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blueparadis · 2 years

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𝐁𝐎𝐍𝐓𝐄𝐍 𝐈𝐍𝐔𝐈 𝐒𝐄𝐈𝐒𝐇𝐔.

—» content warnings : afab-reader,she/her pronouns, mature themes, smut, implied voyeurism, exhibitionism, unprotected sex, threesum,mirror sex; mention of brothels,sex workers and mentions of Kokonoi Hajime. worc count — 0.95k LINKS SECTION

BONTEN INUI SEISHU is reserved and doesn't talk much unless he notices Kokonoi's eyebrows growing closer. And the moment he opens his mouth, the rest of the visitors are silenced. Rumor along the underworld is that he is just the bodyguard of the handsome treasurer of Bonten, Kokonoi Hajime but Inui didn’t care as long as Coco seals those deals smoothly. He is the eyes and ears for him and he is quite tactful in his works.

Kokonoi was quite worried about him. What if this life of blood and violence rubbed off on him? Koko didn’t want him to be the reason he resorted to violence and his prayer glistened with hope when he saw inupi visiting clubs, enjoying the glint of neon lights just to gather intel, just for him.

While Kokonoi handles the deals, BONTEN INUI SEISHU takes care of every gawking eye, every prying ear that might hinder their plans. And sometimes when they are off to seal a deal in a nightclub, he doesn't fail to notice that familiar face that has been there every time he visited the clubs. Initially, he thought that it must be Coco’s charms, and in moments like that he never fails to put it to good use but this time it was quite odd.

“Ya’know Coco doesn’t make it a habit of picking street girls unless you …”, he took a pause eyeing you up and down as he lets out a puff of smoke into the air yet his sapphire pearls were bestowed on you. “To be useful”, he whispered into your ear.

And before he could retreat you placed your palm over his firm chest exclaiming in a low voice, “You might wanna hide that tattoo of yours, there are people looking for both of you, sir. ” and that was all.

And before you could vanish into the thin air, Inui grabbed your hand pulling you against his body and exclaiming, “I will find you if are a snitch” He noticed your silence and released your hand unwillingly.

While you faded into the back of the alley, he rolled down his sleeves hiding his bonten tattoo that was marked on the side of his inner wrist. No, of course, he didn’t have to worry about handling a few bugs, and hence, he brushed it off thinking she might be new on the streets who still doesn’t know that every ounce of information could turn your world upside down.

OH! His life was not all roses and sunshine, and neither was Coco’s. When they failed to close a deal both the men went to clubs, especially sex clubs. Kokonoi watches Seishu as he tames the brattiest girl on the shift, while Kokonoi enjoys the booze and the show.

And, when she is a little weak, they either take turns or he holds her until she loses the count of how many times Koko came inside her. Something about watching Koko fuck a girl, breaking the bonten code just turns him on. Most of the girls know about them since Koko lavishly spends money whenever they close an important deal.

BONTEN INUI SEISHU is very observative and doesn’t fail to notice how that girl who just served the drinks is occasionally staring at him. Most of the time, he doesn’t pay much attention but when he can sense the deal is on, he doesn't waste any further to have a little chat with his partner.

And the next moment, he is busy spreading the girl’s legs , putting them on his shoulders to rub his hard cock against the leaking pussy. Nah! He doesn’t go all in until he gains some info about the opposing party. He prefers to raw dog a girl since he knows all the girls are clean and what’s the worse that could happen? After all, they’re the popular ones, especially him being the familiar face has its own perks.

Sometimes, BONTEN INUI SEISHU sneaks out of a meeting because he just wants to annoy Coco a little. So, he just picks the girl who was recruited for serving the day’s meeting and takes her to the bathroom to watch her moan and roll her eyes as he fucks her from the back.

Something about rolling the hair around his hand, watching the reflection of his bonten tattoo in the mirror, and hearing the girl beg for more just makes him more addicted to the taste of breaking the rules.

Even though he searched for you, who saved their lives all he could do is to be a regular customer of that bar where he met you. And one day, when he was sitting at the bar enjoying his drink alone while Kokonoi is busy with negotiations; he noticed the bracelet when he was served with another whisky sour.

“Told ya I would find you! Had to run through hell … but I did find you”, he utters majestically taking a sip and watching your ears burn in red hues.

One thing that BONTEN INUI SEISHU learnt in this world of violence is not to keep debts pending but he didn’t exactly know how to clear your share. He knew money or sex wouldn’t amuse you so now he occasionally visits your bar to watch you, to listen to your songs, and to think how to pay you out.

No, violence didn’t rub off on him, affection did and that’s how Koko noticed how Inupi has been a little sneaky on their every meeting.

+networks— @tokyometronetwork @downtown-roponggi

+tags—@zoraedits @etheralyonn @1900-aria @ily-inupi @haitaniapologist @rayfuyu Ik you'll love this :")

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deke-rivers-1957 · 7 months

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Paradise Hawaiian Style Review

This is the final Elvis film that takes place in Hawaii. In fact, this could be considered one of the first Elvis film "remakes" as it's been claimed Colonel Parker wanted to recreate the success of Blue Hawaii. Similar to Blue Hawaii, real locations in Hawaii were featured during the film such as Coco Palms Resort and the Polynesian Cultural Center.

We immediately jump into the action by having Rick Richards on a flight. He was fired after flirting with a flight attendant. Since he has a bad reputation, he was only able to get a job in Hawaii. We immediately get the titular song, Paradise, Hawaiian Style over the opening credits. It's a quintessential song in any Elvis travelogue movie.

I absolutely love the shots of Hawaii. You get the idea that this actually has relevancy to the plot. Danny, played by James Shigeta, is actually Hawaiian. The use of a mixed race couple is accurate for Hawaii. There was no law against it, so it wouldn't have been controversial for Danny to marry a white woman.

While Rick is playing with Danny's kids, we get the next song, "Queenie Wahine's Papaya". This isn't Elvis' best work, but at least there's an established relationship with Danny's daughter, Jan. She actually gets to sing along with Elvis and does a pretty good job of keeping up with the fast paced song.

We get to see more shots of Hawaii that reflect the use of air travel. Even though Elvis himself doesn't fly the plane, we do see interior shots of the plane and Rick landing it. Unfortunately there are times where you can tell Elvis isn't on location. He just doesn't blend in with the background compared to on location shots.

One thing that shocked me is how this movie seemed to openly talk about how Hawaii is seen by Americans as such a tourist attraction. The natives who lived there would've had to appeal to these big businesses to make money. Even though this cultural talking point isn't the focus of the film, you can still see its influences by having Rick and Danny go into business themselves.

When they get to the club, I swear Marianna Hill playing Lani is dubbed by another woman. Her audio just doesn't sound like it was recorded at the same time as Elvis'. Also when she duets during "Scratch My Back (Then I'll Scratch Yours)" she doesn't sound good. The song in general just isn't good and grinds the film to a halt. I know Lani works at a club, but she just sings one song and then leaves with Rick. You can cut that whole song and nothing would be lost.

So by now we've established that Rick loves women in a distracting way. I admit that I appreciate how they made that such an integral part of his character that it actively influences the plot. If he didn't have such a bad reputation of flirting with flight attendants on the clock, he would've never been in Hawaii. It's unfortunate that he doesn't have any real character arc that addresses that.

It's clear that he wants to only hire a secretary because she's hot and not because she's qualified. Danny hiring Judy is a clear sign that he actually believes in her skills and wants Rick to stay focused. Danny cares about his business and wants to have people who can actually do the job.

More shots of Hawaii and this is the best part of the film. We get vocals from the Polynesian people as Rick travels. You really get the idea that Hawaii is important. You couldn't get these shots anywhere in the continental US. Of course there are goofs such as dialogue being clearly dubbed in. Like so bad that Rick is waving while saying "Hi" with Elvis clearly not moving his lips.

That being said, you immediately stop caring with the best song in the entire movie, "Drums of the Islands". My god. The visuals of Rick on a canoe just riding along the river as he sings is just beautiful. The land/seascapes are prominent and the Polynesian culture is heavily featured. Elvis isn't shoved in front of the performers. He's integrated into their act and letting these people perform an art that's been passed down for generations.

"A Dog's Life" is a song that exists. I have no idea how Elvis could possibly lip-synch all this having those dogs jump on him. Easily one. of the most stressful scenes in an Elvis movie. He lets go of the controls so many times, the dogs jump right in his lap as he's singing. A completely chaotic moment. If this wasn't a movie, these characters would most likely be dead. In universe, it's actually a testament to Rick's piloting skills that no one did die. Not just the passengers but literally everyone on the ground.

Naturally the one time Rick flies recklessly, he runs into the car of a government official in charge of aviation. Regardless of what actually happened, this guy's well within his rights to complain about what happened to him and his wife. These dogs weren't properly contained and that helicopter likely wasn't suitable for Rick to transport all of them anyway.

We get a Red cameo at the restaurant and a pointless fight scene. The tourist flirting with "Friday" was bad, but Rick sticking up for her makes no sense. Based on his actions in the movie, he's not that morally upstanding to be above unwarranted flirting.

As of this point, he has no actual chemistry with any women. He has more of a relationship with Jan (who is a child) than anyone else. Unfortunately, their 2nd duet, "Datin" is awful. It feels weird to watch a grown man explain dating to a child that isn't his. And in general, Jan's singing isn't that great compared to their first duet.

Not long after they land we get to yet another song, "House of Sand". If we cut "Datin" and went to this that would be fine. Unfortunately, this happens barely two minutes apart from each other. It feels so shoved in now because of how badly spaced they are. Also a problem with these types of songs is that they have no build up. There's no reason for these songs to be made other than fill up a quota. Elvis just bursts into songs at the most random intervals. If you cut them from the film literally nothing would change. With "House of Sand" you go right back to Rick flying in the air with one of his "love interests".

So we get a swimming scene where Elvis is conveniently covered up by a towel. It's so weird how he's covered up when both of the girls aren't. It's almost like the producers wanted to hide something. Yeah, it's obvious at this point that Hollywood wanted to hide Elvis' weight. The way they try to hide it is just so bizarre as you can still see his stomach anyway.

I hate Lani's character. She actively decides to mess up Rick and Jan's lives by throwing away the key in the sand. Lani literally got them stranded on an island with a child. If they never found the key, and Danny never knew where they ended up, they could've died. Rick's womanizing ways on top of her individual actions could've literally killed them. She is lucky that Danny didn't charge her and Rick with the endangerment of a child.

Sure she didn't know she would lose the key that way, but that was such a dumb and dangerous decision just because she wanted some sugar. As for Friday sticking up for Rick, I have no idea why she would do that. She knows first hand what his flirting ways are like. Just because he stood up to one tourist doesn't negate the fact that he's irresponsible. Danny if anything is the reasonable one and has the patience of a saint that he didn't press charges. They were out overnight and could've easily been out for longer if he didn't rescue them.

Friday chastising Rick is well deserved and if anything serves a bigger reason as to why their relationship makes no sense. Rick wanting to rescue Danny and risk losing his license for good, isn't enough of a reason to think that he's changed. As much as it shows that he can think of others it still doesn't change his womanizing ways. Compared to the dog scene from earlier, this rescue doesn't feel so tense.

All helicopters should have a first aid kit in the event that there's a crash, so it makes no sense for Danny to not have one. Even if Jan's only a child, he can still tell her how to make a splint. If this was such a tense moment as the movie wants it to be, the danger would be greater than this. There's more instances of dubbed in dialogue with 0 lip movement such as the end of this hospital scene.

Jan's solo song "Bill Bailey, Won't You Please Come Home" is easily her best song. It's quite refreshing to have someone who isn't Elvis get a song all to themselves. And again Rick's flirting ways is getting the better of him. Even if he wants to be with Friday (which he never indicates more than any of the women he was with) he still needs to show that his flirting ways are over.

"Stop Where You Are" while shot differently than most Elvis songs, is also visually a nightmare. If you're watching this movie on a buggy site like DailyMotion and watch this movie for the first time, you wouldn't know if it's pausing on purpose or if it's the lag. I also have no idea why Rick's singing anyway since if he wanted to hide from the women, he did a terrible job. He was right on stage front and center. Naturally Rick's flirting ways catch up to him. He only gets away with it by paying them off. What a wonderful message/s. If you get in trouble with women you just promise to pay them off. Why does Friday like this guy?

We get an unedited shot of the different acts at the Polynesian Cultural Center and I love it. If a film was given permission to use that building, actually use it and the people who belong to that culture.

I also love how the government official is portrayed as a reasonable man. He knows that Rick saving Danny was necessary and is willing to make an exception. Now him being with Friday at the end makes no sense. It was so rushed that I don't think they even kiss at the end. The actual romance felt like so much of an afterthought almost like they knew we wouldn't care because the ending songs would be our last impression of the film.

"This is My Heaven" is a song that perfectly depicts Elvis' love for Hawaii. It's so beautiful and when combined with a reprise of "Drums of the Islands" makes it one of the best ending scenes in any Elvis film. The showcasing of the actual Polynesian performers will never get enough praise from me.

Like we actually get a break from Elvis singing to listen to them sing in their language. It's so beautiful to see them depict their culture without seeing Elvis shoehorned in the frame. The wide shot of the entire entourage performing is just so beautiful. It showcases that Elvis at this point isn't important, the people of Hawaii and the island nations are.

This film is so visually stunning that it makes the production errors even more noticeable. That being said, the amount of effort put into showcasing Hawaii and the Polynesian culture is incredible. Hawaii is an island state that doesn't have a White majority. For the movie to showcase this demographic breakdown in such a casual way for the time period is impressive.

There are flaws with this film that can't be ignored. However, when you have scenes that fully embrace the Hawaiian culture, that's a sign that this film actually tried. Because of those efforts, I'm giving this film a 7/10. If you like Elvis films, I would recommend watching this independent of Blue Hawaii so you don't compare the two. Even if you're not an Elvis fan, this movie still serves as a good insight of how Hawaii was viewed by Hollywood at the time.

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Thank you so for much to @georgefairbrother for requesting this review. I know you also requested that I review Clambake as well and I will do that next. If anyone else would like to request an Elvis film or a film in general, please send them in.

#elvis presley #elvis film #elvis film review #film review #paradise hawaiian style #1966

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simplyelvis · 2 years

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Elvis Presley at the Coco Palms resort in Wailua, Kauai, Hawaii, May 1968.

#elvis presley #presleyedit #elvis #1960s #1968 #hawaii #phm #gif

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scribbuluswrites · 2 years

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The Entanglement

Hello all you lovelies :) It’s a holiday Monday for all the Americans (not that I’ve got a day off lol), and on top of that, the delightful woman who has been leasing my ponypal completed her first ever Novice test this weekend AND achieved her century ride. She earned second overall, but she gets to join the “Centurion Class”.

As always, thank you so much for continuing along with me far from canon. It’s been a fantastic time, and we’re getting closer to the end. All of your comments/reblogs/interactions mean the world to me, and they keep your friendly neighbourhood writer writer-ing.

A few days later, there was a knock at Katarina’s door. She had just finished cleaning the kitchen, preferring to leave everything tidy before bed rather than waking up to dirty dishes, and she walked slowly toward the front door. She wasn’t in the mood for company.

She ran through the possibilities of who it might be, hoping Coco wouldn’t have resorted to knocking after their fight. The only other person who knew where she lived was EZ, and Kat was very disinterested in having to deal with him.

“Oh geez,” she murmured, looking through the peephole. “I thought you weren’t going to just drop by,” Kat commented, opening the door and gesturing for Happy to come in.

He gave her a slightly bemused look. “I told you I was gonna get you back. Can’t do that if I don’t stop by, can I?” Happy walked into the living room, swiping the blankets off the couch. “I saw your old man a couple days ago. He’s really fucked up,” he said, a very faint chuckle escaping him.

Katarina frowned at him. She wasn’t going to just talk shit about Coco with him, but deep down, she knew he wasn’t wrong.

“So what are you more pissed about? The drugs or the face?” he asked, his grin still barely visible.

“Happy,” she warned, sitting in the armchair across from him. Katarina knew he was mostly teasing her, but she was also pretty sure he could see straight through her. “I don’t want to talk about this.”

He hadn’t taken a seat on the couch after all, opting to kneel in front of her chair. “Fuck are you doing, Kat?” he asked, his eyes searching hers. Katarina started to roll her eyes, but Happy continued. “I’m not joking. What the fuck are you doing letting him treat you like this?”

“Unlike you, I don’t just run at the first sign of trouble,” she replied, holding his stare. Happy put his hands on her knees, and Katarina felt her mouth go dry. His palms felt hot against her bare legs, and for a second, Kat wanted to lose herself in his fire.

“I will never run again,” he said firmly.

“Please don’t push this,” Kat whispered, looking down. “You told me you wouldn’t-”

“You honestly want me to believe you’re still happy?” he cut in, leaning in closer. “That you don’t think about me at all?” Happy questioned, raising an eyebrow at her in challenge.

“I told you, I don’t want to talk about this,” she repeated, pushing his hands away so she could stand up. She walked toward the front door, needing Happy to leave before her resolve crumbled. Katarina knew her relationship was over, but she didn’t want to start anything until she was moved out and everything was official with Coco.

Happy slowly took the hint, wandering toward her. He was very clearly at his leisure, and he wasn’t going to just go quietly. He had seen the look in her eyes, and Happy knew Katarina wanted him just as much as he wanted her.

“Do you think about me when you kiss him?” he asked, his voice a low growl as he stepped closer. His eyes were dark and hungry as he saw the little change in her expression. Her brain might be cautious, but Katarina couldn’t really control her emotions.

Happy lifted his hand to trace her cheek, brushing her hair behind her ear. His thumb swiped over her bottom lip, and out of reflex, Kat let her mouth open slightly.

“Is it my hands you imagine?” Happy rasped, sliding his hand down to rest on her collarbone. Katarina licked her lips, trying desperately not to beg for him to touch her. He knew her too well, though, and Happy wrapped his long fingers around her neck, squeezing very softly.

Kat felt entirely overwhelmed by the sense of possession. Happy towered over her, making it impossible for her to form a coherent sentence. She was putty in his hands, but he wasn’t satisfied with that.

Happy pressed her back, holding her against the wall. “You think about me when you’re alone at night, don’t you?” he challenged, no longer asking. Happy already knew the answers. “Is it my name you call out?” he continued, briefly leaning in to brush his nose over the shell of her ear. “My fingers you imagine inside you?” he rasped, pulling back enough to look at her again. He wanted to watch her expression, wanted to see her need.

Katarina gulped as she stared into his eyes, the noise incredibly loud in the thick silence between them. She knew she ought to feel embarrassed, but he could clearly see through her already, so it seemed entirely pointless.

“Happy,” she whispered, her voice coming out more as a desperate whine.

“Tell me it’s me,” he demanded, tightening his grip when she didn’t reply fast enough. “Tell me it’s only me.” This time, his voice came out rougher, begging for her to confirm it.

Kat couldn’t even pretend she wanted to stay strong. “It’s always you,” she confessed, groaning at the change in Happy’s expression. The want was palpable.

He didn’t wait for any more of an invitation than that, his fingers sliding from her neck to the back of her hair. He tugged her head back, kissing her like it was his first day of freedom post prison.

Happy wasn’t sure when he’d ever felt like this, but he wasn’t going to let it end any time soon. He slid his tongue over the seam of Kat’s lips, growling at the way she yielded so entirely to him.

Happy slid both of his hands down her body to grasp her thighs, lifting her up. Her legs wrapped around his waist, and he carried her into the kitchen. He swept the unopened mail and stack of napkins off the counter, depositing her there.

Katarina grabbed at his shirt, trying to pull him even closer. Her fingernails scraped over his abs as her hands found their way under the worn grey fabric.

He shrugged off his kutte, letting her yank the t-shirt over his head. Happy’s hands traveled up her legs, and Kat wriggled her hips enough to let him push her skirt up. His teeth raked over the skin on her shoulder, and Katarina was certain he was trying to leave as many marks as possible. He needed to leave evidence that she was his; that they were finding their way back.

Hours later, Happy’s phone vibrated across the floor, and he stretched out his arm as far as he could, trying to reach it without getting up. He and Katarina were tangled up on the floor in the hallway, the duvet from her bedroom wrapped partially around them.

Kat started to pull her arm back, assuming Happy would be getting up to take the call. He made a noise of protest and rolled her on top of him. With his arms still around her waist, he scooted across the floor just enough to reach the cell.

“What?” he grunted, catching the grin on Kat’s face as she watched him.

“That was just a particularly unique maneuver,” she answered, her smile slipping a little bit as she started thinking clearly again.

“That look means trouble,” Happy murmured, glancing between her and his phone. It had started ringing again, and he clearly wasn’t sure if he should answer it.

Kat nodded, accepting that he could still read her. “Do you want me to give you some privacy?” she asked, gesturing to his mobile. Happy shook his head, snapping the phone open.

“I’m busy,” he grumbled, toying with Kat’s hair as he listened to whoever was on the other end. “I gave the Mayans Chibs’ message. It wasn’t well received, but they didn’t protest.” Happy shifted a little, letting Katarina roll to his side. He could tell she was watching him despite her fingers tracing over the K tattooed on his chest. “I’ve got something to figure out here, and then I’ll be back,” he said, ending the call before any reply came through.

Kat rested her chin on her hand, studying his expression. She didn’t ask him any questions, but Happy knew it was a sort of test. Kat wouldn’t push her way in, and it was up to him to prove to her that he wanted this.

“They want me to act as President in SanDino,” he explained.

“That’s a big deal.”

“Yeah,” Happy agreed, nodding. “Are you ready to be the queen?”

“What?” Katarina asked, her brows pulling together. It felt like he was asking her to come with him, officially, but she knew that was crazy.

“Are you ready-”

“No, I heard you,” Kat interrupted, narrowing her eyes at Happy. He’d just started repeating his question much slower, emphasizing each word rather than explaining. “What do you mean?”

The corner of Happy’s mouth pulled up. He shifted her off of him more, rising up on his elbow to lean over her.

“I’m asking you to come with me,” he replied, grinning wider as Kat just kept staring at him. “I want you to be my old lady. I want everyone to know you own my ass. I want… I want everything,” he rasped after a pause, his eyes never leaving her face.

“Oh.” It was all Katarina could manage.

Tags: @gemini0410 @scuzmunkie @woahitslucyylu @chibsytelford @withmyteeth @heyitsperfect

#coco cruz #coco cruz imagine #johnny coco cruz #mayans #mayans mc imagine #mayans mc #mayans imagine #mayans fx #sons of anarchy #happy lowman #happy lowman imagine #faking it #wishing it #finding it

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myqueendomawaits · 11 months

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Checked In: Coco Palm Resort, St. Lucia

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#Caribbean hotels #Caribbean travel #hotels #resorts #Saint Lucia #st lucia #Travel

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gisapot · 17 hours

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elements_for bathalad.docx

The author should also prepare a separate attachment for their Curriculum Vitae with a very short gumalaysay or essay describing their favorite classical element (fire, air, water, & earth). 🔥🌪🌊🪨

(lifted from the Bathalad 2024 open call for submissions)

Or, what happens when a nonfictionist wants so badly to be in on the drama of Bathalad but had to submit fiction. Following instructions pa ba ni? I don't know, but I quite liked what I wrote in the 48 hours I impulsively decided to join Bathalad, so, here it is.

When I was much younger and my parents had more energy, we’d make the Saturday morning drive from our rented one-story apartment in Satan’s left butt cheek, also known as Mandaue City, to the sleeping shrimp town of Medellin. This was in the pre-traffic, early 2000s, genuinely-fan-of-Aggressive-Audio’s Bakakon Ka era. In our beat-up secondhand blue Nissan Terrano whose plate number I still remember to this day, we’d drive up to the zigzagging, looping roads that faded in and out between Danao, Catmon, Sogod, Borbon, Tabogon, Bogo. I could never tell where I was, especially in the age where we never had any personal phones and never needed to have one, much less one that was connected to the internet, but I could always tell that when we drove against the mountains that had abrupt steep drops that overlooked the sea, I was halfway through the fish town where my grandparents raised my mother, and now our dog, a Golden Retriever aptly called Goldie.

Somewhere in the mountainous area there is a very distinct landmark---an abandoned, derelict structure too barebones to call a house but stable and shapely enough to say plans were made here for a building meant to overlook the sea. It was alone, overlooking a steep cliff down to the deep waters of Sogod, held up by its steel, concrete, and hollow blocks. Rocks in its crevices, and vines from the earth taking space they weren’t supposed to be in. Of course, as any history-inclined child would, I asked my mother whatever happened to that house, now left by the cliffs, the vines encroaching on human space. And of course, because my mother does not care about history, my father on the steering wheel responds for her: the owner was an OFW who married a Japanese man and decided to build a house overlooking a cliff then got bored of the project so she stopped funding it. And of course, as a child you take that to be true because it’s my dad who said it and whatever he says is always right, even if it’s a glaring conspiracy theory without peer review about an abandoned house on the cliff.

I cannot fact check the truth of these claims because I do not know what municipality that structure was exactly in, the mountainous areas of north Cebu already blurring together into one entity I childishly called and will still call ‘bukid’. The structure had no neighbors, just a barbed wire fence not even around it but next to it with a white square tarpaulin hung over it with bold red text: NO TRESPASSING, and I fail to see what it pertains to, the fence or the structure? All the properties much like it were further down the mountain, fenced with concrete, privatized by steel gates painted over with resort names---BERCEDE BAY, TYCHE BEACH, COCO PALMS RESORT…

Unfinished, alone, unconfirmed origins, vines creeping its wiry arms over the bitten half walls and its imposing fingers as foundations: the earth isn’t taking. To take something is to assume that they are obtaining ownership of something that was not theirs before. One cannot say the earth was taking back, either. To take something back is to assume something remained in the condition that it was borrowed in; without the unfinished house, the ground remained flat and even, rocks not hiding in its crevices. No, the earth was subsuming: what is there, it desecrates like it was desecrated, to absorb back into the soil. Like the Lord said, from dust you come and to dust you shall return.

The way my parents drove me past the structure every weekend for most of my elementary school years, my parents decided to leave the country and took me with them, and so began a long stretch of five years away from Cebu, from the weekly drives up the spiraling mountains, past the structure, wondering if the future would ever come.

Meanwhile, in my new country of residence, the future was already here. On the relatively flat land and efficient public transport systems of the promised land, I was the foreign girl with a G as the first letter of her national identification card compared to everybody’s S, stuck in the nineties of landlines, dial-up internet, and afternoons sitting on staircases in train stations, not knowing that it was illegal to do something that that popular kids in my home country used to do to assert dominance. I was laughed at: for my accent, for liking a senseless subject such as literature, for being a teacher’s pet. I was in a country that indoctrinated its youth with a love for math and science that made them feel like the sky was going to collapse if they did not enroll in a tutorial center that promised to boost their F9 to an A-star in the span of eight months leading up to the national exams.

In an attempt to avoid drawing attention to me, I drew attention to me: I had to quickly change myself---the assimilation theory simultaneous to the chemical reaction of my body cooking my hormones in a slow cooker to create my final semblance to a human. A human that could live comfortably enough to navigate public transportation without an adult on my ass about how I pressed my card into the gantry wrong. In those five years, like every other Filipino teenager salvaged from the paragon of cement-gravel aggregates, I lost memory of the start divide of the mountains and the sea, the structure on the cliff, the Cebuano word for pail, the way bananacue tastes, what kwek-kwek was.

In its place, I am inculcated with fictitious roads placed on soil dug up from the deep ends of the Singapore River and the Siloso Beach to widen the island city into the popular shape known today. Instead, I forget how to climb mango trees in favor of learning how to find elevators to climb up a building that’s one of many on the curated skyline of this island. I used to sit on beaches littered with snack packs of Boy Bawang and the orange lumpia, shards of broken Kulafu bottles from undocumented sojourns spent here nights before us. Now I fear stepping into open water whose pH level is not what is government-mandated to be safe.

A week before enrollment into college I flew back to the Philippines for the first time in a long, vague while. Immediately after I stepped off the plane, I was careened into a borrowed vehicle headed to Medellin. In the drive from Lapu-Lapu to the north I see that not much has changed: Cebu was still Cebu with its underaged plants in the center islands of roads potted with grey ash. The jeepney engines are a distinct high pitch as they drive past my ears. No sidewalks, people walk on the ditch like death did not exist in the Philippines.

Singhapala against Singapura. I miss the comforts at times---the walkability, human-centered urban planning, a strong currency. But this heat. This heat, from a sky that looked higher than the one in Singapore even if it sat on the same earth not even the tallest coconut trees could reach. This nineties time capsule had people speaking the language of my childhood, of the grilled pork on the glassy shores with my grandfather who was waiting for me up north. Up north, where the ruins of the abandoned structure still stood over the cliff, the only way telling that time had passed is the brown wear-and-tear of the NO TRESPASSING tarpaulin hung on the fence next to it. The land still intact at the roots of the ruins, but the spiraling vines have fully encroached down one full wall and up two pillars.

This is not a taking: in its good condition, making it theirs.

This is not a reclamation: space once there that did not exist before.

This is a subsuming: with the things put on this earth without its consent, the earth absorbs until it is ours.

We think controlling fire implicates fearsome power. We think ice in our veins indicates riches beyond our wildest imaginations. We think bending water allows us to unlock wisdom never seen before. We think pushing air frees us into the boundless sky. But we forget the earth where we come from and we begin from, and the power it holds.

I am proud to be of this scorched earth. many leave, many not just my mother who, like her too, is of this scorched earth but no longer brave enough to breathe this new-age petrochemical smog. but the land never forgets who is part of the people who burn to protect it. I belong to it, and it belongs to me. and like a lover yearning by the window for the day his husband returns, I sit in the window seat of the plane, antsy, in the loading screen of transience, waiting to be home.

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gokitetravel · 9 days

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