INTRODUCTION

The Philippines is a nation with a vast collection of literary works that has, both directly and  indirectly, impacted all aspects of its society – politics, religion, economy, education and its  culture. Literary works such as Noli Me Tangere and El Filibusterismo of Gat. Jose P. Rizal has,  in their own respective ways, made marks in the society that we live in. Literature also creates  necessary mindsets of existence that boost the familiarity of certain narratives, themes, and topics. 

The existence of gender in the Filipino literature has remained limited for long period of time to  the binary notion of sex and gender with focus on only men and women. However, in recent years,  queer literature has also attempted to enter the mainstream and is gaining a lot of traction in society  as to gain more acceptance, rather than tolerance. 

According to the WHO¹, gender refers to the characteristics of women, men, girls and boys that  are socially constructed. This includes norms, behaviors and roles associated with being a woman,  man, girl or boy, as well as relationships with each other. As a social construct, gender varies from  society to society and can change over time.

In literature, gender criticism “examines how sexual identity influences the creation and reception  of literary works.”² Gender studies and queer theory explore issues of sexuality, power, and  marginalized populations (woman as other) in literature and culture. Much of the work in gender  studies and queer theory, while influenced by feminist criticism, emerges from post-structural  interest in fragmented, de-centered knowledge building (Nietzsche, Derrida, Foucault), language  (the breakdown of sign-signifier), and psychoanalysis (Lacan).³

Queer literature, as a category is described by Blackburn, Clark and Nemeth (2015) as, “an  important extension of Cart and Jenkins’s (2006) work, and that it is distinctive among and from  LGBT-themed literature in the way that it offers multiple and conflicting ideologies related to  sexuality and gender. These ideologies manifest themselves in queer elements, such as post

structural rather than essential or developmental identity construction of characters, and  disruptions of norms as they pertain to sexuality, gender, families, homes, and time. This queering  happens through literary elements, but the literary elements alone are not enough, for these are  evident in all literary work. Instead, the literary elements on which we focus are working in service  of queering, and in our analysis are limited to those that support complex understandings of sexual  and gender identities and normative disruptions of families (Bernstein & Reimann, 2001), homes  (Kentlyn, 2008), and time (Bakhtin, 1981; McCallum, 1999).”⁴

The short story “Emil makes their choice” by EK Gonzales (2021) is part of the production of  Be/Me: LGBTQIA+ Stories of Belonging of the ASEAN SOGIE Caucus. It is the story of Emil  and their fight for the Cause in the town of Quirino during the colonization and control of the  Regena. They are made to choose to either help in head of the Cause in the fight against the  invaders or to stay with their family. 

One important element of the story is the use of the gender-neutral pronouns that are scarce in  other literary works created using a binary lens on gender and sexuality. The use of personal  pronouns such as ‘they/them’ to refer to a singular person is notable in the story. In the case of  Emil, whose given name is Emiliana, these pronouns solidify their queer identity. 

The story of Emil does not bear any historical equivalence; however the plot and the timeline of  events happen in the period of Spanish occupation as hinted by the presence of the Guardia Civil  and the existence of a Supremo for the Cause.

Though a lot may still be discussed and said about queer theory and gender criticism, this  researcher will only limit the study to the gender-related elements of the story and how it affects  reality. 

OBJECTIVES OF THE STUDY

This study aims to describe the gender-related characteristics of EK Gonzales’ short story “Emil  made their choice”. Specifically, this literary analysis seeks to discover: 1. How the writer portrays  the gender identity of Emil; 2. How Gonzales’ fictional community relates to the perceived and  actual gender identity of the main character; and 3. The significations of the characters and objects  in the context of their gender-related narrative in the story.

THEORETICAL FRAMEWORK

This literary analysis is anchored mainly on Gender Criticism and Queer Theory. Gender criticism  is an extension of feminist literary criticism, focusing not just on women but on the construction  of gender and sexuality, especially LGBTQ issues, which gives rise to queer theory. Gender  criticism suggests that power is not just top down or patriarchal—a man dominating a woman; it  suggests that power is multifaceted and never just in one direction. For example, in the nineteenth  century while many women argued for suffrage (or the right to vote), at the same time those very  women who were white could be dominating or holding power over African Americans in the  American slave system. Like feminism, gender criticism examines how gender is caught between  the notion of essentialism—the belief that women are naturally and fundamentally different than  men based on their biological sex, that non-heterosexual identities are deviant from the biological  heteronormative distinction between male and female—and constructionism—the belief that  gender is not essentialist or based on biological nature but is constructed through culture. Queer  Theorists also argue that sexuality is constructed and not just also “natural”. Pop culture would say  that people may be born that way, but other theorists would argue that sexuality lies in a continuum and fluidity is one of its characteristics, contrary to the binary concept of sexuality that is limited  to being straight or gay. ⁵

RESEARCH METHODOLOGY

The study uses the descriptive-qualitative approach type of research, utilizing gender criticism  with special consideration to the gender-related themes of Gonzales’ short story “Emil makes their  choice”. Furthermore, the critical analysis is made by employing a close reading approach,  wherein the text speaks to the reader itself, and the latter understands its contexts based on their  own personal experiences and interpretation. 

LITERARY TEXT

Emil Makes Their Choice

by EK Gonzales

 

RESULTS AND DISCUSSION

The plot of “Emil makes their choice”

“Emil makes their choice” is part of an anthology of fantasy short stories of LGBTQI+  belonging. The book is entitled “Be Me” and contains ‘stories of diverse backgrounds. Some of  the stories are literary, others are deeply personal, but each one is written in defiance.”⁶ The book  is part of the ASEAN SOGIE Caucus’ productions for the Southeast Asian Queer Cultural Festival  2021: Be/Longings. 

“Emil makes their choice” takes place during the time of the Spanish occupation of the  Philippines, in the town of Quirino. The story’s main protagonist is Emil, the child of Ginoo and  Ginang Soriano who are all part of a movement properly known as the Cause. 

The short story is composed of 112 paragraphs and for the purpose of this analysis, the  researcher lumped paragraphs that tell a certain point of the story.

Paragraphs 1-2. The first two paragraphs of the story describes what Emil looks like, their  physical characteristics, how they dress, what trinkets they wear. The first few lines of the text  provide a glimpse of the contemporary setting. The lines read “To be found with an amulet was  dangerous; the militia and Guardia Civil actively checked for them at every major building, every  gate, every tower, every church.” Emil’s body type was also described in the first paragraph saying  their “affinity was for wood and steel”.This paragraph also hints about the work that Emil has to  do with assistance from a small, rectangular amulet that they keep hidden in their hair. The second  paragraph then provides information on what Emil does as part of their daily job. The passage  “Emil wore a tunic over trousers that they rolled up to avoid mud, slid their feet into farmer’s  shoes, completing the look of a house servant. Emil was most comfortable attired this way, most  true to them.” This is typical of a farmer's wardrobe in the fields. The final line in the second  paragraph provides another layer of complexity to Emil’s narrative. The line states “It was a little  hard to explain this to others, and Emil was grateful to still be accepted by their parents.” 

Paragraph 3. The third paragraph shows Emil’s relationship with their father. It also  provides some information on what Emil needs to do for the Cause. ““Please head to Manang  Conchita. The message: The great hawk must fly far.” He patted a shoulder. “Be safe.””

Paragraphs 4-7. The fourth to seventh paragraphs describe Emil’s preparation for the task  at hand and the environment, including the barriers that they might encounter along the journey.  Paragraph five presents the climate that Emil needs to tread, especially the existence of the Guardia  Civil and forest creatures that threaten their safety. The next paragraph also describes the path that  Emil needs to take to reach their destination - “The route was familiar, but the Guardia Civil were  on higher alert. The steam coaches were out on the main town streets. Soldiers, combing through  the smaller uncobbled streets, mounted both real horses and steam horses.” In addition, the  seventh paragraph enforces the reason for their actions by replaying in their head the words of Manang Conchita saying “And you’re doing a good thing. Always you are doing a good thing.  You can do this.”

Paragraphs 8-10. The eighth to tenth paragraph relays the risks that Emil would need to  avoid in order for him not to get caught by the Guardia Civil. It also shows Emil’s hope to  encounter people that are friendly. This implies that there is a lingering fear in the community that,  anytime, they could encounter misfits that would pose as threats. It also described the structure of  the paths that Emil has to journey through in order to reach their destination. These are described  in the lines stating:

“A risky route that meant they might be seen by others in the early 

evening. … Emil wove in and out of the lanes, all of them packed soil 

from feet, hooves, and wheels. Only the main avenues were cobbled. 

They kept diving into corners that had ample darkness, stopping 

when they heard footsteps, especially heavy ones. The Guardia for 

the night were beginning to deploy.”

Paragraphs 11-14. These paragraphs describe to the reader what had transpired when Emil  reached the vicinity of Manang Conchita’s house, prior to entering the household. “Dashing  through several more lanes, Emil finally reached the house at the edge of town. They hid in the  bushes just behind the house, checking if it was safe to enter. They touched one of the wooden  pillars of Manang’s house.” It also tells about the things that had happened inside the house as  they were quietly observing outside - “There were people in the house, more than the usual  number. The vibrations were heavy. Men, probably soldiers, probably Guardia Civil. Members of  the Society, even usual citizens of the nation who were not in the Society, they did not tread this  heavily. Emil kept to the darkness, hoping Manang would stay safe.” Here, Emil was able to use  the power of the amulet that they have kept hidden since they left home.

Paragraphs 15-28. These paragraphs contain the dialogue between Manang Conchita and  the Guardia Civil who visited her residence. The Guardia questioned Manang about the suspicious  activities in her household which includes the in and out of many people at any given time. 

“We have ... observed ... that many people come and go from your 

house, at all hours of the day,” the guards immediately asked. “The 

crown requests to know why.”

Denial was Manang Conchita’s response to the Guardia, which also searched the household  for anything that would link her to the movement against the crown. The Guardia did not find  anything of interest inside the old woman’s house. Manang interjected:

“See, gentlemen?” Manang bravely said. “I am a worthy subject of 

the crown, like anyone else in this town! Now let us all take our rest? 

Unless you want some snacks?”

Before departing, however, the Guardia had given a stern reminder to the lady of the house:

“Know this, Señora. The resistance will be crushed. It is best to tell 

those who dare fight the crown.”

Paragraphs 31-39. The meeting of Emil and Manang Conchita is told in these paragraphs.  Emil silently and carefully entered the house to deliver the package, which contained effects that  Emil was not privy. Furthermore, Emil was able to deliver their father’s message to Manang  Conchita - “Also, my father said the great hawk must fly far.” 

Paragraphs 40-41. These paragraphs discuss what Emil’s mission is for the Cause. It also  talks about the Cause’s purpose and goals. It becomes clear that the Emil is the messenger for the  Cause and that the cause wants to gain freedom from the colonizers. Emil recognizes the dangers  of the work that needs to be done. This is described in the following passage:

“The Cause was the freedom of the whole nation from the colonizers. 

It was therefore dangerous work. To be caught meant arrest, even 

death. But Emil had not been caught yet, and the freedom of the nation 

was more important. It was not a really big task, compared to the 

work of the Supremo, the leader of the Society, or any of the 

Supremo’s deputies, but it was still important.”

Paragraphs 42-43. The continuation of Emil and Manang Conchita’s meeting is presented  here. Emil’s departure is also mentioned here. Here, Emil is described to have given respect to  Manang Conchita through pagmamano.

“...Emil took up Manang Conchita’s hand, placed it on her forehead 

along with a bow. They then slung the knapsack on their arm and 

headed to the back of Manang’s house.”

Paragraph 44-45. Emel left Manang Conchita. The physical description of the town of  Quirino is presented in this paragraph. This includes the specific details of the arrangements of the  town. The town is described to have been “arranged and divided into orderly squares by alcalde  assigned over the many years of Regena dominion.” The text also provides a clear description of  how the seats of power are placed strategically in the center of the town. However, farmlands and  other areas are unevenly divided and arranged.

These paragraphs also mention the type of house Emil lives in. It is said that Emil lives in  a multi-floor home with a general convenience store or a “sari-sari” store. It is also mention that  their home is located in a non-conspicuous area away from the government offices. 

Paragraph 46. This paragraph talks about the people living in the town. A number of  which are known to Emil. This includes those who are loyal to the cause, loyal to the crown, loyal  to the church and those who are none of the three.

Paragraphs 47-50. Emil’s journey home is described in these paragraphs. It is mentioned  that Emil took on a different and longer route. This also includes their efforts to ensure that they  are not followed and if they are, they are able to shake them off. Emil is described to have walked  in the dark and have avoided the light. 

Paragraphs 51-54. Emil talks to themself in these paragraphs. It is mentioned that they  said:

“Dinner, Emil, dinner, you haven’t had dinner,” they said, trying to 

calm their pounding heart. “You need to get home.” 

The use of the amulet is also recorded in these paragraphs. The different vibrations given  off by the amulet are presented in these paragraphs, including how Emil distinguishes its warnings.  It is described that Emil can tell if there is wood or steel around based on the vibrations given off  by the amulet. Emil can also detect the outlines of houses using th same method.

Paragraphs 55-65. These paragraphs tell the story of a man being arrested because of a  curfew violation. They also show the immense exchange of words of the man arrested and the  Guardia Civil. 

Paragraph 66-68. Emil rushed to get back home safely without getting caught since they  know that the Guardia is unrelenting when it comes to punishments. They then came through the  back door of their home. 

Paragraphs 69-71. These paragraphs recount the moment when Emil arrives home, gets  cleaned up and changes clothing. It is worth noting that Emil is uncomfortable wearing a skirt at  home and wishes that they need not to wear them anymore, but they have no choice. They also  recount the first conversation between Emil and her mother in the story. 

Paragraphs 72-77. These paragraphs present the conversation that Emil and her mother  had prior to them proceeding to eat dinner. Their mother reserved some Tinola for them.

Paragraph 78. Emil loves the kitchen table more than the main dining table since the latter  is usually reserved for the Guardia Civil and for government officials.

Paragraph 79-81. A special person, The Supremo, suddenly pays the family a visit. These  sentences also describe the physical appearance of the leader of the cause. It is also revealed that  the Supremo is a woman who also wears an amulet, similar to Emil’s.

Paragraphs 82-85. The family welcomes the Supremo. The mother prepares another plate  for the Supremo to join the dinner. And they proceeded to ask the purpose of the visit.

Paragraphs 86-87. The Supremo presents the request to the family. The family recognizes  the request. It is made clear that the Supremo would like to recruit Emiliana, or Emil as they are  more aptly called, to work for the Cause.

Paragraphs 88-90. The Supremo recognizes that Emiliana goes with the name Emil. She  also mentions that she has heard good things about them. The family did not know what to do yet. Discussion of options and choices happened in these paragraphs. The Supremo gave them realistic  expectations on what could happen while they are in the field. The parents also gave their pitch in  helping Emil make their decisions. 

Paragraphs 91-94. Emil, at this time, thinks for themself. An internal argument on what  they should do happened to Emil. They had to decide whether or not they would accept bigger  responsibilities for and in the cause. 

Paragraphs 95-96. The Supremo orients the family on the possible arrangements. This  includes the wider scope for Emil’s work. Emil gets excited.

Paragraph 97-100. These sentences relay what had happened after the dinner and when  the Supremo left.

Paragraph 101. Emil wakes up and prepares their things. They now realize that this may  be the last time they would have a comfortable life. They also think of the possible hardships they  would encounter along the way. 

Paragraph 102-110. Mr and Mrs. Soriano tells Emil goodbye and give their final  reminders. They tell Emil to work for the best of the country. 

Paragraph 111-112. The final paragraphs describe what had happened after they parted  and moved away from their home. Emil was described to have been crying while walking away. 

GONZALES’ PORTRAYAL OF EMIL

Emil’s character is shown to be strong-willed and very skillful in farming and in the act of  concealment. They are also given characteristics that would traditionally be attributed to male  characters such as wearing pants and the simple but masculine act of running and hiding in the  dark which was highly uncommon during the time of the Spanish occupation. The Spanish era  brought about Spanish ethics, which influenced Christianized women to wear a skirt called the saya and a blouse called the baro, which was worn throughout the 400 years of colonization.⁷In addition  to this, Emil also has features that are more common or stereotypical in females, e.g. long hair. 

In addition to this, their name in itself shows disassociation from the gender normative  status of male and female names. The main character was very much comfortable with their chosen  name, Emil, which was derived from Emiliana, their name given at birth. In the beginning, until  the moment of revelation, a reader may be led to believe that that the main character is of the male  sex if it were to be judged using the name Emil at face value. However, to the attentive reader,  several hints of the nature of the main character were presented in the first few sentences of the  first paragraph saying: “Emil tied the hair at the neck, hiding the amulet in the hair.” The second  paragraph also hinted by saying that: “It was a little hard to explain this to others, and Emil was  grateful to still be accepted by their parents.” The latter gives the impression that Emil’s way of dressing, as a small part of their being, is something that is not readily accepted by the community  but accepted by their family. 

The text, albeit not explicitly, suggests that Emil is a believer of magical items such as the  amulet that they have worn hidden in their hair. This, as a trait, is typical of olden Filipino people  believing in the supernatural including anting-antings, charms, amulets, talismans, spells and  witchcraft. Although, this is also quite contrary to the contemporary belief of the christian and  catholic faith propagated by the Spanish friars. According to an article from esquire.ph: 

“anti-colonial rebels were issued various forms of anting-anting, 

like librettos (small booklets with magical prayers), belts, and bandanas. If  a fighter wore an anting-anting upon death, it was attributed to their “lack  of faith” and that the wearer “allowed his fear to overcome his confidence.”  However, one American observer noted that groups like the Pulahanes  (whose name was derived from their wearing of pula- or red-coloured  clothing) were also “strengthened for their holy warfare by the assurance  that those falling on the battlefield would rise from the dead [on] the third  day.”⁸  

Another distinctive feature of the portrayal of the main character that cannot be seen in  other mainstream or traditional literature, which can also be seen as an advancement of the queer  agenda, is the use of the they/them/their personal pronouns to refer to a singular person. These  pronouns are commonly used, in traditional English, if one does not know the gender of the person  being referred to, or if one wants to make the sentence apply to any gender. Historically, the use  of the they/them pronouns in this manner can be dated back since the late 1300 as in the saying  “Everybody loves their own mother”. Pride and prejudice writer Jane Austen and poet and  Canterbury Tales author Geoffrey Chaucer who lived until the early 1400s have used these  pronouns in this manner.⁹In reading the story, one may fall into confusion regarding how and why these pronouns were used, especially, as they/them/their would commonly be plural. However, the  usage of these pronouns is directly related to the narratives of non-binary individuals who do not  conform to the labels of heteronormative literature. 

As in the case of Emil, they/them/their is the writer’s way of showing that gender is  irrelevant or should not be a central focus of the character’s narrative. University of Illinois  Professor Emeritus of English Dennis Baron (2020) states:

“Writers, if they want to conceal somebody’s gender or if gender is  

irrelevant, need to have a word, and the only word we have is ‘they,’”. He  also added that, “There are examples where writers use the singular ‘they’ to  create suspense or to create comedy. There’s a place in ‘The Pickwick  Papers’ where Dickens uses it to conceal gender for a page or so. Agatha  Christie puts it in Hercule Poirot’s mouth: ‘I’m using the generic male, but  the killer could be a woman.’ You see it all over the place as a literary  device.”¹⁰

Gonzales also described Emil to be someone who is uncomfortable wearing skirts, which  are typically expected to be worn by women as in the text:

“Emil quickly headed to the kitchen. They quickly changed into a house skirt.  Always they were uncomfortable in a skirt, but this was a necessary sacrifice. Still, they  wished every day that they did not have to wear them at all.”

Finally, Gonzales’ portrayal of Emil’s character also includes personality traits that may or  may not be explicitly mentioned, but rather implied in the text. For instance, they are described to  be very cautious and mindful of their surroundings as far as their mission goes. They ensure that  they cover all possibilities, avoid any altercation and prevent being discovered or followed by the  opposition as mentioned in the following parts of the story:

“Emil took the quickest route to Manang’s house. A risky route that  

meant they might be seen by others in the early evening. //

Emil wove in and out of the lanes, all of them packed soil from feet,  

hooves, and wheels. Only the main avenues were cobbled. They kept diving  into corners that had ample darkness, stopping when they heard footsteps,  especially heavy ones. //

They hid in the bushes just behind the house, checking if it was safe  

to enter. //

To be safe, Emil decided on a different, longer route. There were  

several routes that Emil knew all around the town, and from this house to  theirs. Emil had a good idea of all the lanes, all the streets, all the major  avenues, all the streets from the train station. There were short, fast routes  when Emil needed to get to a lot of places. There were also long, winding  routes that Emil used to deflect and shake off unnecessary followers and  spies. They would need to shake off the Guardia, as soon as possible.”

Another aspect of Emil’s personality described in the text is their love for family and their  willingness to sacrifice their life for the greater good but not without the internal conflict of what  they should actually do.

“These were all people who were special to them. The woman who  

stood in their kitchen did not deserve to be in their kitchen, she deserved to  be ruling the nation from the capitol. Emil wanted to help put her there, of  course, but did they want to do this and leave their parents, possibly never  to return?”

EMIL, THE CAUSE AND OTHER SOCIO-CULTURAL CONTEXTS

The Role of Women and People of Diverse SOGIE in the Cause  

Historically, women have been an integral part of the Philippine Revolution against the  Spanish colonizers. According to Yoder (1998), “When the Katipunan was holding sessions, the  women often feigned a party-like atmosphere with singing and dancing so that the civil guards  believed that only a harmless social party was underway. Often women served as spies and they  helped in the recruitment of new members into the organization.” This brings a sense of  truthfulness and consistency to Emil’s narrative in relation to the tasks they were given. Emil, a  cis-prensenting queer person, was a good candidate for these positions.  

As in the context of the story, women were less likely to have been suspected of being a  main actor in the cause, albeit only considered to be a supporter or enabler evidenced by the  following excerpt: “Emil heard another voice. “There is an accusation that you have been  assisting the resistance movement, against the crown.”” Interestingly enough, women contributed  highly in the Philippine Revolution that, most notably, Teresa Magbanua, considered to be the  Visayan Joan of Arc, led troops during the Battle of Barangay Yating in Capiz. Also known as  Manang Isa, she led men on horseback. This validates the benevolences of women in the resistance  movement. They were not limited in the household upkeep or the preparation of food for the  members of the katipunan. While the current historical accounts and mainstream discussions lift  up the names of male victors of the Philippine revolution, women, and other people of diverse  SOGIESC were valuable factors of its success.  

The Babaylans, as a symbol of gender non-conformity and of being non-binary, are women  (or men) that are believed to have the ability to mediate with the spirit world, have their own spirit  guides, and have a multitude of other abilities such as healing, foretelling, and insight. They were  regarded as leaders in the community. They are usually those who answer the call to leadership in  the areas of advocacy, activism, teaching, increasing awareness, healing, spirituality and vision, struggling and working for justice—actions and motivation deeply connected to the context of  being Filipino.¹²

During this time, however, the concept of being gender non-conforming or being non binary, did not have formal recognition, let alone a name for it. The Vocabulario de la lengua  tagala (1860) offers us a set of concepts which bring the "bacla" to entrench a coordinate of gender  difference for the turn of the century in colonial Philippines. Enlabiar (seduction) signifies her  entering discourse, and her tactic is coupled with engañar (deception), through lustre (prominence)  or hermosura (beauty). A notion of bakla as device of persuasion is elaborated further as "moverse  por algún interés o provecho," to be inspired according to a motive or a sense of benefit. At the  same time, the bakla signifies, through "desollarse," (to wound)a vulnerability. Now the persuaded  is moved to action, but he also hesitates: to be "nababacla" is to be fearful of a new thing (espanto  de cosa nueva). This is an early instance of homophobia and transphobia spoken in the long  duration of the Tagalog language.¹³

Following the context of being queer during the time of the revolution, scarce  documentation have ever been made regarding this. One of which is in 1899, in the Manila Times  that reads:  

“An insurgent spy has been captured and now languishes in the  

Anda street police station. His name is Baldomero de Leon, [or] at least  that is what he calls himself. De Leon was captured yesterday by Corporal  John Moore and Private Thomas of the 24th Infantry while he was  endeavoring to pass through our lines near Mariquina, disguised as a  woman and in company with two females.

“The trio carried baskets upon their heads containing salt,  

cigarettes and rice. The arrest was made because the soldiers had reason  to believe the trio were endeavoring to smuggle contraband articles through

the lines. The salt especially aroused the suspicion of the guards which at  the time they believed to be salt-petre.” (Known to cooks as salitre, it is the  ingredient that makes pork tocino red. It also happens to be an ingredient  in making gunpowder.)”¹¹

With all these taken into account, it can be said that the heteronormative narrative of the  katipunan lifting the stories of men as the victors of the revolution is not and should not be taken  as the whole story. Women and people of diverse SOGIESC played vital roles, mostly discreet and  dangerous ones, in the success of the revolution. Gonzales’ Emil makes their choice provides the  validation for women and people of diverse SOGIESC, especially during a time when their very  existence was being degraded and diminished by the Spanish Friars - a far cry from the pre-colonial  era of the country when men and women were regarded as equal and those who are non-binary or  gender non-conforming are lifted to be leaders and considered as learned, educated and  distinguished members of society.

The Guardia Civil: Context, Issues and Abuse

In the context of Gonzales' short story, the guardia civil is portrayed as an organization  with power over the people of the town. They can reprimand and punish people for violations of  the law, which is based on what they deem as punishable as in the case of the man being arrested  and held in custody.  

Interpreting their societal status using a gender lens, we may connect their rise to power to  the patriarchal mindset of the time. There has been very scarce documented information regarding  women being part of the Guardia Civil, let alone lead it. It is safe to say that the Guardia Civil  were mostly men, and based on the historical records, are composed of at least sixty percent non

criollo natives or indios. Not to mention the control of the rich on the organization itself.

As a symbol of patriarchy, the Guardia Civil also exhibited actions that are consistent with  an oppressive form of government where women are taken advantage of, if not disregarded  completely. The types of abuses that they committed to stay in power are also signs of their longing  of control over the populace. Gutierrez (2008) states:

“Violations against public order, such as road obstruction, alcohol  

intoxication, and vandalism reflect the tensions that grew from colonial  efforts to rationalize urban spaces and enforce modes of public conduct and  health habits. Cases of petty crimes of property (theft, robbery, and  swindling) illustrate how the Spanish and local elite maintained control  over the working classes. Crimes involving physical violence (physical  injuries), maltratar de obra (physical abuse) and riñas (brawls)  demonstrate tensions within and across classes and races. Arrests for tax  evasion, illegal gambling and lack of identification (indocumentado) reveal  means of monitoring and regulating the native Filipino (indio) and Chinese  population in the city.”¹⁴

The Guardia Civil, an organization closely tied with the largely popular religious  affiliation, could also make these punishments much worse for women and for individuals with  diverse SOGIE. Babaylans, who were considered leaders, were most of the time women or  “transvestites” (as used in older texts, meaning a man dressing up as a woman or vice versa).  

A notable way of punishing the babaylan was through death by beheading or by burning at  the stake, as the case of Tablot, a babaylan from that ignited the uprising in Bohol in 1621-1622.

Tamblot’s revolt inspired another rebellion in neighboring  

Carigara, Leyte in the same time period. The Bankaw revolt was led by a  datu named Bankaw and his son Pagali who was a babaylan. Bankaw’s  rebellion was notable as Bankaw was one of the first converts to

Catholicism in the Philippines. As a young man, he had formerly welcomed  the conquistador Miguel López de Legazpi in 1565 when their expedition  first landed on the islands. Like Tamblot, Bankaw and Pagali both wanted  a return to the old ways. Bankaw renounced his Catholic faith and built a  temple to a diwata. Their rebellion was defeated by the Spanish Governor general Alonso Fajardo de Entenza. Bankaw was beheaded, while Pagali  and eighty-one other babaylan were burned at the stake.¹⁵

The Guardia Civil symbolizes what we know today as the rule of the male species in almost  all aspects of life. It gives significant impact to the fear, biases, inclination, beliefs, and  reservations of the person as an individual or as a member of a community, especially those who  are women and those with diverse SOGIESC.

Hinting of disapproval of non-conformity

There is very little that can be said regarding the approval and/or acceptance of the non conformity based only on the text. However, there are subtle hints in the narration that implies the  disapproval of non-conformity of the society at the time. The text states:

“Emil wore a tunic over trousers that they rolled up to avoid mud, 

slid their feet into farmer’s shoes, completing the look of a house servant.  Emil was most comfortable attired this way, most true to them. It was a little  hard to explain this to others, and Emil was grateful to still be accepted by  their parents.”

This part of the text carries out the message of Emil’s non-conformance to what would  have been the norm of the time. Though, the reference is only based on the way that they dressed,  it can be inferred that the society’s mentality and views regarding conformity to the norm may  have been similar to the previous.

Light and Dark

Emil recognized the dangers of being in and out of the dark.  

In a more literal perspective, staying in the dark is described by Emil’s approach in treading  the pathways to and from Manang Conchita’s household. The risk of being caught by the Guardia  was very imminent, hence, the need to keep themselves in darkness. This proved to be very  beneficial since it ensured that they are safe from danger. In the same manner, it was a way for  Emil to observe what was happening in the light. It has placed them in a position where they can  play the role of an observer away from the eyes of who might inflict harm. This is also evidenced  by the need to be cautious of the people whose loyalty may still be in question, if not already  divulged and made into public knowledge which is stated in the passage below:

“Emil knew most houses and generally who lived where. They had 

a good idea who was loyal to the crown, who was devoutly loyal to the  church. They had some good suspicions of families and people who were  neither. And Emil knew a good number of those like Manang Conchita, who  felt like Emil did about the Cause.”

Figuratively, staying in the dark is likened to the more modern phrase “being in the closet”.  In the jargon of contemporary homosexual culture, those who hide their sexual identities are  referred to as either closeted or said to be in the closet. Revealing one's homosexuality is referred  to as coming out.¹⁶ The act of staying in the dark implies that Emil is at the stage where their  sexuality is still unpronounced. The darkness represents a safe space for Emil as they undertake  the journey from one point of their life to another. The Guardia Civil is a metaphor for the people,  groups of people, and organizations that may condemn, punish, or do harm to women and people  of diverse SOGIESC. Furthermore, the people in the community represent the possibility of not  recognizing the people who would be accepting or in the case of the text, “loyal” to them and  would continue supporting them. Being in the darkness, though not an ideal place for someone to

live in, has provided Emil the necessary perspective on gauging what steps or actions they need to  do next as like an observer of the things that might be or a spectator of what they imagine things  may be if they do decide to go out to the light. 

On the other hand, Emil also, at certain points of the narrative, went out to the light in order  to move towards places or people that give them comfort or a sense of safety. Just in the case of  their meeting with Manang Conchita as told by the following passage:

“Emil silently entered through the back door, climbed up the stairs, 

entered the kitchen. Someone was already waiting. “Ah, Emil! I am so glad  you are well,” Manang Conchita said, with controlled relief.”

The same could also be said for when Emil entered their home after journeying back from  Manang Conchita’s house:

“Emil heard a sigh of deep relief from behind. “Good. You 

are back. Your father is worried.” Emil came and wrapped arms 

around their mother’s waist. “Good evening, Mother. There were ... 

people at Manang Conchita’s house. I had to wait for them to leave. 

It’s why I took a while.””

The same sentiment may be applied to the figurative perspective of coming into the light,  metaphorically representing Emil’s coming out, albeit, only to the people close to them. This  implies that they feel very much comfortable being themselves in spaces and people where they  can be who they truly are.

Another inference on this comes through based on Emil’s train of thought they made their  decision to join the Cause. The move from the dark of night and coming out to the light of day has  sparked thoughts of uncertainty and the realization that once they are out, it will be a life of  hardship and may not be as comfortable as before.

SIGNIFICATIONS OF OBJECTS AND OTHER CHARACTERS

The characters of Gonzales’ short story give layers of complexity and context to the overall  plot. Objects and the other characters provide metaphorical representations of societal issues and  realities, including cultural references, that surround the themes of the story, in this case, gender  and queer literature.

The Amulet

In the text, the only characters who were described to have been using Amulet or more  colloquially known as an anting-anting were Emil and the Supremo. One may infer that this is a  metaphor for the kinds of additional requirements for a woman or an individual of diverse  SOGIESC to protect themselves, and to have them be more accepted as a leader or a person of  power and influence. Protection, for one thing, is a serious theme due to the fact that women and  people of diverse SOGIESC are subjected to more stigma, discrimination and abuse. They are  more likely to have the need to train for any other kind of protective skill, e.g. martial arts, to  ensure their safety. They may also opt to own some kind of weapon of self-defense for times of  emergencies.  

The amulet also represents the requirements women and people of diverse SOGIESC needs  to attain before they can assume any kind of leadership position and/or status of power and  influence. In the case of people of diverse SOGIESC:

“For Tan (2001), “‘acceptance’ is conditional as long as the bakla 

remain confined to certain occupational niches and fulfill certain stereotypes.” Garcia (2004) added that “when visitors to the Philippines  remark that Filipinos openly tolerate and/or accept homosexuality, they  invariably have in mind effeminate, cross-dressing men (bakla) swishing  down streets and squealing on television programme with flaming impunity.

To equate Philippine society’s tolerance for public displays of  transvestism19 with wholesale approval of homosexual behavior is naive, if  not downright foolish.``''17

On the other hand, there is still a gap in the leadership of women versus men, as stated in a report  by the 

“There are more female employees than males in the Philippine 

government bureaucracy. Filipino men dominate as decision makers and  managers while women are predominant professional in government. The Philippines has produced two women Presidents. While the incumbent  President is a woman, the percentage of elective positions occupied by  women is less than a fifth of the total number of positions. According to the  World Economic Forum’s Global Gender Gap Report of 2007, the  Philippines ranked 14th out of 128 countries, in terms of political  empowerment. In the judiciary branch of government most of the judges are  males.”¹⁸

The Old Woman - Manang Conchita

Manang Conchita represents the people who would accept a person for who they are  regardless of their gender or sexuality. Gonzales’ portrayal of Manang Conchita is also an homage  to two specific references.  

Firstly, Manang Conchita is a personification of older generations that understand the  plight of the youth and those who are oppressed, abused, and discriminated.  

Secondly, it pays homage to Austrian drag personality, Conchita Wurst (Thomas  Neuwirth)¹⁹. Wurst is the first drag personality to win the prestigious Eurovision Song Contest in  2014. Her win was without any resistance from conservative parties, both before and after the competition. However, Wurst responded to opposition, especially to the traditional values and  nationalist rhetoric of Russia, with “We are unstoppable!” which is considered as a solidarity  message for the community of people with diverse SOGIESC.

The Food – Suman and Tinola

Filipinos are a very hospitable people and food is always a way to express that hospitality.  There are two plot points in the story that represent different narratives/references based on this  researcher’s perspective. Firstly, the suman, made with sticky rice, represents the Filipino family  which, as much as possible, would like to stick together in life. Similar to the Chinese belief that  sticky food would help the family stick together, Filipinos who are innately family-oriented are  inclined to believe the same.  

Secondly, the Tinola, a chicken stew with either papaya or sayote, is a traditional entrée  served in almost all Filipino homes. Most notably, the mention of this dish in the story is a  reference to the tinola that was served at a banquet in Jose P. Rizal’s Noli Me Tangere. This is  where the friar, Padre Damaso, came uninvited, was served chicken neck and wings which were  considered to be the least favorite part, and after being served exhibited very rude and insulting  behavior towards the host, Crisostomo Ibarra. This is a reflection of how a significant number of  women and people of diverse SOGIESC see the kind of language and rude approach of the religious towards their person and identity.

The Supremo and the Right-hand

It is notable that on the night that the Supremo visited the Soriano’s residence, she was  accompanied by a male right hand person. It was very uncommon for women to be seen in the  field of the revolution, let alone be a Supremo and have male assistants. This role reversal is  Gonzales’ statement of defiance against the his-tory (history) dominated by men and a significant  shift to tell her-story.

The Openness for Options/Choices

During the conversations between the Sorianos and the Supremo, it is notable that the  Supremo had very clear language in expressing the options available to the family and to Emil.  The decision was given to Emil alone and coercion was never a factor. Although, they were given  all the information that they may need to arrive at an educated decision. This represents something  that women and people of diverse SOGIESC have been very vocal about, the right to choose and  decide for themselves. Aside from the narrative that this may be likened to a person of diverse  SOGIESC decision to come out of the closet, it may also refer to other plights that affected women  in that specific era. This may include arranged marriages that were decided for them by their  parents or relatives. This takes away the right to bodily autonomy, which at that time, was not even  existent yet, but has been reclaimed in recent years.  

CONCLUSION

Gonzales’ Emil makes their choice provides a simple narrative to very complex, elaborate  and cross-cutting gender-related issues, thematic areas and points of debate of women and people  of diverse SOGIESC. The progressive and validating approach of portraying the main character,  Emil, Gonzales presents some of the aspirations and struggles of these people who will need to  face the real world. This fantasy short story effectively illustrates the realities of the era, but also  provides a position that challenges the status quo and the documented history to create a shift  inclined to the narrative of women in the Philippine revolution.  

In the perspective of literature, the use of personal pronouns creates a new landscape for  the inclusion of non-binary and gender non-conforming individuals, not just in gender studies and  queer literature, but also in the general pool of world literature telling the stories that come from a  Filipino gender lens. The narratives presented is an opportunity validate queer existence in society  through the use of words and literary devices.

Queer literature is shifting from the old portrayals as just subjects of entertainment in  comedies. It has now transcended to mainstream themes and topics, something that it should have  been long ago. The landscape of queer literature, for the moment, is still not enough to move the  compass to where it should move towards. However, the emergence of literary works such as  Gonzales’ Emil Makes Their Choice help put the much-needed weight and push to move forward  and make the change of heart in society towards acceptance, not just tolerance; empowerment, not  stigma and discrimination; and love, not hate of women and people of diverse SOGIESC.

ACKNOWLEDGEMENTS:

Ryan Silverio, Executive Director, ASEAN SOGIE Caucus

^{Jan Castan}_̃eda, Board Secretary, Youth Voices Count, Inc.

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Emil Makes Their Choice is a story featured in Be Me, one of the literary works at the SEAQCF.

Review by: Mx. Anthony Lopez (Capiz State University)