a happy dagger whittles down ‘romeo & juliet’ to its bare essentials: swear not by the moon (langgam performance troupe, january 2016)

How else can you make the doomed love story of Romeo & Juliet new? Baz Luhrmann brought the young lovers to the modern age while retaining the original lines from Shakespeare’s play; Chris Melohn incorporated social media and dance; the Hypokrit Theater Company brought them to New Delhi and spiced up their story with elements of Bollywood.

In Swear Not By the Moon, the Langgam Performance Troupe does two things: they reverse the gender roles, and they change the space, restricting fair Verona to a loft bed.


Romeo & Juliet is perfect for a theater experiment in gender role reversals as the two lead characters already challenge the ideas of what their gender can and cannot do in their day and age. Romeo, unlike the men from his family, is sensitive, pines for his love, shies away from violence and confrontations. Juliet, unlike her nurse and the Lady Capulet, is bold (“Then have my lips the sin that they have took…You kiss by the book”) and is not afraid to take matters into her own hands. The gender bender highlights these supposed feminine and masculine qualities found in each character. (Note Joel Garcia’s [as Juliet] booming voice as he tells the nurse to pick the cords up, and Jacq Nacu-Garcia’s [as Romeo] whiny tantrum when she finds out that she will be exiled; note also that these actors are an actual married couple!)

In a way, the gender bender is not that bold of an idea (it has been done before), but coupled with the restrictions in space, it makes for an interesting theater experience. By moving away from the traditional proscenium stage, Jenny Logico-Cruz and team has to restrict the number of actors (you can’t have 10+ actors bumping into each other on that loft bed), distilling the ensemble characters into only two actors. Note how the characters are categorized: the friar and the nurse–counsel and kunsintidor both–is played by the same actor (Anna Karenina Salgado, who I think is fantastic, in her first professional play), while another actor (Neil Raagas) plays the poor casualties of the feud: Lady Capulet, Mercutio, Tybalt, Paris, with the actor employing the same body language, the same languid, cat-like body movements. On a continuum, this runs Tybalt to Paris, with Paris the most cat-like of the four, draping the entire length of his body on the incredulous Juliet.

All of the actors wear white–blank slates–allowing the performance to carry the play, as the actors are unable to hide behind scenery, costume, props, or even hair.

The unique stage design also gave rise to smart lighting and blocking decisions. (In a play where Mercutio and Tybalt is played by the same person, you have no choice but to be creative with your lighting and blocking!)

The stars of Verona.


Romeo & Juliet meet at the party.
Romeo with Juliet’s corpse.

My main critique would be some of the actors speak the lines so quickly that I can’t understand them. (Which could be a downer for audience members who are not familiar with the original script.) Other than that, it was a great three hours of raw theater.



swear not

Langgam Performance Troupe on Facebook

wounded little gods, a novel — coming soon

UPDATE 3/4/2016: Visprint is now accepting orders, for FREE delivery nationwide. Email bookorders@visprint.net now.

Wounded Little Gods–230 pages paperback, ₱280–will hit bookstores before the end of March.


This was the book that was slated to come out December 2015 and which will finally see the light of day this quarter. I finished writing this short novel in August 2014 but I feel like I will keep revising up until I see the final page layouts and/or Visprint wrenches it out of my hands. (I’m probably only mildly joking.) Don’t you just love the cover art? Cover art and design is by the brilliant Jap Mikel, who also designed the cover art for Project 17. It reminds me of the art and color palette of old komiks. I think it’s fantastic. He will also be working on the interior art, which I’ve yet to see–and I can’t wait.

I will update you all once the book hits the local bookshelves. For now, feel free to share this blog post.

Happy New Year!

Wounded Little Gods

A Novel by Eliza Victoria

Fantasy, Mystery

Published by Visprint

Regina was born and raised in the small town of Heridos, where gods and spirits walked the earth.

Until they didn’t.

Ten years ago, the whole town produced a bad harvest—rice grains as black as soot—and the people of the town moved on, away from the soil and the farms, believing the gods and spirits have abandoned them.

It is ten years later, on a Friday before a long weekend, and Regina ends her shift at an office in Makati. She walks home with a new colleague named Diana. Diana, following a strange and disturbing conversation with Regina, does not appear at the office on Monday, and the day after that.

And the day after that.

On Thursday, Regina opens her bag and finds a folded piece of paper filled with Diana’s handwriting.

On the page are two names and a strange map that will send Regina home.

Cover Art and Design by Jap Mikel


stories from the filipino readercon 2015

This year’s Filipino Reader Conference was held in De La Salle University. I’ve never been inside the campus. The massive Henry Sy Hall reminded me a bit of Singapore’s National Library.

We weren’t able to leave early enough to catch the Conference opening and the first few panels. I’m not on any panels this year; it felt good to just attend the event as an audience member. (For one thing, I was late but didn’t have conniptions.)

Filipino ReaderCon 2015

Filipino ReaderCon 2015

Filipino ReaderCon 2015

Filipino ReaderCon 2015

We attended the “Supporting the Authors You Love” panel, facilitated by Paolo Chikiamco.

“Supporting the Authors You Love”
It’s tough to make a living from being an author, but many authors have untapped allies in their struggles – their readers. While it’s harder for an author to stand out in this day and age, it is also easier than ever for readers to take a more direct hand in supporting authors. The voices of readers have more sway than ever before. This panel is for readers who want to exercise this power wisely, in supporting authors, both as individuals, and by championing pro-author issues. The panel will also include a response from readers, who will speak with regard to what authors (and publishers) can do to help readers help them.

Panelists: Kim Villanueva, Beverly Siy, Mina V. Esguerra, Tepai Pascual
Facilitator: Paolo Chikiamco

Filipino ReaderCon 2015

Filipino ReaderCon 2015

What can readers do? Personally, just sharing my website link and mentioning my books to friends (with or without a review) already means a lot. There are a lot of books out there; it’s easy to get buried (or be pushed into a dark unseen shelf) and fall into obscurity. A book sometimes does not get sold not because it’s bad, but because LITERALLY no one knows it exists. So if a reader acknowledges that my book exists, that’s already a big deal.

We also attended “Live Reading with Gio Gahol and Rachel Coates hosted by #romanceclass”. This is a live reading of excerpts from local romance novellas, which sparked a discussion between J and I.

(Warning: digression ahead.)

We were trying to figure out why I don’t read as much romance novels as the average attendee in that activity. (Most of the audience members were female.) I told him that most of the romance tropes do nothing for me, most of the time: the lingering looks, the blow-by-blow description of the kiss, the description of the physical male form that caters to an ideal, which is not necessarily my ideal. This may be an effect of my fierce need to protect the personal, as in, Well, that’s nice, but you don’t need to tell me that.

I told J that I probably just demand other things from the romance stories I read. I’m thinking: I didn’t have a high school sweetheart. Or a college sweetheart. (J and I met when we were both already working.) I was a cynical and pragmatic teen, and still probably a cynical and pragmatic adult, so most romance stories to me seem staged. Un-honest. (In case it’s not clear – and before I get hate mail – this is not a criticism of romance and romance writers. This is an exploration of why most novels in the genre does not work for me.) What works for me: humor. Humor, for some reason, always seems honest to me. Or rather, I don’t need to worry about authenticity in something that is funny, so I can relax and just enjoy the story instead of demanding more from it.

We also asked, Is romance a luxury? Most of the stories read had middle-class protagonists. We realized that most of our local romance stories have at least one upper- to middle-class character; either they’re both middle-class or one belongs to a lower class to heighten the dramatic possibilities. If you write a romantic story with poor characters, will that still be labeled “romance”? They will be faced with problems different from the problems faced by middle-class protagonists like where to go get coffee, or what to do about the snotty wedding planner, or what hotel to book for that vacation abroad, or which gym to go to. Without recognizable romance tropes, that story will be labeled “drama”. What if the protagonists live in a war zone? “Drama”. Romance is airy; romance is not cash-strapped. It requires a light hand that can push away the concerns of the world, so the individual can focus on variations of this single question: does he/she love me back? In some scenarios, this question is the least important question to ask. So, is romance/romantic love a luxury?

I’m sure there are more arguments for or against this claim, but for now, moving on!

UPDATE! Following is a(n accidental Facebook) conversation between me, J and Mina Esguerra.

Mina: Eliza Victoria Eee awesome post! Answering here because kalat na sa Twitter.

“If you write a romantic story with poor characters, will that still be labeled “romance”? They will be faced with problems different from the problems faced by middle-class protagonists like where to go get coffee, or what to do about the snotty wedding planner, or what hotel to book for that vacation abroad, or which gym to go to.”

Yes, as these are tropes found specifically in contemporary romance featuring middle class characters, but not in, say, paranormal romance or historical American Western, or historical Regency, or Precious Hearts in some cases, but those have their own tropes as well.

“Romance is airy; romance is not cash-strapped. It requires a light hand that can push away the concerns of the world, so the individual can focus on variations of this single question: does he/she love me back? In some scenarios, this question is the least important question to ask.”

This is, sadly, the generalization of romance that I get most often. (I can say that any reader of romance will say it’s not all airy, that people in romance are also poor, but I’ll step back from that because it’s exhausting.) The thing with romance genre books though is that it pre-supposes that the reader finds this a valid question. Those who don’t, will not read the book. As I do, when I encounter books or entire genres that do not resonate at all. The questions they pose there I understand are important to them though.

“So, is romance/romantic love a luxury?”

Yes — as much a luxury as fantasy, poetry, crime fiction, horror, any fiction is to me. Is there a way to discuss this without inadvertently shaming women for wanting read about love and acknowledging desires? (It’s an actual question! I don’t want to go there. I like discussing romance in a shame-free way.)

Me: Thanks for answering Mina! And yes I have to acknowledge we were discussing contemporary romance. Sumakit ulo namin ni Jaykie while discussing this, we should’ve roped you in. Idea for a panel? Hehehe.

J: Interesting topic ito sakin! Lately kasi I notice stuff that appeals to young women tends to get dismissed (e.g. “mababaw ang AlDub”) and I find it kinda unfair, so ayun mej marami na kami napag-usapan haha

I think where we left off is trying to determine what is considered Romance and what isn’t. I mean, I like Charlie Kaufman movies and I certainly think there’s romantic elements to them, but I don’t think they get categorized as Romance really? Except Eternal Sunshine, but maybe not even that.

Mina: As far as publisher guidelines are concerned, it has to be romance as the A plot, ie main conflict is a threat to the romance, and the climax is a resolution to the romance. Diana Gabaldon’s Outlander books, for example, despite having a lot of romantic elements, do not climax in romance resolution so they are not romance novels, and the author herself won’t call them that. Nicholas Sparks novels, same thing, as those normally resolve the romance and climax at something else (like death). There are structural elements also and beats that have to be met. Many Wattpad to print stories for example are not strictly romances, structurally.

Mina: Chick lit will for example resolve the main character’s dramatic arc often independent of the romance, ie a promotion, validation at work, winning something, so they’re not strictly romances either despite a romance element present.

Mina: Oh and there’s also the romantic suspense subgenre where there’s usually a threat to their lives and the characters are in conflict situations/actual peril, but romance still main plot

Me: Nito ko lang na-gets ang difference ng Chick Lit at Romance! (Some people lump them together, which confuses me!) Salamat!

J: Oh so follow-up question, the resolution could be anything that addresses the indefinite status of the relationship, right? So if the ending is that they decide not to be together it’s still ok?

Mina: Oh but happily ever after is actually a requirement (for many romance publishers) and they won’t accept a submission without it. There’s a debate on this because self publishing, so authors can do what they want and some aren’t ending their stories happily anymore. But then the debate is, what’s the point of this 150 page journey if the answer is no? Did you pull a bait and switch on the reader who had very solid expectations of what they were paying for? The compromise is the “happy for now” which is a decision to stay in a loving monogamous relationship but isn’t a proposal or a wedding

J: Ah, that’s interesting. Ang naisip ko kasi ay baka may story na tipong two people are very much in love, but ultimately they mutually decide the relationship isn’t feasible? But yeah, valid point din na parang bait and switch nga yung ganyang ending

Mina: Eliza – That took me a while din! and I was already writing the books when I figured it out huhu

Mina: Thank you for asking! I like talking about this. grin emoticon The formula and rules naman are being tested a lot and I read the books that are testing it, but hit or miss. I usually don’t enjoy them as much especially if they sacrifice romance for whatever other agenda.

J: Your responses really add some much needed context for me Mina so thanks! Your expertise is very much appreciated. Another follow-up! Are happy endings more a prerequisite of written work, or does it apply to other forms of Romance media? I ask because I think of a number of films that don’t necessarily have happy endings (not even the “happy for now” variety), but I think would still tend to be categorized as romance. An example for me would be Once, which has a romance A plot, and I think does follow the Romance beats consistently (if somewhat more muted), but doesn’t end with a relationship for the two main characters.

In fact I feel like a lot of romantic films written by males tend to follow suit–somewhat more muted expressions of love, coupled with not-necessarily-happy endings. I think I’d place Being John Malkovich under that category, and Woody Allen films also.

Mina:  I haven’t seen Once! I know I should huhu. But I’ve seen Begin Again and if it’s similar (I’ve been told that they are?) I wouldn’t call it romance genre based on the movie I saw. If that were a book it would get backlash in the reviews, and there would be requests for it to be categorized as “Women’s Fiction” or “Contemporary Fiction” instead (if mostly male POV). A romance book written Woody Allen-film-style would get the same response I think.

But yes these will probably be categorized as Romance in other media. I suspect that their creators will often say in interviews that they’re “not just romance” though precisely because they’re getting some backlash for being bland romance. “Muted” romance I wouldn’t call romance at all; if I were into horror I’d think an author who specialized in “mildly scary” just wasn’t being edited by the right people.

Thanks, Mina!

Filipino ReaderCon 2015

Filipino ReaderCon 2015

Also signed some books!

Filipino ReaderCon 2015

A cute calamansi muffin from Chris Mariano, author of Cover (Story) Girl.

Filipino ReaderCon 2015

Filipino ReaderCon 2015

My ReaderCon haul:

Filipino ReaderCon 2015

  • Janus Silang comic book by Carljoe Javier and Natasha Ringor, based on the novel by Edgar Calabia Samar (Anino/Adarna)
  • Likhaan Volume 9, which has a story of mine. Received from Kyra by way of Gabby. Thanks!
  • The Merchant of Venice, from the ReaderCon loot bag
  • Cover (Story) Girl, signed by Chris
  • Mockingjay, from the ReaderCon raffle
  • Ang Subersibo nina Adam David at Mervin Malonzo (Anino/Adarna)
  • Muros #1 by Paolo Chikiamco and Borg Sinaban (Studio Salimbal)
  • The Garbage Artist by Andrew Drilon (Studio Salimbal)
  • Hukbong Sandatahan ng Kahaggardan! by Manix Abrera (Visprint)

Congrats to Honey, Tina, Paolo, Mina and the rest of the ReaderCon committee! It gets bigger every year.

2016 poems + filipino readercon

November’s coming to a close, and I’m ending it with a couple of acceptances, a writers night, and a reader conference.

  • UK-based Neon Literary Magazine will be publishing my poem “What Waits” in a 2016 issue. Thank you to editor Krishan Coupland. You can read a poem of mine here, published in Neon’s 34th issue. You can read Krishan’s interview with me here.
  • Singapore-based Kitaab will be publishing my poem “Tiny Tragedies”. My thanks to poetry editor Desmond Kon.

The 9th Likhaan volume, edited by Luna Sicat-Cleto, Eugene Evasco, Isabela Banzon and Charlson Ong, and which includes my story “The Seventh”, will be launched during Writers Night at the UP Executive House on November 26. Read the details here.


The 5th Filipino ReaderCon will be held this Saturday, November 28 at the Henry Sy Hall, the De La Salle University in Manila. Register here  and check out the panel descriptions here.

Cover for LONTAR #4!



Presenting the cover for LONTAR issue #4!

We’re sad to be no longer be working with Sarah and Schooling on the art direction, but our in-house designer Yong Wen Yeu has done an excellent job continuing the retro-futuristic feel of our cover art that has thus far made LONTAR such a distinctive-looking literary journal.

We’re sending the issue to the printer this week, so it should be available in late May in bookstores all over Singapore, on the Epigram Books website, and as an ebook through Weightless Books. Yet another issue that I’m incredibly proud of, and I can’t wait for y’all to see it too!

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LONTAR #4 Contents


I am happy to announce that the contents of LONTAR issue #4 have been finalised! This fourth issue of LONTAR presents speculative writing from and about Singapore, the Philippines, Cambodia, Vietnam, Malaysia and Thailand.

Inside these pages, you’ll find:

  • the harsh realities of living as a refugee within a calorie-based economy by acclaimed award-winner Paolo Bacigalupi;
  • the uneasy combination of domestic troubles and virtual reality from Palanca Prize winner Kate Osias;
  • the unexpected and complete disappearance of Singapore itself from Singapore Literature Prize winner Ng Yi-Sheng;
  • a surreal trip through alternate worlds from Philippines Free Press Literary Prize winner Eliza Victoria;
  • an eerie meeting with chanteuse Faye Wong during a Malaysian holiday from Andrew Cheah;
  • a night of transnational hedonism and enlightenment from HV Chao;
  • and speculative poetry from Michael Gray, Joses Ho, Desmond Kon Zhicheng-Mingdé, Cyril Wong and Jerrold Yam

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