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Mourning the recent loss of his mother, twentysomething Benicio—aka Benny—travels to Manila to reconnect with his estranged father, Howard. But when he arrives his father is nowhere to be found—leaving an irritated son to ...
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Mourning the recent loss of his mother, twentysomething Benicio—aka Benny—travels to Manila to reconnect with his estranged father, Howard. But when he arrives his father is nowhere to be found—leaving an irritated son to conclude that Howard has let him down for the umpteenth time. However, his father has actually been kidnapped by a meth-addled cabdriver, with grand plans to sell him to local terrorists as bait in the country’s never-ending power struggle between insurgents, separatists, and “democratic” muscle.
Benicio’s search for Howard reveals more about his father’s womanizing ways and suspicious business deals, reopening the old hurts that he’d hoped to mend. Interspersed with the son’s inquiry and the father’s calamitous life in captivity are the high-octane interconnecting narratives of Reynato Ocampo, the local celebrity-hero policeman charged with rescuing Howard; Ocampo’s ragtag team of wizardry-infused soldiers; and Monique, a novice officer at the American embassy whose family still feels feverishly unmoored in the Philippines.
With blistering forward momentum, crackling dialogue, wonderfully bizarre turns, and glimpses into both Filipino and expat culture, the novel marches toward a stunning climax, which ultimately challenges our conventional ideas of family and identity and introduces Yates as a powerful new voice in contemporary literature.
The kidnapping of an American businessman in the Philippines sets in motion an odd series of events involving his estranged son, a hard-boiled cop who inspired a hugely popular film series and a ragtag strike force with special powers.
Yates' accomplished debut is an unlikely mix of folktale, Tarantino-esque pulp fiction, island adventure and geopolitical novel. Howard Bridgewater, a high-rolling ugly American whose firm services resorts, has been living in the Philippines for five years. Prompted by his ex-wife's death in Chicago, he convinces his grudge-ridden son Benicio, who lives in Virginia, to come over for a visit. By the time Benicio arrives, Howard has been abducted by a hapless, meth-addicted cab driver named Ignacio who plans on selling him to Moro terrorists. Problem is, he can't find any buyers. The bigger problem is that shady supercop Reynato Ocampo is after him, backed by an impressionable kid who can shoot anyone or anything at any distance (he's a devout fan of the "Ocampo Justice" movies) and a soldier who can turn into a dog or horse or spider. (Ignacio's nasty sidekick is a rooster who smokes.) Reynato is having an affair with Monique, a stressed U.S. Embassy officer who recently relocated to her native soil from America with her insomniac husband and kids; Solita, the prostitute, is demanding support money for the boy who may or may not be Howard's, and Charlie, the actor who plays Ocampo, is shamelessly running for political office. Yates handles the multiple points of view and fragmented narrative flawlessly. As outrageous as the action gets, he keeps his distinctive voice consistent and his tone measured, masterfully modulating the comic and violent effects. There's unexpected depth of emotion in the relationships and in the characters' connection to the land. The author lived in the Philippines when he was a teenager, and later returned to work at the U.S. Embassy. His feeling for and physical descriptions of the islands strongly reflect that experience.
An unusual and unusually involving first novel with strong characters and nifty supernatural effects.
"Dazzling....engaging....Mr. Yate's most impressive feat is to synchronize a sort of gradual reconciliation between the father and son without the two even meeting. But that is only half of the action....[and] Mr. Yates attacks this twist with shoot-'em-up verve.....readers will be gratified by the ambition and raw energy on the display in this particularly promising debut"--Wall Street Journal
"Weird and weirdly affecting Philippines-set novel. The multiple story lines — involving an American businessman, his bumbling kidnappers, his estranged son, an embassy worker having an affair with a Filipino national hero, and an A-Team of supernaturally enhanced soldiers — languorously intertwine, thankfully without the soulless Swiss-watch efficiency that often governs books with such large casts. Yates, who spent part of his youth on the archipelago, caulks the cracks with local detail, but leaves enough room for Moondogs' narrative to breathe." --Entertainment Weekly
"[A] debut novel that combines magical realism, geopolitics, and comic book-style superheroics with shoot-’em-up action, domestic drama, and daddy issues..... fizzy, funny, and tone-perfect....highly entertaining.... Yates achieves an extraordinary synthesis of tenderness and brutality, making us question our own sympathies"--The Boston Globe
"The kidnapping of an American businessman in the Philippines sets in motion an odd series of events involving his estranged son, a hard-boiled cop who inspired a hugely popular film series and a ragtag strike force with special powers. Yates' accomplished debut is an unlikely mix of folktale, Tarantino-esque pulp fiction, island adventure and geopolitical novel. Howard Bridgewater, a high-rolling ugly American whose firm services resorts, has been living in the Philippines for five years. Prompted by his ex-wife's death in Chicago, he convinces his grudge-ridden son Benicio, who lives in Virginia, to come over for a visit. By the time Benicio arrives, Howard has been abducted by a hapless, meth-addicted cab driver named Ignacio who plans on selling him to Moro terrorists. Problem is, he can't find any buyers. The bigger problem is that shady supercop Reynato Ocampo is after him, backed by an impressionable kid who can shoot anyone or anything at any distance (he's a devout fan of the "Ocampo Justice" movies) and a soldier who can turn into a dog or horse or spider. (Ignacio's nasty sidekick is a rooster who smokes.) Reynato is having an affair with Monique, a stressed U.S. Embassy officer who recently relocated to her native soil from America with her insomniac husband and kids; Solita, the prostitute, is demanding support money for the boy who may or may not be Howard's, and Charlie, the actor who plays Ocampo, is shamelessly running for political office. Yates handles the multiple points of view and fragmented narrative flawlessly. As outrageous as the action gets, he keeps his distinctive voice consistent and his tone measured, masterfully modulating the comic and violent effects. There's unexpected depth of emotion in the relationships and in the characters' connection to the land. The author lived in the Philippines when he was a teenager, and later returned to work at the U.S. Embassy. His feeling for and physical descriptions of the islands strongly reflect that experience. An unusual and unusually involving first novel with strong characters and nifty supernatural effects."
--Kirkus Reviews, starred review
"[G]ritty, ambitious.... entertaining....Yates develops considerable narrative momentum....The vibrant and convincing setting coupled with the well-drawn major characters make for..... much to enjoy here."
"Like one of his own characters, Yates is a bruho, endowed with magical vision that allows him to see the invisible strands of fate and luck that bind people to each other. He is also a sharpshooter, able to survey an entire city of millions, and then, in an instant, train his sights on an individual target, focusing with great precision on delicate movements of the head and the heart."
–Charles Yu, author of How To Live Safely in a Science Fiction Universe
"MOONDOGS is the thrilla’ in Manila, a rollicking mash-up of magic and mayhem that grabs you by the collar and won't let go. Alexander Yates sizzles."
—Keith Donohue, author of The Stolen Child and Angels of Destruction
"An electric and fierce debut novel where strangers share a world with the estranged, and their hidden secrets and open hostilities are equally combustible. Yates writes with a sense of color and heat that crackles in the voices of his star-crossed characters and adds a vivid glow to the streets of Manila and waters of the Philippines. MOONDOGS beckons, drawing readers onward with a vibrant intensity that is both lyrical and thrilling. -Ravi Howard, author of Like Trees, Walking
"Yates is the real thing; a unique literary voice and natural storyteller with indelible characters, thrill-ride geopolitics and narrative mastery"—Arthur Flowers, author of Another Good Loving Blues
"The greatest of Yates' many talents is his ability to make us feel like insiders in so many different worlds and minds. He has Elmore Leonard's logistical chops and Charles Portis' sense of humor but the juggling act of MOONDOGS is entirely his own—and nothing ever touches the ground."—Roy Kesey, author of All Over and the upcoming Pacazo
A man and a rooster exit a taxi idling on a crowded street. The man is short and thin, and the rooster is green, and the rooster belongs to him. The taxi belongs to him as well. He's wearing a fresh shirt, the blood all washed out, and his polyester slacks shine a little in the afternoon light. He's too young to be balding, but is. His mouth is a rotten mess, owing to bad hygiene and a shabu habit. His name is Ignacio. He and the rooster are villains.
Ignacio grips the open taxi door and stretches his legs. It feels good to be standing. The drive south from Manila should have taken only an hour, but he demanded that Littleboy--his idiot brother--make wrong turns so they'd be harder to follow. He'd barked instructions from the backseat, where he and Kelog pored over a soggy map and planned intricate double-backs. Kelog is the rooster. He's named Kelog because he's green, with red and orange in his tail, and a blood-red comb, like the rooster on the cereal. He used to be a fighting cock. He still would be, if not for the onset of blindness. He's retired now.
Littleboy stays in the family taxi, drumming his fingers on the wheel and singing along to the SexBomb Girls on the radio. Littleboy loves the family taxi. He never minds picking up Ignacio's shifts, and people tip him better, because he's a safer driver and doesn't look so scary. He looks big and soft. When the song ends he leans out the window and calls over to his brother.
"Is this it, Iggy? Are we there yet?"
"Not so loud, dummy!" Ignacio shouts. "What did I tell you?"
Littleboy looks embarrassed and squints. He hadn't been loud at all.
Ignacio holds Kelog tight and releases the open taxi door like a mother's hand. He steps into the after-lunch foot traffic, searches out a number above the shops and checks it with the address he'd written on his palm the night before. They're in the right spot--or close to it at least. They'll walk the final distance on side streets, just to be safe.
"Go park the car," Ignacio says. "I'll make sure we're alone."
"Be careful," Littleboy says, thumbing the scented Virgin Mother statuette on the dashboard. Ignacio watches him courteously reenter the slow moving traffic and then signal--who signals?--at the intersection ahead. He again thinks that maybe his brother isn't up to today's challenge. On a whole bunch of levels. Like maybe he's too softhearted. Or maybe he doesn't have sense enough to know he should be scared. Ignacio sure has sense enough. He's terrified. He appreciates the seriousness of the shit he's starting.
Ignacio shifts Kelog to his other arm, leans against the concrete wall of a store selling toilets and bathtubs and tries his utmost to look nonchalant. He scans the noisy street, all bathed in sweat from an unusually hot mid-May, even for the Philippines. Power lines sag dangerously low over speeding buses and jeepneys. Women hawk cool juice and duck eggs from tin kiosks, while men in a repair shop fold up their shirts to air out their guts. Two children chase a scalded cat down the sidewalk, but they get distracted by Kelog, and the cat escapes. "Is that a fighting cock, mister?" they ask. Kelog eyes the general area of the children with hungry disdain, and Ignacio tells them to beat it.
"Who are you talking to, pussy?" the smaller one says in a high, lovely voice. "This isn't your neighborhood, Manileño!"
The boys goose their crotches, spit near his shoes and run down the gravel sidewalk laughing. Ignacio presses himself into the shop wall and watches them go. He knows he looks out of place. But he's on the lookout for people even more out of place--scanning the street for the Americans that he's sure are following him. Men in suits ill-suited to the climate, peering out from behind menus in the karaoke bar and the buko pie shop. Pale men or maybe black men with sunglasses on their eyes and wireless earpiece-things in their ears. Blond freckled athlete virgins hiding in the lengthening shadows of stop signs; ready to pounce, ready to pull him into an SUV with diplomatic plates and tinted windows and take him somewhere dark and dress him in something bright and deprive him of sleep, ready to drag him screaming to ocean-distant rooms of electrified genitals and nudity-near-dogs, ready to lock him up with the real hardcore types at Guantanamo Bay, ready to laugh and eat pastries as they watch him get ass-raped through one-way glass. He's afraid of those Guantanamo types--his maybe future cellmates--the most. He isn't hardcore. And they'll know it in a second.
"How far is the mosque from here?" Littleboy's voice startles him so much that he drops Kelog, whose fighting spur--attached today for the first time in years--makes an ugly noise against the gravel.
"Idiot," Ignacio says as he reaches down to recover Kelog and coo to him. "Don't say that. Keep your mouth shut."
Littleboy shuts his mouth and breathes through his whistling nostrils. He takes obvious glances over each shoulder and then puts on what he must think is a nonconspiratorial expression. He looks like he's trying to pass something so big it hurts a little. He makes Ignacio sick.
"Come on," he says. "Walk behind me, and don't say anything to anybody."
Without another word, they make their way along the street. Ignacio slips down the first pedestrian alley they come to and walks the labyrinthine footpaths in the general direction of their destination: the Blue Mosque. He's not happy to be getting so many curious glances from passersby, and his hands shake, his long nails scraping audibly on his cheap slacks. The paranoia and the shabu have kept him awake for days now. The bags under his eyes are swollen so dark it looks like he's weeping tar. People avoid him in the narrow corridors between shanty walls; sometimes stepping in sewage to do so, as though they're afraid what he's got might be catching. When they pass Littleboy--dutifully a few steps behind--they've got no choice but to keep hugging the walls. He's almost as big across as Ignacio is tall, his head large as a breadfruit. He's got to duck every few steps to avoid do-it-yourself power lines, stolen cable and jagged aluminum siding.
But of the three of them, Kelog by far gets the most attention. Ignacio expected this--bringing him along is a calculated risk. He's conspicuous, but if shit goes down he'll be needed for protection. Even in retirement he's an impressive bird. His comb stands erect as a crown, the plume of his tail is thick and his talons are solid as a fat kid's fingers. Back in his heyday he put larger opponents away in the first round, leaving them open and disgorged like fancy unpacked handbags on the arena floor. He has thirty-three wins to his name, which may as well be thirty-three thousand considering the lifespan of your average working gamecock. If he hadn't started going blind he'd still be at it. And Ignacio would still be spending his earnings unwisely. And he wouldn't be doing something as dumb, and risky, as this.
The alleys widen as the villains get farther from the main road. Palms compete with makeshift antennas for canopy space, each a perch for sooty pigeons and wild sparrows still dyed red and green from the holidays. Shanty windows breathe talk radio in the heat, their corrugated roofs shimmering like skillets. The squat buildings seem more solid out here, built of concrete masonry blocks and insulated with mortar and foam. Some have fenced-in gardens; sunny resting places for chained dogs or old men chained by gravity to rattan lounge chairs. The old men heckle passersby as though it's charming.
"Hey!" one of them says, noticing the spur fastened to Kelog's foot. "You're going the wrong way, pal. The arena is that way." He points.
Ignacio quickens his pace. He can see a blue-capped minaret ahead and it's all he can do to keep from gawking. The alley opens further and they come abruptly to a white outer wall with a sprawling low dome beyond. The area around the mosque is quiet, save for a pair of shirtless teenagers in black-and-white crocheted caps playing basketball on the pounded dirt. The one with the ball freezes mid-pivot to look at the strangers and then, as though he's deemed them boring, shoots against the plywood backboard.
Ignacio and Littleboy walk along the wall to the arched entrance. It is trimmed with indigo and a vein of stone-inlaid Arabic script. "You'd better wait here," Ignacio says. "Don't come in unless you hear me yelling. Or, if I don't come out for a long time, then you can come in."
Littleboy bites his bottom lip and it quivers under his front teeth. His eyes glisten.
"Don't do that," Ignacio says as he hands Kelog over. "I'll be just fine. But if I'm not, then don't you dare run away. Come in and help me."
Littleboy gravely tries to shake Ignacio's hand, but Ignacio pulls away. He walks through the mosque entrance and finds himself in an empty courtyard surrounded on all sides by a white colonnade made featureless and bright in the midday sun. Dark arched doorways lie at irregular intervals beyond the columns, some of them open and others closed. Ignacio peeks inside one and sees a pair of concrete tubs filled to the brim with water, ringed by shallow troughs and drains. A young man in reading glasses sits on a stool beside one of the tubs, running water from a spigot over his bare feet. He looks up at Ignacio and smiles warmly. Hoping to look like he knows what he's doing, Ignacio stumbles into the room. He dips his hands into one of the tubs and washes them. He wets his forearms and his face and the back of his neck. He exits, dripping, and hears the young man behind him chuckle.
Ignacio peeks through arched doorways until he finds the large prayer room--confident that the Imam should be in there. He kicks off his shoes, grabs a knit cap from an empty desk by the doorway and walks inside. The carpet is the color of sand and feels good against his feet. It bunches up, here and there, around several white pillars garlanded with strands of beads. "Hello?" Ignacio calls. The prayer room replies with quiet. He looks about the walls and sees more beads, some prayer mats and unintelligible script running upward in a continuing frieze. It's nothing like the church in his old seminary, where the wooden eyes of the saints and Mary and baby Jesus and grownup Jesus were everywhere to stare you down. As frightening as he's always found them, the absence of faces here disturbs him even more.
"That was a quick ablution," someone says. "Are you in a rush?"
Ignacio spins to see a figure framed by sunlight in the doorway. It's the young man from the washroom--fully laced and dressed in a crisp white shirt. His slacks are ironed and wisps of a goatish beard cling to his chin.
"I'm sorry . . ." Ignacio looks down at his toes, and as he does a few greasy droplets of water drip from his head and spatter the carpet. "Am I doing something wrong?"
"It's all right. Come on out, why don't you?" The young man steps aside so Ignacio can exit the prayer room. He accepts the cap back from him and drops it on the desk, slightly apart from the other caps. Ignacio is jarred by the realization that this young man is the Imam he's come to meet, and he takes a moment to recover. He'd expected a transplant from the savage south; a bearded asskicker streaked with gray like molten stone. But this young man has a coffee-shop softness. He looks even more like a Manileño than Ignacio does.
"My name is Joey," the Imam says.
Joey? Ignacio thinks. Joey?
They shake hands and look at each other for many moments.
"You don't wish to tell me who you are?" the Imam asks.
"You can call me Mr. Orange."
The Imam smiles. "I love that movie, too," he says.
Ignacio sputters. "I telephoned you," he says. "I telephoned you. Yesterday. About that thing. The thing I'm selling?"
"Oh." The young Imam looks let down, disappointed in his new friend. "I said on the phone I wasn't interested."
"That's because you don't understand what it is."
"Even so. Even if I wanted it, this isn't a place to sell anything." The Imam begins walking through the bright courtyard, back to the washroom. "Please leave," he says without looking back.
Ignacio chases after him, the courtyard tile burning his bare soles. "Wait!" he calls. "Just take a look."
"No, thank you." The Imam makes to close the heavy washroom door but Ignacio jabs his naked foot through the frame. "Please go away," he says in an angry voice.
The door presses--not too hard--against Ignacio's foot, and he panics at the thought of having taken so many risks only to fuck this up now. He fumbles in his pockets, grabs a small rigid card and shoves it through the door so the Imam can see it. The pressure on his foot ebbs. The Imam is silent behind the door. When he finally speaks his voice echoes pleasingly against the tile walls and floor.
"What is this?"
Ignacio feels a brief flutter of confidence. He asks the Imam what it looks like.
The door opens slowly and the Imam plucks the card from Ignacio's fingers. It's an Illinois driver's license, three years past expiration, picturing an overweight white man with glasses and a full head of sandy hair. The Imam backs into the washroom and sits again on the wooden stool. He looks from the license back up to Ignacio.
"I told you that you'd be interested." Ignacio slips inside and sits on the wide rim of one of the concrete tubs--acting cool and awkward.
"I don't know what this is," the Imam says.
"Of course you don't." Ignacio winks. He taps the side of his nose twice, significantly. He kicks the washroom door closed and seals them both in hot half-darkness.
"No." The Imam drops the license on the tile between his feet. "I really don't know what this is."
Ignacio stares at him. He can hear Kelog crowing impatiently outside. The chain net jingles as the teenagers shoot hoops. Engines rumble distantly on the main road.
"I have that," Ignacio says, pointing down at the license.
"You have what?"
Ignacio puffs his cheeks in frustration. For all he knows, there is a team assembling on the corrugated rooftops outside. They'll be waiting by the exit with a bag for his head and shackles for his wrists and legs. He doesn't have time for these games. Ignacio scoops the license up and mashes his finger into the white man's face. "That!" he yells. "This! Him!"
"You have the person?"
"I understand," the Imam says, in a crackly voice. The crackly voice encourages Ignacio. He's caught him off guard, and that's always a good position to bargain from.
"So I was thinking, that, you know, you, being who you are . . . I watch the news. I have subscriptions. I follow what's going on. It wasn't a leap for me to imagine that someone like you would be interested," Ignacio says.
From the Hardcover edition.
Posted October 10, 2011
I usually stick to the epic fantasy genre but I am glad I stepped out of the box for this one. I was reading Chuck Sambuchino's Guide to Literary Agents blog and Yates wrote a guest post offering advice to writers. By leaving a comment, I entered a contest to win a signed copy of his book and it arrived in the mail a week later.
It was a quick read, fast-paced, and interesting as well. Yates does an amazing job putting the reader in the Philippines. His knowledge of the culture and setting was obvious. The mixture of quirky humor with action, and the magical properties of the characters, came together well to tell an interesting story.
While a great read, the only thing I wish he had changed was to draw out the climax a little. With the fast pace of the entire novel I can see how it would be hard to slow things down, but in my opinion it would have tipped the scale closer to five stars.
Thanks for sharing your story with us Alexander Yates.
Posted May 9, 2011
Moondogs by debut novelist Alexander Yates set in present day Philippines combines magic, action, and satire. Yates draws on his own knowledge of the Philippines where he graduated from high school and later returned to work for the political section of the US Embassy. His familiarity with and knowledge of the place and its people comes across. While the persons, places, and events are fictionalized, his Filipino and expat characters are familiar enough that Yates could have written about people we know.
The lead character is Benicio Bridgewater, the son of a Columbian mother and American father. His parents had divorced years ago and Benicio has had a strained relationship with his father for years, but following Benicio's mother's funeral he's decided to visit his father in the Philippines to repair the relationship. When his father stands him up in the airport, Benicio is left angry and hurt. It turns out that his father Howard had been kidnapped by a meth-addled cabdriver and his strange companions. When the crime is discovered, local celebrity hero Reynato Ocampo and his special operations unit nicknamed Ka-Pow is called in to rescue Howard. Each member of the Ka-Pow team has a unique magical talent which Ocampo learns to harness. The characters in Moondogs run the gamut: yayas, drivers, and hotel staff, "political consultants" and actors turned politicians, pampered and privileged kids from the International School Manila, expat businessmen and "exotic dancers", desperate hustlers, kidnappers, military men, and terrorists from the South. Yates seems to have captured much of the Philippine experience and added his own special stamp creating an unusual, rollicking read.
Review copy provided by the publisher.
Posted March 11, 2011
I really enjoyed this book. The story revolves around American businessman and his son and takes place in the Philippines. There is really cool cast of charecters and they all are very interesting. The book was very discriptive and I felt like I had been to the Philippines after reading it.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted December 8, 2013
No text was provided for this review.