Qwertyman for Monday, August 3, 2026
LONG BEFORE “The Odyssey” became a must-see movie thanks to the tempest of reviews surrounding Christopher Nolan’s highly publicized iMax version (and to get this out of the way, yes, I’ve seen it), it was a must-read book for us as literature majors, alongside its companion epic, the Iliad. I don’t recall whose translation it was we used, very likely Lattimore’s, but like most students, we were reading it for the story, and as these narratives are meant to do, that story stuck in the mind. That’s the function of myth, what I call the eternal past, a kind of memory that feels we’ve all shared in one way or another, even if we were never there, separated by millennia and thousands of miles.
I appreciated the tragic grandeur of the Iliad, which I would bring up in class when I needed to talk about how great heroes fall and about how the epic seems to glorify war and warriors but actually shows how war dehumanizes us. There are many compelling scenes and situations in the Iliad, but I’ve always found the Odyssey more fascinating because, as the Beatles might have put it, it’s a magical mystery tour that takes its hero to every distant shore except, finally, his home, and even when he gets there, it’s no longer what it used to be; home may be a fixed place in the map of the heart but it’s never static, never just as it was.
I’ve often used the character of Odysseus to describe the modern Filipino, especially in my lectures to foreign audiences (just as I would tell Americans that “We were your first Vietnam” to make sure they would sit up and listen). If the Filipino diaspora, in which a tenth of our population has embarked for the farthest corners of the world, isn’t an odyssey of truly epic proportions, then I don’t know what is.
It isn’t the departure that matters as much as the homing instinct—the desire to come home, however long or how far away one has been gone, for whatever reason. I’ve yet to meet a Filipino abroad who didn’t want to come home, at least for a visit. When they can’t, Filipinos do their best to recreate home or some semblance of it wherever they are. One of my most touching discoveries was a bar named “Kabayan” in a remote corner of New Zealand, which was open even in the mornings for Pinoy sailors who happened to drift along.
In that sense, Jose Rizal was an early Pinoy Odysseus, traveling the world a century before his countrymen did so in droves, neither for war nor economic opportunity but for knowledge, a journey brightened by dalliances with this Circe and that Calypso. As did the original, Rizal came home to find the place badly out of joint, in dire need of reform (although “reform” seems a kind description of what Odysseus did to his wife’s suitors). The big difference, of course, is that in Homer, Odysseus emerges scarred but triumphant, reunited with his family, the beneficiary of a peace enforced by the gods; Rizal’s happy interlude in Dapitan, on the other hand, ends with a son who dies soon after birth, his abortive entry into a foreign war, and his arrest and execution in a domestic conflict.
Rizal’s novels left us with the figures of Crisostomo Ibarra and Simoun—both returnees from overseas, the former initially brimming with idealism, the latter consumed by retribution. That they are the same man speaks to the extremes in which we find ourselves pulled today by our politics, misty-eyed with patriotic fervor over Alex Eala and the West Philippine Sea, and yet deeply divided and darkly cynical when brought down to our immediate realities.
A visiting professor and former colleague at UP’s English department, Dr. Gerald Burns, found that from Rizal onward, we Filipinos have produced a tradition of what Burns calls the “repatriate theme” in Philippine fiction, involving a hero-figure who goes for an extended stay abroad, perhaps for study or work or both, and then comes home with a “boon,” some social good picked up from that sojourn, to be shared with one’s people. The balikbayan is full of progressive ideas—could be from that newly minted PhD, or that stint in Silicon Valley, or that research laboratory in Germany—and thinks that he or she can illumine a benighted motherland with knowledge, only to realize that new ideas and their bearers are unwelcome, and that the path to progress and liberation is dark, narrow, and treacherous. There are no gods who will make things easy, punish evil, or rectify wrongdoing. The Pinoy Odysseus comes home to find Penelope defiled or worse, having abandoned him; his house is teeming with reptilian politicians feasting on what remains of his wealth.
The Nolan movie divided audiences and critics with its liberal interpretation of whatever it was that Homer wrote (to sum up my own reaction, I found it entertaining but not particularly enlightening, as I—perhaps from my burdensome position as a writer and reader—kept expecting the script to rise to the occasion). Its best service to us as Filipinos may not be to revive our interest in Western classical mythology—although there’s value in regrounding the present century’s infatuation with Star Wars, Tolkien, and Game of Thrones—but to make us think about our sense of home, and why we keep coming back to a place we sometimes feel should be forsaken. Is our Ithaca worth the long journey across monster-infested lands and hostile oceans? Who and what is it that awaits us at our door?
(Rizal image from RizalsofAbra on IG)










