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Summer Solstice
Summer Solstice
It could have been attributed to the author’s state of mind while writing his stories.
He shares this kind of style with Edgar Allan Poe and Ernest Hemingway. They love
to drink and write. I love to drink and drink… milk. I wish I am still a child to enjoy it
for free where only my cry is my ticket to getting it. This maybe the reason why I
I must admit, I’m not in the position to carry out a criticism of a master’s work. Who
nature to criticize. We even criticize the looks of our fellow humans whom God
masterfully created. I am not excused from such nature, so, coupled with the
obligation from the teacher, I will declare that I don’t like the story. It simply lacks
the eroticism of a Harold Robbins. The only short story I love that is devoid of any
Summer solstice is the time of the year in the Northern Hemisphere when the noon
Sun appears to be farthest North. It is a sacred occasion for the druids of England. It
was even insisted by scientists to have caused the erection of the famous prehistoric
Nick Joaquin’s short story version of the natural phenomenon does not instigate any
erection of some sort. It is disappointing. I suspect that he could have made some
erections, given the way he used and hinted in describing the femaleness or
maleness of his subjects. However, he didn’t. For what? For delicadesa? I was
confused until it dawned on me that he could have done that deliberately. He did
that to defraud his audience into reading further by hanging their expectations in
fervor but resisted from satisfying them. He could have done what I needed to read,
but he didn’t. It is “bitin”. And that’s the secret. To hold your audience by their
natural instincts for your own advantage is Freudian. A trickery or magic that can
only be juggled and pulled off, if you are a master of the trade. No wonder, the
Palanca juries succumbed the same way into giving out their token.
Now, to evaluate the story, the plot was engineered to be like a movie plot during
transitions. As a great fan of classical movies, some of which dates to the time of
Master Joaquin, there is a striking resemblance to the way the movies were made
during that time to his “Summer Solstice”. Movies during the post war era do show
like me to dissect his point of view or what the story is all about in installment basis.
It somewhat helps the curious or the obliged reader like our class for this matter to
rewind the contents of the story encapsulated within the transition and read it
There are six scenes or transitions I have observed upon reading. The first, after the
title, established the era or time when the story happened. Introduction of props like
horse-drawn carriages certainly does not depict the present but leads the reader to
the past. The main character Doña Lupeng was introduced as a conservative mother
of three boys and living a posh lifestyle with servants. This suggests statutory pride
that you would not expect her or, with her husband Don Paeng to mingle with the
people outside their social realm. Don Paeng and Entoy, the driver were not as
boisterously introduced by the author than the Doña or Amada. Another important
ingredient was the nearing occasion of St. John’s festival. This accentuates the story
The second scene commenced by the capitalized entry of “BUT HOW CAN THEY…”
established the predicament of Dona Lupeng of her outstanding curiosity of how the
norm is being disturbed by the nearing festival of St. John. A male patron saint
should be venerated, but the opposite is happening where women are empowered to
season. Guido was introduced in this particular scene. A motley character, he added
substance to how women are empowered and further suggested such impression to
Doña Lupeng with his quixotic impression of women. I am reminded by the Cartoon
Network’s Johnny Bravo. In contrast to the first scene where the author slightly
advocated femininity more than its popular counterpart. This scene established a
whiff of a more male atmosphere. The author employed erotic descriptions of his
performers. Surgical in detail thus arousing, but not enough. This scene also
introduced Dona Lupeng’s revolting aura when she resisted the instruction of her
The third scene inaugurated at the grandfather’s place. There was a social gathering
attended mostly by family members. This scene evidenced the purpose of why the
character of Guido was conceived. He was inoculated in the story to supply the
Women according to this European educated Don Juan are meant to be adored and
handled with care like some china wares, to be placed on a pedestal and to be
worshipped. This strengthened the political views of Lupeng with regard to gender
issues. Femininity is likewise as powerful as masculinity. The infusion of the feminist
idea that one is not born but rather becomes a woman attitude was slowly being
hungrily digested. Guido was abnormal relative to the times and stead of his
existence when patriarchy was the popular movement in society. Don Paeng noticed
this abnormality.
The fourth scene marks the consummation Lupeng’s virginity of the boggling
gender-political issues that she has been wondering all along. This is a presumption.
newfound insights which I suspect could have been brought about by the early
conversation with Guido. She is now seeing a bright light beyond the limbo of
uncertainty. Guido’s far out thought of women supplemented the heating curiosity of
Dona Lupeng of the Tatarin to go beyond boiling point. The Doña’s curiosity and
power. Despite the Don’s resistance, she was able to make him grant her desire to
go to the festival.
“THE CULT OF THE TATARIN” phrase commence the fifth scene. It briefly described
Tatarin as a three day festival with the commencement of the feast of St. John
followed by the two-day celebration of womanhood in a man’s feast. The scene tries
to exude a more festive mood than the feast for the patron itself. It is like the
awaited cockfight of Jaro Fiesta where it is a much more awaited event than the
mass to celebrate the feast of The Blessed Mother of Candles itself; or the Ati-atihan
in the feast of the Santo Niño. This is also happening in this scene, where the final
ritual of metamorphosing women is the most important rite in the Tatarin. This is
women’s day with St. John as their mascot. The ritual is somewhat chaotic, as if the
women were like sharks in feeding-frenzy. Don Paeng became their victim when he
acted his protest over his wife’s self-determined demeanor to join in the dancing
The sixth scene of the short-story took place in the couple’s home; Don and Doña
Paeng’s home. The final contention of the sexes. The 12th round of gender boxing. On
the blue corner, the adam of the species, Don Paeng; and on the red, the eve of the
species, Doña Lupeng. Venus vs. Apollo. The bell rang to signify the fight. Doña
Lupeng threw a jab “What are you going to do Rafael?”. Don Paeng countered with a
hook, “I am going to give you a whipping”…. This exchange of verbal punches and
uppercuts continued until Doña Lupeng was declared victor by a whooping K.O. Don
Paeng eventually surrendered his highly-priced male pride to crawl like a lizard and
can I expect from a Nick Joaquin anyway? Intoxicating elixirs as inputs, intellectual
intoxications as outputs. For a lowly minded being like me, it is hard to understand
the story unless I indulge myself into intoxicating activities he patronizes. This is my
passport in becoming indulged in similar vantage point as the author. To reach him
is to meet him in the lands of the high spirited. The place of St. Michael. The
portrayal of St. John in this story is to divert our attention from his saint… Saint
Michael.
Nick Joaquin died a couple of years ago. As a tribute, I wish I have made him happy
at least by reading one of his stories. I hope that he is at peace to whatever place he
is now, a place where wine, whisky, and beer is overflowing and free. I hope there is