Invocations to Daughters

“I am not your ethnic spectacle,” declares Reyes (To Love as Aswang) in her powerful fifth collection. “I write whether or not you invite my words.” Reyes fuses elegy, psalm, prayer, and the language of protest as a challenge to hegemonic, patriarchal, and colonialist narrative-making. Moving among English, Spanish, and Tagalog, Reyes chronicles the ways legal and judicial systems fail to protect Filipina women such as Mary Jane Veloso, who sits on death row in Indonesia, and Jennifer Laude, a trans woman murdered by a U.S. Marine stationed in the Philippines. She boldly exposes and documents violence against Pinay women while also embracing a liminal, transitory, trilingual identity: “This lyric-making me, now a dazzling we.” Reyes writes with conviction about the various ways imperialism transforms women into “capital, collateral, damaged soul.” However, the women that appear throughout the book are not merely victims; in Reyes’s radical cosmology, these women—these daughters—are rebels, saints, revolutionaries, and torchbearers, “sharp-tongued, willful.” This book is a call to arms against oppressive languages, systems, and traditions, all that “strips us of our kick and grit.” In choosing to be ethical, and by refusing to submit to oppression, Reyes writes, “We rise/ And in writing, we restore our lives.”

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