha, Rio’s cousin, sends her a letter expressing her shock and displeasure at a story Rio had written about their family. Pucha is offended by the fictionalized events, particularly the ones about her. 

The novel concludes with a reimagining of the Christian “Our Father” prayer as “Our Mother,” a sorrowful, apologetic ode to the Philippines. The chapter is called “Kundiman,” a nod to the traditional Filipino love songs that expressed both patriotism and resistance against colonization.