INTERVIEW: In ‘Amigo Warfare,’ poet Eric Gamalinda reckons with the empire

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INTERVIEW: In ‘Amigo Warfare,’ poet Eric Gamalinda reckons with the empire
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Eric Gamalinda talks about the ‘distinctly postcolonial reality’ of the Filipinos: ‘Whether we like it or not, for better or worse, America will always be part of our national psyche’

encounters a renaissance, this time in the Philippines. The Ateneo de Manila University Press has come up with an expanded and revised edition of the book for a new generation of readers because, as the author explains, it has been unjustly underseen.

That ending always felt like a throwaway line to me. Looking back, I don’t even remember what I meant by it, and the dual reference to the Gospel and Shakespeare no longer makes sense. It wasn’t that difficult to let it go. I never think of a work as completely finished. Whenever I re-read any work of mine, I have to resist the urge to revise all over again.The press’s former director, Karina Bolasco, and I have worked together for decades since her tenure at Anvil.

In the book, you also reference auteurs like Andrei Tarkovsky, Abbas Kiarostami, and Ingmar Bergman. Are there any parallels when it comes to your relationship with cinema and poetry? I first encountered González Palma’s photographs at the Robert Mann Gallery in New York. I just happened to be in the neighborhood and wandered in. I thought his images were so haunting and his themes resonated with my own cultural background. This one photograph was especially striking. . I loved the tenderness of the couple, as well as the edginess of the spikes coming out of their backs. It represented the reality and fragility of love, which comes with an element of risk and danger.

Would you ever label your poetry, or work at large, as “diasporic”? And how do you contend with its complexities as someone who lives in the Global North but writes about the Global South – its politics and its material struggles in particular?

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