EILEEN TABIOS Engages
The Mountain That Grew by Alfred A. Yuson with art/design by Marcel Antonio and Ilana Antonio (San Anselmo Publications, Philippines, 2022)
Alfred A. Yuson’s The Mountain That Grew is about a mountain that keeps growing and a man who wants to stop its growth. It’s presented as a children’s book, but I read it as a sly allegory: the search for paradise can be a path that damages its pilgrims. Just look at the history of many religions.
Krip Yuson’s story offers a solution to how the mountain’s growth may not be beneficial to everyone; he suggests that all people dream the same dream. Call it a call to community or unity. Perhaps that’s how countries are born and mature, in which case it’s relevant that the setting is in the Philippines: Manao. However—and as indeed illustrated by Philippine history—it’s almost impossible for everyone to share the same dream. Just look at the gap between rich and poor in the Philippines (and elsewhere). If any of you reaches paradise, look around and see how many Filipino leaders will be enjoying mango smoothies with you instead of seeing them only when you look down to where they're turning on a spit over hellfire.
The book is also interesting for evoking a discussion I once read on children's books, specifically how some parents were turning away from such books because they wanted to expose their children to more sophisticated vocabulary than what they were seeing in children's books. For this, Yuson's story should not be of concern. While written straightforwardly and clearly, the story contains sufficient "aspirational" vocabulary so that a young child might learn new words as a result of the tale—for examples, the words "perplexed," "lure" (as a verb), "toiled," "startled," "convinced," and "marvel" (as a noun). These words could have been replaced with simpler versions, but Yuson trusted in the context of the children's book, i.e. that the story would be read to a child with the help of an adult who can answer questions. (I am fond of stories that evince "trust" in the reader.)
It’s worth noting that while I appreciate the accompanying visual art by Marcel Antonio and Ilana Antonio, the art can hardly be described as cheery. The tone is consistently somber, which would fit my read of the text. It's categorized as children’s literature but it should be widely distributed among Filipinos of all ages—its subversive role in focusing readers on the frailty of the Philippines as a (unified) country makes this tale not just for children but for adults.
As well, I keep considering its format—relatively short text with illustrations and the same size as traditional comics. Would this be a way to attract general and not just children's readership? To be ill-educated is not the same as not being smart. I think many can get the subtext of this book whether or not reading is part of their consistent habits. There are implications here regarding literary marketing. It helps that Yuson gives a model for a deeply-considered story and lessons masked in the guise of an accessible book.
The author, a poet, concludes the story with an open-ended conclusion—a poetic ending. Its avoidance of a fixed end evokes the instability of what next will happen in the Philippines. One can only hope that corrupt politicians don’t become so greedy that the people give up dreaming.
On a personal note, I recently wrote a children's story for the first time. I do believe that Yuson's work in this genre encouraged me to this turn. That's one of the highest compliment a writer can give another writer, that is, that a piece of writing inspires the writer-reader to write anew. Kudos, Krip! And Thank You.
*****
Eileen R. Tabios has released over 70 collections of poetry, fiction, essays, and experimental biographies from publishers around the world. In 2023, she releases the poetry collection Because I Love You, I Become War; an autobiography, The Inventor; and a flash fiction collection collaboration with harry k stammer, Getting To One. Other recent books include a first novel DoveLion: A Fairy Tale for Our Times; two French books, PRISES (Double Take) (trans. Fanny Garin) and La Vie erotique de l’art (trans. Samuel Rochery); and a book-length essay Kapwa’s Novels. Her award-winning body of work includes invention of the hay(na)ku, a 21st century diasporic poetic form; the MDR Poetry Generator that can create poems totaling theoretical infinity; and the “Flooid” poetry form that’s rooted in a good deed. Translated into 12 languages, she also has edited, co-edited or conceptualized 15 anthologies of poetry, fiction and essays. More information is at http://eileenrtabios.com
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