The Sea Is Ours Read online

  “On the Consequence of Sound” copyright © 2015 by Timothy Dimacali

  “Chasing Volcanoes” copyright © 2015 by Marilag Angway

  “Ordained” copyright © 2015 by L.L. Hill

  “The Last Aswang” copyright © 2015 by Alessa Hinlo

  “Life under Glass” copyright © 2015 by Nghi Vo

  “Between Severed Souls” copyright © 2015 by Paolo Chikiamco

  “Working Woman” copyright © 2015 by Olivia Ho

  “Spider Here” copyright © 2015 by Robert Liow

  “The Chamber of Souls” copyright © by z.m. quỳnh

  “Petrified” copyright © by Ivanna Mendels

  “The Insects and Women Sing Together” copyright © by Pear Nuallak

  Acknowledgment for permission to reprint the following:

  “The Unmaking of Cuadro Amoroso” by Kate Osias. First published in Philippine Speculative Fiction Vol. 9 (eds. Andrew Drilon & Charles Tan). July 2014. Reprinted by permission of the author.

  Cover art and design by Shing Yin Khor

  The SEA Is Ours: Tales of Steampunk Southeast Asia

  Copyright © 2015 by Rosarium Publishing

  All rights reserved. No parts of this book may be reproduced or retransmitted in any form or by any means without the written permission of the publisher.

  Rosarium Publishing

  P.O. Box 544

  Greenbelt, MD 20768-0544

  ISBN: 978-1-4956-0756-1

  Contents

  Introduction

  Timothy Dimacali On the Consequence of Sound

  Illustration by Shelley Low

  Marilag Angway Chasing Volcanoes

  Illustration by Pear Nuallak

  L. L. Hill Ordained

  Illustration by Pear Nuallak

  Alessa Hinlo The Last Aswang

  Illustration by Trung Le

  Nghi Vo Life Under Glass

  Illustration by Kim Miranda

  Paolo Chikiamco Between Severed Souls

  Illustration by Borg Sinaban

  Kate Osias The Unmaking of the Cuadro Amoroso

  Illustration by Trung Le

  Olivia Ho Working Woman

  Illustration by Stephani Soejono

  Robert Liow Spider Here

  Illustration by Pear Nuallak

  z.m. quỳnh The Chamber of Souls

  Illustration by Borg Sinaban

  Ivanna Mendels Petrified

  Illustration by Wina Oktavia

  Pear Nuallak The Insects and Women Sing Together

  Illustration by Kim Miranda

  About the Authors

  About the Editors

  Introduction

  The Sea is Ours: Tales of Steampunk Southeast Asia came from a place of annoyance. As steampunk rose in popularity, as conversations on racialized representations and demand for diversity kept roiling in science fiction, as transnational writers struggled to gain recognition, we decided we needed an anthology that could speak to our frustrations with all these spheres, and thus The Sea Is Ours gained a glimmer of existence. It would take another two years before we found a publisher interested in the project. In the two years, the annoyance would turn into frustration, that frustration would turn into disillusionment, with steampunk, with diversity initiatives that always seemed to involve white voices calling the shots, with the continued hegemony of certain voices in science fiction and fantasy.

  In our iteration of steampunk, neo-Victorianism and all its attendant issues are optional, even sidelined as we push back against this idea that we must acknowledge the superiority of the British Empire. As citizens of countries that were former colonies, whether of British or some other European power, we live with the history of imperial supremacy. If science fiction and fantasy is meant to provide us with alternate visions of the world, we felt we had to do it on our own terms, especially in the steampunk subgenre. Steampunk, in our anthology, is an aesthetic that combines retrofuturism, alternate history, and technofantasy, so we wanted to know, what do these elements look like from a Southeast Asian perspective?

  Being a Southeast Asian can be odd in larger global contexts. In his anthology Alternative Alamat, editor Paolo Chikiamco commented, sometimes the Philippines is a footnote in global politics. One could say that about much of Southeast Asia as well. Our peoples tend to be unrecognized: Filipinos mistaken for Latin Americans; Malays mistaken for Mexicans or Arabs; few seem to understand that Borneo has the states of two countries on it, and one whole tiny country. We are associated with histories of refugeeism, with being undeveloped Third World countries with low living standards, with violent extremists and potential terrorist breeding grounds. In books on recent history, we are footnotes as the grounds upon which today’s modern empires did battle in the name of democracy and modernity.

  It was, and still is, imperative that we have volumes dedicated to our own voices, projects not of postcolonial melancholia, but of decolonial determination. Our psyches cry for justice for lost names, lost stories, lost histories, all lost to globalized, systemic racism, lost to imperial dreams imposed upon us too long. In the absence of time machines to recover them, we turn to re-creating, and creating anew. Thus, we use steampunk to have that conversation with our histories, our hearts and dreams.

  We did our best to reach out to writers from Southeast Asia, and in some ways we have failed—several peoples of our incredibly diverse region are not represented in this volume, an emptiness which we hope to someday fill. We do hope we have had some small successes in other measures; if in the larger English-language science fiction world straight white men call the shots, then our anthology presents a range of authors and characters that is predominantly women, and hella queer.

  The stories in this volume cover a wide range of themes and tropes, from delightful novelty, such as Timothy Dimacali’s flying butanding (a general term referring to “extremely large fish,” which we had initially read as “whales”) in “On The Consequence of Sound,” and long-time children’s tradition, such as the fighting spiders in Robert Liow’s “Spider Here.” Ideology and technology spark off family conflicts, as in Laura Hill’s “Ordained” and Paolo Chikiamco’s “Between Severed Souls.” Intense, passionate love affairs meet different endings: in Kate Osias’ “Unmaking of the Cuadro Amoroso” with a bang, and in Nghi Vo’s “Life Under Glass” with the discovery of a creature from a lost world.

  Across Southeast Asia, our ties to local mythologies and legends remain steadfast, given a steampunk treatment in Alessa Hinlo’s “The Last Aswang” which explores the indigenous aswang figure from an anti-imperial feminist perspective and Ivanna Mendels’ “Petrified” which twists Indonesian history in the story of Malin Kundang, also known as Si Tenggang to those of us from the nearby Peninsular. Diaspora and forced migration, common in the movements of our peoples, are illustrated in Olivia Ho’s “Working Woman” and z.m. quỳnh’s “Chamber of Souls.” Relationships of all kinds between women are a recurring thread throughout our anthology, whether between amoral pirates and righteous princesses as featured in Marilag Angway’s “Chasing Volcanoes” or between cunning ladies, their handmaids, and daughters in Pear Nuallak’s “The Women and The Insects Sing Together.”

  We give great thanks to our publisher, Bill Campbell of Rosarium Publishing, for the opportunity to share these incredible stories with you: Thank you, Bill, for your graciousness in sharing your platform with us, and thank you for your solidarity. We are also thankful for everyone who has supported this anthology, from the stage of ideas to the stage of fruition.

  These waters which so many of us have traveled, upon and over, for fortune, for trade, for refuge, for livelihood—our ancestors’ tears and sweat have been cast into the salt of the sea and we begin with the acknowledge
ment of their presence in our bloods, whether we break with tradition or re-cast it in the fire of the new worlds we have to build, proclaiming: THE SEA IS OURS!

  On the Consequence of Sound

  Timothy Dimacali

  …and then there is the legend of the Bakunawa, first of all the sky whales. The Tagalog songs tell of a majestic beast as black as night, with scales that shimmered in the dark like stars, so big it could swallow the very moon itself.

  Most Tagalogs believe that when Bathala created the world, he made seven moons of the purest bathalani to hold up the sky. So captivated was the Bakunawa, it is said, that it rose up and consumed all of them but one.

  Some legends, however, take this instead to be true: that there was always but one moon; that the Bakunawa, as a creature of the sky, was a wise messenger sent by Bathala himself; and that it brought down from the heavens a piece of the solitary moon, which we know today as the floating island of Mount Taal.

  —Damiana Eugenio, “Philippine Folk Literature: The Legends,” 1993

  ~*~

  The butanding is a curious creature, especially for a little girl who knew nothing about life outside the Walls.

  I thought it was just a kite dancing in the wind, floating languidly on the morning breeze.

  I think now that it must have been just a small juvenile, perhaps no more than 300 varas in length, but it was far bigger than any kite or bird I had ever seen before.

  The blue-gray skin on its catfish-like body glistened in the morning sun as it glided calmly about, its fins catching on the wind as it swam.

  The lone calf had probably lost its way from its herd and somehow wandered into the skies above the city.

  The people below didn’t seem to care. Stray whales were not completely uncommon, Papa said, and they never bothered the city or its inhabitants.

  It swooped low overhead, almost touching our rooftop.

  Its eyes shone like polished black marble, set against a gaping toothless mouth that trailed long gossamer whiskers in its wake.

  It floated effortlessly above me, just out of reach.

  Then, from far off beyond the Mariquina mountains came a low droning sound, a booming thunder that rolled across the sky.

  Hroooooooommmmm!

  That was an adult call, Papa said. Its herd was looking for it.

  The pup opened its mouth wide and bellowed in reply:

  Krooooooooooooooooooommmm!

  The note echoed through the air, the vibrations sending shimmering ripples across the rows of blue-white bathalani crystals along the creature’s flanks. Each wave of sound lifted it higher into the air.

  The young sky whale twisted upwards in a gentle spiral.

  Hrrrrrroooooooooooooooommmmm!

  Kroooooeeeeeeeeoooooom! it answered back.

  It shifted its fins, leveled out its flight, and headed home.

  “What was that?” I asked.

  “A choice,” Papa said.

  ~*~

  Intramuros! The old Manila. The original Manila. The Noble and Ever Loyal City… To the early missionaries she was a new Rome, but to the early conquistadores she was a new Solomon’s Temple, filled with life and love—but most of all, with sound and music.

  —Nick Joaquin, “Manila, My Manila,” 1990

  ~*~

  To live in Intramuros was to live surrounded by music.

  I remember fondly one cold summer morning under a clear blue sky many years ago, when I was just a little child back in the old Walled City. My father, holding my hand, took me to our balcony to greet the new day.

  I was too small to look over the ledge, too scared to look down. So I just closed my eyes and listened—to the dawn hymns of the monks singing in their chapels high up in the rascacielos, the clacking of horses’ hooves on the cobblestoned streets far below, the throaty cries of the Sangley streetvendors echoing from the alleys, the rhythmic thumping of mortars on pestles as the day’s rice was being prepared.

  All around us, Intramuros was alive with the sounds of ritual and habit: a strong, steady heartbeat that had remained unchanged for centuries.

  It was the sound of home, of life within the Walls.

  Suddenly, Papa shook my shoulder.

  “Look there, Aria!”

  My curiosity got the better of me. I opened my eyes to find him pointing into the distance, out across the bay.

  The Nuestra Señora del Cielo was a sight to behold as it came in to port.

  The royal galleon’s masts, each thick around as the torsos of seven men, seemed to defy the very sky itself. Her massive wooden hull, made from the most ancient and darkest narra wood and inlaid with gold and mother of pearl, cast a long shadow over the houses and churches beneath it. The whole city, it seemed, fell into silent awe at the sight of the great ship flying in from the sea.

  A squadron of smaller, sliver-shaped escort ships flew in tight formation ahead of it, their linen sails billowing at full mast, white as clouds. Each escort glinted with its own complement of brass lantaka cannons extended in ceremonial salute.

  The Navigators of the entire retinue, sight unseen, played at a steady tempo as they guided their ships on course. I will always remember the music of their viols descending from the air, a cascade of notes that swelled and receded in wave after grand wave of sonorous rapture, announcing the arrival of the royal galleon.

  It was then that I knew I would become a Navigator.

  One day, I shyly asked my father if I could learn to fly.

  He was seated as usual at the head of the dining table, reading the day’s issue of La Vanguardia. Mother had prepared him his usual cup of tsokolate with a side of buttered pan de sal.

  I casually took my place beside him and reached over to the pile of hot, leaf-wrapped suman on the center serving tray.

  I paused for a moment, wondering if it was a good time to disturb him.

  “Papa, I want to be a Royal Navigator just like you!” I said in my tiny voice.

  Papa burst into a hearty laugh. “And what made you think that, hija? A Navigator’s life is hard work,” he said, crossing his arms.

  He spoke with authority on the matter as a First Order Initiate of the Cofradia de los Hermanos Alados, the Confraternity of the Winged Brotherhood—his emblem of office, a winged fist, proudly displayed on a pin that he always wore on his collar.

  “Es que si… gosto co pong matotong lomipad,” I stammered, hiding my face behind my hands.

  He looked me sternly in the eye.

  “And what would you do then, if you learned to fly, eh?”

  “Gosto co pong homoli nang butanding,” I giggled.

  Papa shook his head.

  “There is much more to being a Navigator than catching sky whales, my child.”

  He pointed out the window, across the cityscape, to the sky lanes filled with all manner of pedestrian craft. They flew in strict formation above the city, guided by their conductors.

  A flock of carefree pigeons swooped and dashed about around them.

  “Everything,” he said, “has a price. One day you will learn what that means.”

  I giggled at the sight of the birds flitting about.

  My father sighed and patted me on the head.

  “Pero tiñgnan natin,” he said. “We shall see.”

  ~*~

  Long ago, even before Intramuros existed, the inhabitants of Maynilad discovered the peculiar properties of gravidium ore—how it responded to sound, how vibrations of certain frequencies enabled it to Levitate and move about in the air. It was, then as now, thought to be a sacred link to the Almighty. Hence it was called bathalani, “God’s Lodestone.”

  —Antonio de Morga, “History of the Philippine Islands,” 1868

  ~*~

  On the eve of my seventh birthday, my father presented me with a small, carved wooden box, no bigger than my two cupped hands. He undid a small brass fastener and produced what seemed to me a simple sliver of carved bamboo and a blue-gray crystal mounted on a silver chain.


  “These are the most basic tools of Levitation. Anyone who wishes to be a Navigator must first learn to be proficient in their use,” Papa said.

  The kubing felt light in my hand, almost fragile. My father showed me how to place it to my mouth, to tap on its lamella to produce a single drone note.

  “The hard part,” he said, “is feeling the stone.

  “No two are exactly alike, and you must learn to shape your notes properly to make it resonate.

  “Go ahead,” he said. “Try it.”

  I placed the kubing to my lips as he had shown me, and flicked it against my open mouth.

  Twangtwangtwangtwangtwangtwangtwang…

  The bathalani pendant sat quietly in its case, unmoving.

  “Do not be afraid. Now arch your lips slightly, yes, and curve your tongue down. Yes, right. Like that.”

  Twoomtwoomtwoomtwoomtwoomtwoomtwoom…

  I thought I saw the ore tremble ever so slightly.

  “Expand your mouth more. Lower your tone.”

  Bwoombwoombwoombwoombwoombwoom…

  The stone began to shudder.

  “Good. Now feel the vibration build up inside you. Ride it, lend it your strength.”

  BWOOomBWOOomBWOOomBWOOomBWOOomBWOOom…

  “Yes. Excellent. Dame mas!”

  BWOOOMBWOOOMBWOOOMBWOOOMBWOOOM BWOOOMBWOOOM…

  The stone danced, as on the edge of an invisible wave on an unseen shore.

  “Watch its movement closely. Find its resonating point.”

  What happened next was one of the most exhilarating experiences of my life: the pendant raised itself magically up into the air, Levitating as if on a chain.

  “Muy bien! You’ve done it, hija!”

  Distracted, I lost control over the stone. It fell with a loud clatter onto the floor.

  “That was good,” my father said as he bent over to pick up the pendant.

  “But you will need a lot more practice.”

  ~*~

  The kubing, or jaw harp, is an ancient musical instrument used in times of love and war, to woo and to slight, to court and to spurn. It is a simple yet elegant instrument whose sonorous qualities aptly lend themselves to the control of gravidium. Not surprisingly, it is the earliest known instrument that the ancients used for flight.