Lorrianne May Y. OvilleLiterature 21 Section HII, College of Business AdministrationSilliman University

Content and Development (40 points) :__________Organization (30 points) :__________Language usage and grammar (20 points) :__________Mechanics (10 points) :__________Total : __________

Out of the Ordinary:

On What Makes Yvette Tan’s Horror in “Waking the Dead and Other

Horror Stories” Different from the Usual

Since the dawn of time, horror has already been thriving on the Philippine

mainstream (A. Paman, 2010). Men and women, old and young, alike, have been

fond of being scared by the characters of the child-imitating tiyanak, the tree

demon kapre, the vampire-like aswang, the horse-headed-human-bodied tikbalang,

and the violent spirits, among others.

When a typical Filipino is asked about what horror is for him, what instantly

comes into his mind are those supernatural creatures or paranormal experiences

which he could have either heard from others’ recount or from his own personal

encounter. Horror has always been associated with the eerie creatures of the

night. This has been the common perception, so that, when one has able to read

horror stories written by fictionists like that of by Yvette Tan, he would really be

surprised and doubtful if it really belongs to horror. As the book “Waking the Dead

and Other Horror Stories” by Tan implies, horror can offer a lot more possibilities-

greater and wider than that we had expected it to be.

While most Filipino horror stories are based on the Philippine mythology,

Tan’s stories are different as they are based on the current times, weaved by the

author’s creative mind, and added with a number of twists and dramas, making a

great move from the conventional horror we Filipinos are accustomed to.

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Tan’s horror stories are different because first, it is founded on our present-

day situation. If you are to observe, books like the True Philippine Ghost stories

and Afraid: The Best Philippine Ghost Stories among others are commonly based

on real accounts of people-- in their encounter with those horrible creatures, or on

recounts passed from generation to generation by our folks. In other words, the

supernatural horrors from these stories are rooted down from the folklore and

religious traditions (“Horror Fiction”, 2012). On the contrary, Tan’s stories are

generated based on her limitless imagination, a characteristic that can be

identified as under the genre of speculative fiction. The stories came up from her

personal observations and experiences--in her everyday encounter with different

persons and situations. She then “…laced her 10 precision-machined stories with

elements of horror which are neither contrived nor telegraph. She takes the

mundane and turns it into something menacing….” (As cited in “Dead” and loving

it, 2009 )

Aided by her creative and imaginative mind, Tan was able to use characters

and settings which are definitely found and prevalent in our present times. D. J

Delgado affirmed this in her book review when she said : “What makes Tan’s

stories compelling is that the fantasy takes place … in worlds founded on reality as

we know it, or reality as it is usually rendered in what’s largely considered as

conventional….” She added, the “stories are set in recognizable cultural and

physical environments, and they carry familiar and pronounceable names”

(Delgado, n.d.).

The first story, “The Child Abandoned” is set in the Quiapo where the main

character’s life, the unusual child named Teresa revolves. The story mentions

about the strange fascination of the child for the filthy Ilog Pasig and about a Feast

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of the Black Nazarene-the very night of it when The Change happened. The

Change has been refered to as the night when the child died after drinking all the

river’s impurities-- resulting to a cleaner Ilog Pasig. To recognize this miracle, the

child was canonized Sta.Teresa of the Child Abandoned.

In “The Bridge”, the descriptions of the Madame are by no doubt referring

to the glamorous former First Lady Imelda Marcos, who accordingly visited the

town again, after a very long time, to be in charge of the building of the bridge,

which would connect the provinces of Leyte and Samar-the San Juanico Bridge.

The third story did not really mentioned about famous and pronounceable

names. However, what makes it involve is the fact that the story is set in

“recognizable current physical environment”. “Delivering the Goods” is set in a

familiar environment where the people would trade even their souls to Satan in the

name of money. This story happens among persons belonging to that certain

sectors of our society whose only priorities apart from survival, is money. These

are people who no longer believe in conscience and karma. Harming and killing

others becomes as easy for them due to their in-dire need of money. This story also

presents the widespread illegal trade of human organs in the Philippines and its

neighboring countries.

“Boss, Ex?” like the first and third story, is also set on the decadent city.

This time, it mentions of a mall named Virra Mall--the back room of it is the den of

many vendors of mostly banned objects. It features people in the industry of

piracy-the selling of X-rated and illegal films. The title is a modification of the

“Boss, X?” summons of the vendors trying to persuade you in buying their illegal

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products. Again, this story happens in the realms of reality--the fact that many

people in this society will resort to illegal things just to sustain their living.

The story “Stella for Star”, although not exactly revealed, happened in

Malate, which is somewhere in Manila. In here, a tiyanak named Stella was

adopted by a gay couple, Dorian and his partner, Paco. Two important points are

presented here. First, the tiyanak character, which is commonly found only in

remote barrios, is now preying in the city. Also, the baby monster is adopted by a

same-sex couple who are living under one roof as a family. This presents another

contemporary situation-the homosexuals and their relationship with the same sex,

by which, these days, are slowly accepted by our former conservative society.

The kapre story in “Kulog”, this time, happens in a province. However, the

characters are very similar of what we often see nowadays on Filipino TV programs

and films, and even in reality. Therein, the father is a strict and is always drunk;

the mother is a martyr and a battered wife; and their daughter, Angela is a victim

of the father’s maltreatment (Delgado, n.d.).

“Fade to Nothing” is also set in the city. The story presents a variety of

human personalities and strange human practices (Delgado, n.d.). It highlights

different persons from different fields: muralists, fashion models, celebrated

artists, and businessmen whose fate came across together through Felicia. Felicia,

a celebrity, “…in trying to please others…,” was flirting almost every night with

every man she met.

“I wanted to ask what happened to Robert, but that was like asking

what happened to Grant, to Felipe, to Marco, to me. A list of names

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as long as my arm, all of them gone, as if they had never existed. To

Felicia, you existed only because she believed that you were there. We

were all imaginary friends to her, dolls that dissolved as soon as she

was done playing”(Tan, 2009, p. 108) .

And witnessing all of these idiosyncrasies of her is David, a muralist, whose

relationship with Felicia becomes the source of his inspiration in his well-

acclaimed artistic works. “…I’ve always wondered the pain behind that one”, a fan

once asked David (Tan, 2009, p. 106). This story presents the night life which is

very prevalent nowadays and pictures out persons, like Felicia, who considers love

and sex as a mere game. It represents today’s very liberated society-the society

who no longer considers sex as consecrated as it should be.

It also presents a different kind of relationship--one that is not really

founded by love but by mere dependence with each other. Both of them were tied

not really because they are in love but because they have needs that only their

partner can met-Felicia for an aide during her weakness and David for a source of

“gross fantasies and artistic inspiration” (Delgado, n.d.). Again this presents the

reality-the reality in which many people nowadays, out of practicality, would

choose to live with persons whom they do not truly love.

In the next story, “Daddy”, the main character is Yvette Tan, herself. The

story is about this writer, who had, one day, received a call from her deceased

father in the midst of her demanding work. It is to the readers’ surprise that the

visit was not through an apparition but instead, through a phone call. One must

really be filled with wonder to note that the other world has gone high-tech like

ours that the dead can now connect with us using the modern devices. Also, based

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on the naming of the character and the intensity of emotions Tan embodied in this

story, one could bet that this is indeed, partly fiction and partly a reality. This is

testified by an interview with Tan whereby she said, “I never put anything of

myself in my stories, and this is the only exception. All of the elements there are

real, just jumbled up. The only thing that’s fiction is the phone call itself”

(Chikiamco, 2009).

Lastly, the “Sidhi” story, which won a Palanca award, is also set in Quiapo

and in a highly speculative future. This is a continuation of “The Child Abandoned”

and happens years after The Change begun. By this time however, a more ample

description of Quiapo was told, especially how it became a melting pot for different

species. The story combines fiesta, drugs, alcohol and the supernaturals-all present

in that night when different folks from all over the world, accordingly, were there

to celebrate the saint’s drowning. “What used to be a religious celebration has

become a night of partying, with drugs and booze flowing as freely as the saint’s

blessings….” (Tan, 2009, p. 132)

This is about a woman, who had partake in the sacred water and was truly

cleansed, and their so-called The Dreamer named Noah, who claimed himself to be

someone who could give temporary salvation but did not actually receive salvation,

himself.

Although this story was imagined to be happening in the future, the physical

environment in it still depicts the present-day Quiapo-a melting pot of different

people. The “presence of these supernatural creatures into our world” might

represent the increasing number of different folks migrating and coming to

Quiapo. Hence, being a melting pot, horrific though not paranormal creatures like

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the holdapers, pickpockets, drug-pushers and many other different characters of

bad intentions came to settle there.

Also, the great aspiration of people to be cleansed as evidenced by their

coming to Quiapo for the feast is a representation of the great devotion of the

Filipinos to the Black Nazarene in Quiapo especially during its feast day in the first

week of January. The great packing of people, in their desire to get hold of the

‘miraculous’ rope is suggesting their great desire of being saved--whatever it takes

for them to do it.

As presented, Tan’s stories involve recognizable and famous persons, places

or things in history or in actuality. This technique is referred to as allusion

(“Allusion”, 2012). Furthermore, as can be observed, Tan uses the city as her

setting in almost all of her stories. Delgado related: “…familiar places in the city…

are rendered as strange, unwieldy, unpredictable, disorderly, dark, dangerous, and

therefore ideal venues for horror” (Delgado, n.d.).

On the other hand, our traditional horror did not necessarily use famous

elements or actuality in the story. Most of the stories, basically, involve same sets

of elements. The horrific creatures are usually: a ghost of a dead person disturbing

the living ones; or monsters like the tiyanak and aswang haunting for its prey; or

significant things which turn out to have the spirits of its owners. Meanwhile, the

usual settings are those insignificant places-a deserted house; or a century-old tree

or anything; or a place where crimes or accidents happened; or cemetery; or a

barrio where the clan of horrific creatures live and the like. Most stories do not

involve actuality since over and over again the formula used is almost the same.

(A. Paman, 2010 )

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This does not mean, however, that the horror of Tan is solely based from her

imagination. In some of her stories, she borrowed characters and other elements

from our mythology. However, her kind of horror is still different in a way that she

made some twists and changes from the usual. As what D.J Delgado attested: “In

these three stories [“The Bridge”, “Kulog,”, and “Stella for Star”], Tan successfully

breathes new life to the myths, legends, and outrageous gossip….” (n.d.)

For instance, the story of “The Bridge” is actually anchored based on the

beliefs of the townspeople regarding the bloody foundation of the San Juanico

Bridge. According to myth, in order for a structure to be rigid and strong against

natural calamities such as earthquakes and storms, a sacrifice must be made. And

so, Imelda Marcos, who was in charge of the building of the bridge:

“…consulted a manghuhula who said that the bridge would never be finished unless

blood of children [would be spilled on the foundation]. So Imelda ordered [street children

to be kidnapped] and [their throats were] slit on the bridge’s location. Their bodies were

thrown into the river. A mermaid or diwata who resided in the river saw the plight of the

children and was saddened by it. She cursed Imelda. So the First Lady grew scales on her

legs and she smelled fishy. That was why she wore long skirts and bathed as often

as possible….”( as cited in “10 Urban Legends”, 2010)

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In the story, however, the story revolves around Dab, a six-year old girl who

has the ability of seeing and hearing things others don’t and of knowing things

even before they happen. One day, while the construction of the bridge was on-

going, an accident happened. Some blocks fell into the San Juanico. This could

have made the water or the Tarabusaw angry. The next thing that happened was

Dab seeing the Madame’s spirit wandering off the street roaming the street. “It

wasn’t a ghost that I was seeing but a spiritual reflection of a live person.” (Tan,

2009, p. 24) Thereafter, the Madame uttered words to one of them, “’My sons and

daughters…I have made my choice. I will not apologize for it.” (Tan, 2009, p. 24)

Two days later, an albularyo named Mang Ambo came knocking to their door. The

Madame wanted to see her. Because of the threats made by the big guys who were

with Mang Ambo, Dab was forced to comply. There, in the room of the Madame,

Dab found out the reason why she was urgently called by her. The Madame was

punished by the Tarabusaw, by a condition, strange, for a paranormal kid like her.

The madame grew “grotesque [and], cancerous scales and had a cloying smell. The

Tarabusaw punished the Madame in this story, not because of the crime against

the children she was thought to be responsible of, but because of the accident

which killed the Tarabusaw’s child. “Blood for blood,” the Tarabusaw said. The

only way to reverse the curse is to sacrifice Dab and perhaps, the other children

whom the Madame had appeared to earlier. After much pleadings and threats, Dab

finally give in to what the Tarabusaw wanted from her. She had to, elsewhere, her

family will be killed. And thus, she joined Tarabusaw “…waiting for someone to

take us [them] back home….” (p. 32)

If supposedly, the story was written by someone who is influenced by the

traditional horror, basing from the gossip, the story could sound like this: ghosts of

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children who felt unrest, haunting the motorists or the bridge’s passersby or

maybe accounts of people witnessing these ghosts. But Tan’s style was different.

She, instead, use the victim’s point of view--on what could one of the “victims’” life

be before they were “sacrificed”.

The twist also happens in the stories of “Kulog” and “Stella for Star”. In the

traditional horror, usually, the monsters or creatures are attributed with some

outstanding trait or traits. The aswang, for instance, has always the image of a

vampire-like woman who is preying over pregnant women and newly-born babies.

This is the typical role an aswang and other supernatural creatures play—a kind of

stereotyping which in literature is referred to as stock characters. (“Stock

character”, 2012) This is not the case for Yvette’s stories.

In the “Kulog”, the kapre, who has the common image of a being a tree

demon and a big tobacco pipe-smoker, is created by Tan a new image. In here,

Kulog is not holding a pipe and is not fooling humans for shallow purposes. Kulog

here is described as someone who has feelings like that of humans. At first, he

would frighten humans because of they were insensitive of his being. They were

very noisy that is why he hated and played tricks on them. But he was change from

the time a child accepted and befriended her. Kulog started to feel pity for Angela

and in the later part became the child’s protector. The kapre here, is no longer the

monster we used to be afraid of, but someone who is gentle, kind-hearted and

sympathetic for humans who would be sensitive of his being. At the end of the day,

Kulog here is the protector of Angela. Instead of being the antagonist, he is the

protagonist and the father, instead , became the enemy. Moreover, instead of

writing in the humans’ point of view as what writers usually take, Tan takes the

monster’s point of view—impeccably embodying its feelings and desires.

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In “Stella for Star”, the tiyanak is still the same evil creature that is pictured

out here. Delgado again explained how Tan’s tyanak story is different based on this

reason: “But the tiyanak is, again, rendered conventionally; albeit adorned with

some interesting traits (i.e., different-colored eyes, and bird-like language). On the

whole, the tiyanak character is merely transplanted from the oral to the written

world. The story does not attempt to explore for the tiyanak’s being, its presence in

our collective folk imagination” (Delgado, n.d.).

This gives us another idea about the twists that happened in the stories,

making it, again, different.

Rather than focusing on the elements as the mere source of horror as what

the traditional one does, Tan, instead, uses it as a mere background of her stories.

The horror of Tan, by then, is not really based on the horrific creatures. As what D.

J. Delgado again observed, in relation to the tiyanak in the “Stella for Star”: “…it

becomes a sort of caricature, a cardboard against which human grotesque

fantasies are bounced and played out….”(n.d.) The same technique is also explicitly

used in the other stories, especially in the title story “Waking the Dead.”

Although the title story is just a reformulation of the old and traditional

horror--the story involving the spirits of the dead and the whole thing of it is still

different. Since it is the title story, one would expect that it is the longest or

perhaps, the best among the collection. However, to your surprise, as you flip over

the pages and read the story, the story is that simple and short. It is even the

shortest-two pages, more or less. It simply narrates Gorio, how happy and excited

was he looking for his, long dead but still sweet Maritess, from the group of dead

people whom he had awaken from sleep through an old scroll with text written in

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an ancient language, older and much complex than the Alibata. For fifty-seven

years, Gorio had been translating it and, at last, he finished the translation which

means the spell was completed and all of the barrio’s dead people will be

awakened from their great slumber.

This is different from the usual waking of the dead seen on tv and films

wherein the dead would frighten the living. The expected scene is that the dead

will walk like zombies and then whoever would see them will run for their lives or

hide in somewhere. There would be loud screams and cries, suggesting the

intensity of fear during the moment. In the story, instead, the dead did not frighten

that much. They simply ask Gorio, “Why did you wake us from our sleep?”. They

were just even pleading to Gorio. Meanwhile, Gorio did not panic. His spine simply

chilled when the dead called him but he was not scared. He was even happy

because it was his most awaited moment. Besides, instead of running away from

the dead, he even came and joined with them. “Gorio smiled. He unlocked the gate

and, as the fire engulfed the house behind him, stepped out to join his family” (Tan,

2009, p. 63).The ending was truly unexpected and mysterious, posing a lot of

“possible interpretations” (Delgado, n.d.).

Moreover, as this story was chosen to be the title story of the collection, one

would really expect that it is representative of what is inside of the book. Upon

reading the title, “Waking the Dead and other horror stories”, one would

immediately presume that the book is all about the “horror” that we have always

known. Others might think that it is no different with the popular horror stories.

However, as they read it they will slowly realize that it is not of the conventional.

One might ask why it is chosen as the title of the collection. This is how Tan

answers the question: “The anthology was supposed to be called Sidhi and other

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stories but the publisher [Anvil] wanted something that would signal the “horror”

content more, so I [Yvette Tan] suggested Waking the Dead.” (Chikiamco, 2009)

Finally, the stories of Tan are uncommon because of the unusual drama in it

which becomes the real source of terror. The horror of Yvette is centered on the

human element rather than on the supernatural creatures and circumstances, as

stated earlier. As what Casocot affirmed in his review, “…Tan manages to go above

the fray of a mere horror to underline the human element that is at its core. This is

what makes them transcendent” (Casocot, 2011). As for these stories, the picture

of a “dark heart--bloodied and bruised” and the “idea of receiving one’s

comeuppance—punishment and reward, sacrifice and recompense” are the real

and the true source of horror, “…and not so much of the horrifying characters,

creatures, and circumstances, upon which the stories superficially rely for horrific

effect.” (Casocot, 2011; Delgado, n.d.)

“The Child Abandoned” is about a sacrifice made by Teresa—her drowning

on and drinking of the river’s sickness. Because of such sacrifice, The Change

happened. The river was cleansed and the people were able to enjoy again the

“clean and sweet scent” of the Pasig River. In the same way, the door between the

world of humans and the Other Country had once again opened. As narrated by the

persona, there was also longing in the story. The grandmother was longing for her

sister “…for even though she took of her physically, Lola often berated herself for

not giving more thought to her younger sister’s mental state” (Tan, 2009, p. 10).

“If Lola were telling the story….her lips would curl up in a sad smile and her eyes

would look as though they were looking out an invisible window.…if you listened

carefully, you’d notice that a bit of longing had crept into her voice….” (Tan, 2009,

p. 5)

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“The Bridge” also speaks about punishment and sacrifice. The Madame, for

poisoning and cursing the land, and for killing the child of Tarabusaw was

punished. The always elegant and poised Madame is now suffering a dreadful

illness and is now pleading to a poor child to help her reverse her hideous

condition. “Sometimes, when something is done for the good of the country, other

things have to be sacrificed….” (Tan, 2009, p. 27) Thus, a necessary sacrifice must

be made. Dab must be sacrificed for the Madame’s well-being. Dab made the

sacrifice to protect her family’s well-being and safety.

“Delivering the Goods” ended with Yosi, the supposedly stone-hearted and

wicked man, crying and feeling sympathy over his to-be-delivered “good”, Joben.

His delivery “…becomes a reflection for connection and fatherhood”(Casocot,

2011). In “Boss, Ex?”, the source of horror is the ghost of the past which

undeniably bothered Bien a lot. Through the “futuristic contraband movie chip”

which shows his girls of the past, Bien sensed a feeling of terror and longing for his

past. The continuous display of his past relationships with these girls troubled him-

making him doubt with his feelings for his future wife (Casocot, 2011).

“Waking the Dead is about reward after sacrifices and also about love and

longing. Due to his undying love for Maritess-whom he had longed for to be with,

Gorio was able to unlock a secret language. And so, after 56 years of painstakingly

waiting and translating, he finally met the love of his life and had the chance of

being with his family.

“Stella for Star” is also about love and longing-the longing of a gay to have a

child and become a mother and the unconditional love of a mother for his/her child

who turned out to be a tiyanak. This love provoked him to do things which were

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supposedly unacceptable. He sacrificed his being just to feed his/her daughter. In

the end, his sacrifices for Stella were not recompensed. Stella betrayed her. The

pain of seeing Paco killed by their own daughter made him decide to surrender

with his dream of having a perfect family. And he, himself, burned their home—

everything ended in his hands.

In “Kulog”, the insensitive humans suffered horribleness from the kapre.

More notably, the drunk and abusive father at the end of the day was rendered

stupid, foolish, and dumb after undergoing the punishment made by the kapre

(Delgado, n.d.).

“Fade to Nothing” is also about making sacrifices. David made a sacrifice by

leaving Felicia, whom he thought, he really loved. The sacrifice was not for himself,

but rather, for Felicia. It is for this sacrifice that Felicia will be find someone who

will truly love and care for her—someone who will not ride over her weakness and

allow her to do evil practices. As for Felicia, she was punished. David is leaving

her. David --who had “taken good care” of her ever since, who had ridden over her

bad practices, and whom she had constantly hurt-- is now going to leave her. She

was pleading but David already disappeared. This story is also filled with longing

and images of aching hearts.

In “Daddy”, a discernable feeling of longing is also apparent. Yvette and her

whole family longed for their late father. At the same time, the deceased father

also misses his family so that he called over the phone to leave his last bilin.

“Sidhi” also talks about reward and sacrifice. The sacrifice made by Teresa,

many years before, is now evidently enjoyed by the humans and the other

creatures. By acquiescing to the fateful bargain “drink and your eyes will be

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opened”, one will be truly cleansed. Fortunately, the young woman was one of

those “chosen by the saint to drink river water and undergo cleansing she did not

know she needed” (Delgado, n.d.). There is also longing in the character of the

persona. She longs for something—not of Noah but for a life she had before she

was with Noah. “What do you miss most before you met the Dreamer?” (Tan, 2009,

p. 148) She must be longing for a wholesome and clean life--free from drugs,

pretensions, and chaos.

Hence, as what I. R. Casocot acknowledged, Tan’s horror does not give you

the usual horror experience. No more screaming or throwing of popcorn in the air.

It does not made you turn your lights on for days while sleeping (A. Paman, 2010).

It is because according to him, “…while you reel from the horror and the graphic

details and the sense of dread of many of these stories, you are pulled in by the

strange comfort of knowing that what lies beneath them is a pulsing heart—

blooded and bruised….”(Casocot, 2011). Tan provides us another side of horror: a

terror that is no longer centered on the horrible characters and places, but on the

reality and more on the human element. “…Yvette introduces us to an entirely new

thing to be afraid of…” (As cited in “Dead and loving it”, 2009).

As perfectly exemplified, humans’ everyday life is full of horror and terror.

The reality, in itself, is scary. Everyday, people come and go into our lives.

Everyday, we have to make decisions and be ready for its comeuppance .Our

everyday encounter with different problems and issues concerning our existence,

indeed, will shaken, frighten, and hurt our feelings. And so, we must be strong and

firm enough to face the reality because our stability dictates our survival in this

world.

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As for Yvette Tan, she was successful with her objectives to its readers in

this first collection of her. By introducing us to the other side of horror, we are

awakened about what is really terrifying--the reality about human undertakings.

“Something is awakened in this book, an irresistible trap of terror and talent from

Yvette Tan, whose seductively scary stories will make readers glad they acquiesced

when offered this fateful bargain: Drink and your eyes will be opened.” (as cited in

“Dead and loving it”, 2009)

Hopefully, this collection of her would encourage many more writers of this

generation to write horror stories that are not simply patterned after something

that is already done (A. Paman, 2010 ). Like Tan, may other Filipino writers also

use their imaginations (while not departing from the Filipino identity), make some

twists and changes and “…aim for a more difficult objective --that of subversion

and creation of new ways of reading, new ways of looking, of thinking and

responding” (Delgado, 2010). May this work of Tan inspire the younger

generations about writing something different and unusual-- something that is out

of the ordinary.

References

10 urban legends that drove pinoys crazy. (2010, April 16). Retrieved from:

http://www.spot.ph/print_article.php?id=41192&post_name=urban-legends-

that-drove-pinoys-crazy

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Allusion. (2012, February 28). Retrieved from: http://en.wikipedia.org/wiki/Allusion

Casocot, I.R. (2011, July 10). Dark heart [Review of the book Waking the dead and

other horror stories].

Retrieved from: http://eatingthesun.blogspot.com/2011/07/dark-heart.html

Chikiamco, P. & Tan, Y. N. U. (2009, September 11). 10 questions on 10 stories for

Yvette Tan.

Retrieved from: http://www.rocketkapre.com/tag/yvette-tan/page/2/

“Dead” and loving it. (2009, August 17). [Review of the book Waking the dead and

other horror stories].

Retrieved from:http://www.icaaa.com.ph/Art.asp?Subject=%22Dead

%22%20and%20loving%20it

Delgado, D.J. (n.d.). On waking the dead and other stories by Yvette Tan [Review of

the book

Waking the dead and other horror stories]. Retrieved from:

http://www.filipiniana.net/editorpick/index/12861940303839

Horror fiction. (2012, March 7). Retrieved from:

http://en.wikipedia.org/wiki/Horror_fiction

Paman, A. & Tan, Y.N. U. (2010, May 9). Journalist and mistress of the dark: The

enigma that is Yvette Tan.

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