It’s a hot summer! The Sugar Moon teasers have been so popular—and so much fun to make—that I have a few more for you from the rest of the series. Enjoy!
I will continue to create more for the #TeaserTues (#TeaserTuesday) and #ThursdayBookTease hashtags on Twitter, and I will post everything I make on both my instagram and Pinterest pages.
Note on all images used: All are either CC 2.0 licensed photos (which I may use with attribution, so check the fine print on the photo) or are released free of copyright (CC 0.0) and found at Pixabay, Pexels, or Unsplash.
Read the series that Courtney Milan called “meaty historical romance . . . must-reads.” And “Like nothing I’ve ever read before.”
The Sugar Sun series an epic family saga of love and war at the beginning of the twentieth century. Books are listed below in publication order, but the series does not need to be read in order. All are interconnected-yet-standalone happily-ever-afters.
A schoolmarm, a sugar baron, and a soldier . . .
It is 1902 and Georgina Potter has followed her fiancé to the Philippines, the most remote outpost of America’s fledgling empire. But Georgina has a purpose in mind beyond marriage: her real mission is to find her brother Ben, who has disappeared into the abyss of the Philippine-American War.
To navigate the Islands’ troubled waters, Georgina enlists the aid of local sugar baron Javier Altarejos. But nothing is as it seems, and the price of Javier’s help may be more than Georgina can bear.
Jonas Vanderburg volunteered his family for mission work in the Philippines, only to lose his wife and daughters in the 1902 cholera epidemic. He wishes his nurse would let him die, too.
Rosa Ramos wants nothing more to do with American men. Her previous Yankee lover left her with a ruined reputation and a child to raise alone. A talented nurse at a provincial hospital, she must now care for another American, this time a missionary whose friends believe her beyond redemption.
The papers back home call Ben Potter a hero of the Philippine-American War, but he knows the truth. When his estranged brother-in-law offers him work slashing sugarcane, Ben seizes the opportunity to atone—one acre at a time. At the hacienda Ben meets schoolteacher Allegra Alazas. While Allegra bristles at her family’s traditional expectations, the one man who appreciates her intelligence and independence seems to be the very worst marriage prospect on the island.
Neither Ben nor Allegra fit easily in their separate worlds, so together they must build one of their own. But when Ben’s wartime past crashes down upon them, it threatens to break their elusive peace.
Tempting Hymn is about two people of faith—different faiths, actually, which is one of many obstacles the characters must overcome. Jonas is an American Presbyterian missionary, and Rosa is a Filipino Catholic nurse. The book has spiritual elements, but it is not an inspirational romance. (In other words, there is explicit sex. Yay!)
No matter if you are a religious person or not, good music is good music—and that includes hymns. At the school where I teach, we have all-school chapels four mornings a week. The prayers are interfaith and the talks secular, but we sing from the Episcopalian 1982 Hymnal at the end of every service. After a while, a person gets to have favorites. She might even recognize hymns by number.
It was during Lessons & Carols—which is a Christmas-time chapel on steroids—that the idea for Jonas and Rosa’s story came to me. I still have the program I ruined with all my scribbles. When ideas come, you do not wait two hours to go home and write them down. No, you borrow a pen and write furiously throughout the entire concert. Was that a little rude? Yes. But, in my defense, I think the choir would have really appreciated how much their singing moved me. When I finished the book, I knew what the epilogue scene had to be: my favorite solo that opens Lessons & Carols, sung in my imagination by Rosa.
I chose the other hymns in the book based upon their beauty and meaning. I had to be historically accurate, of course, so I worked from the 1895 revision of The Hymnal, approved by the General Assembly of the Presbyterian Church in the United States of America. Most of the hymns below can be found by the identifying number given.
Prologue: “Amazing Grace.” This is one of the few not included in the hymnal mentioned above. Though this early 19th century song was included in earlier Presbyterian versions—for example, it was hymn number 519 in the 1874 Hymnal—they omitted it in 1895 for reasons I cannot fathom. But I still used the song. Jonas would have certainly learned this song from older versions, and he would have sung it often for his daughter, Grace. Now the song is the single most frequently sung hymn in the Presbyterian Church USA, with more than sixty-six percent of their congregations singing it twice or more per year. For your listening pleasure, I chose Elvis Presley’s version (below) so that I could showcase a male voice. (And, if youwant to hear the bass of the tune as a solo, listen to this version by Acappella with Tim Faust.)
Chapter Two: Number 589, “Come, Thou Fount of Every Blessing.” The reader may not recognize the middle verses I used in this scene, but they will likely recognize the title of the song. Everyone from Mumford & Sons to the Christian punk band Eleventyseven has covered it. Sufjan Stevens has a wonderful version in his Complete Christmas Collection, but that video was removed from YouTube. Instead, I found this version by Sarah Noëlle, which is lovely:
Chapter Three: Number 524, “Guide Me, O Thou Great Jehovah.” I fudged the history here just a bit. The 18th century words for this song are correct, but do not try to sing the notes printed there. This hymn really did not catch on until the tune Cwm Rhondda was written, a year after my character Jonas sings it in the book. I hope you will forgive the anachronism. As befits a Welsh tune by a Welsh composer, the version I have chosen to post here is sung by the Tabernacle Welsh Baptist Church, Cardiff:
Chapter Five: Number 98, “The Spacious Firmament on High.” This is, without doubt, my favorite hymn—and yet it seems to be the least popular to cover. The reason I love it may be the same reason most choirs do not: it is very deist in theology, with a vague “supreme architect” Creator fashioning the universe of planets, stars, and orbs. Moreover, the hymn is by Hadyn. It’s gorgeous! I chose an a cappella version (by a group named Acappella) because it allows you to hear the bass clearly, though the beat is a little fast:
Chapter Seven: “Adoro Te Devote.” Since this is a Catholic hymn, you will not find it in the Presbyterian hymnal. The mass described in this chapter was a Tridentine Mass (pre-1962 Second Vatican Council), which means it would have been all in Latin, and the hymns would have been Gregorian. Have you listened to Gregorian music? Beautiful, but not catchy. And Latin. Did I mention the Latin? Of the various hymns I listened to, this one has the most identifiable melody, probably because the music was not written until after the seventeenth century. Therefore, it was the best choice for Jonas to sing on the fly:
Chapter Eight: Number 24, “Abide with Me.” I used this song as both a hymn to be sung by Jonas while he fixes the mill, and also, later, as a chapter title. It is the kind of hymn that I think a man with a natural bass would enjoy singing because it stays within his range. The lyrics also tell the story of the big decision he is about to make. The version below is sung by George Beverly Shea:
Chapter Twelve: Number 304, “The Church’s One Foundation.” In the story, I make a point of the different directions the bass and sopranos go in this song—opposite, but complimentary. To hear the bass part only, listen to this great tutorial by BassHymn:
To hear all the parts together, I have chosen a video by King’s College Cambridge:
Chapter Twelve (again): Number 692, “Now the Day is Over.” I found this hymn in the Children’s Services section of the hymnal, and it fits perfectly as a lullaby. This version is by Pat Boone:
Chapter Nineteen: Number 276, “Gracious Spirit, Holy Ghost.” I chose this hymn because of its paraphrasing of the Apostle Paul’s I Corinthians 13. You know the passage I’m talking about:
Love is patient; love is kind; love is not envious or boastful or arrogant or rude. It does not insist on its own way; it is not irritable or resentful; it does not rejoice in wrongdoing, but rejoices in the truth. It bears all things, believes all things, hopes all things, endures all things….And now faith, hope, and love abide, these three; and the greatest of these is love.
I wanted this sentiment in hymn form, which is surprisingly hard to find. Here, at least, is the common tune used for the hymn:
Epilogue: Number 696, “Once in Royal David’s City.” Sitting through this service in December 2013 gave me the seeds of Rosa and Jonas’s story, so I end the book (and this post) with the real deal. No substitutions. In this, the 2015 Groton School Lessons & Carols service, the soprano solo is sung by Phoebe Fry, Form of 2017 (and Barnard College class of 2021). She is a talented singer-songwriter in the folk-pop tradition, so please check out her amazing songs. (The orchestra prelude is wonderful, but you can skip right to the hymn at minute 12:15.) Enjoy!
Thanks for listening, and I hope you enjoy Rosa and Jonas’s story. It is about finding a home for love.
My novella Tempting Hymn is the second in my series to mention the 1902 cholera epidemic in the Philippines. The book’s hero, Jonas Vanderburg, volunteered his family for mission work in the Philippines, only to lose his wife and daughters in the same outbreak that Georgina Potter dodged when she arrived in Manila in Under the Sugar Sun. Do I just need a new idea? I would argue that I’m writing about what people feared most in the Edwardian era. Before the mechanical death of the Great War, disease was the worst of the bogeymen.
My books may be historical romance, but this post will not romanticize the history. Census figures put the total death toll from Asiatic cholera in the Philippines (1902-1904) between 100,000 and 200,000 people. Even that number might be low. This strain of the disease was particularly virulent, killing 80 to 90 percent in the hospitals. The disease progressed rapidly and painfully:
Often the disease appears to start suddenly in the night with a violent diarrhea, the matter discharged being whey-like, ‘rice-water’ stools…Copious vomiting follows, accompanied by severe pain in the pit of the stomach, and agonizing cramps of the feet, legs, and abdominal muscles. The loss of liquid is so great that the blood thickens, the body becomes cold and blue or purple in color…Death often occurs in less than a day, and the disease may prove fatal in less than two hours. (A.V.H. Hartendorp, editor of Philippine Magazine)
The Yanks saw cholera as a personal challenge to their colonial ideology. They had come to the Philippines to “Fill full the mouth of famine and bid the sickness cease,” in the words of Rudyard Kipling. What was the point of bringing the “blessings of good and stable government upon the people of the Philippine Islands” if they could not prove the value of their civilization with some “modern” medicine?
Cholera was not a new killer in the islands, nor did the Americans bring the disease with them. Though the Eighth and Ninth Infantries were initially blamed, the epidemic had its roots in China. As Ken de Bevoise said in his outstanding work, Agents of Apocalypse: “The volume of traffic…between Hong Kong and Manila in 1902 was so high that it is pointless to try to pinpoint the exact source.” However, just because Americans did not bring cholera does not mean that they are off the hook.
War weakens and disperses a population, leaving it more vulnerable to disease. And the way the war was fought south of Manila in 1902 was particularly brutal. General J. Frederick Bell had set up “protection zones” where all civilians were forced to live in close quarters without access to their homes, farms, and wells. Once cholera hit these zones, there was no escape: 11,000 people died. Even worse, mass starvation forced the general public to ignore the food quarantine, meant to keep tainted vegetables from being sold on the market. The Americans blamed Chinese cabbages for bringing cholera spirilla to the Philippines to begin with, but then gave the people no other choice but to eat (possibly contaminated) contraband to survive.
Inside Manila itself people were also quarantined—not a terrible idea on the face of it. The traditional Filipino home quarantine had worked well in the past: infected homes were marked with a red flag to signal people to stay away while loved ones were cared for. But the Americans thought bigger. They “collected” the infected and brought them to centralized hospitals outside of the city. Hospitals…detention camps…who’s to say? According to De Bevoise, eighty percent of the time, when the patient was dragged out of their home and carted off to this “hospital,” which suspiciously also housed a morgue and crematorium, that was the last their family saw of them. Despite the Manila Times portraying the Santiago Cholera Hospital as a “little haven of rest, rather than a place to be shunned,” and bragging that it was staffed by the “gentle…indefatigable, ever cheerful” Sisters of Mercy, people knew better. They would do anything to keep their family members from being taken there. They fled. They hid their sick. Because cremation was forbidden for Catholics at this time, the Filipinos hid their dead.
And the disease spread.
My book Under the Sugar Sun began with a dramatic house burning scene, where public health officials destroyed an entire neighborhood in the name of sanitation. The road to hell is not just paved with good intentions. It is also littered the corpses of industrious, exuberant, and dogmatic government officials. Any houses found to be infected were burned, “because the nipa hut cannot be properly disinfected,” in the words of one American commissioner’s wife. People were forced to find refuge elsewhere in the city, carrying the disease with them. Because it was such a bad policy, Filipinos thought the American officials must an ulterior motive in the burnings: to drive the poor out of their homes, clear the land, and build their own palaces. The commissioner’s wife, Edith Moses, herself said: “Sometimes, when I think of our rough ways of doing things, I feel an intense pity for these poor people, who are being what we call ‘civilized’ by main force….it seems an act of tyranny worse than that of the Spaniards.”
American instructions to the sick were also confusing—and sometimes bizarre. Clean water was a necessity, but this was not something the poor had access to. Commissioner Dean C. Worcester claimed: “Distilled water was furnished gratis to all who would drink it, stations for its distribution being established through the city, supplemented by large water wagons driven through the streets.” But no other source mentions such bounty. In fact, as author Gilda Cordero-Fernando pointed out in her article, “The War on Germs,” in Filipino Heritage, most people treated distilled water like a magic tonic, it was so rare: “Asked whether a certain family was drinking boiled water, as prescribed, one’s reply was ‘Yes, regularly—one teaspoon, three times a day.’” Even worse, though, was this advice by Major Charles Lynch, Surgeon, U.S. Volunteers, which was reprinted in the Manila Times:
Chlorodyne, or chlorodyne and brandy, have been found especially useful; lead and opium pills, chalk, catechu, dilute sulphuric acid, etc., have all been used. With marked abdominal pain and little diarrhea, morphine should be given…Ice and brandy, or hot coffee, may be given in small quantities, and water, in small sips, may be drunk when they do not appear to increase the vomiting…cocaine and calomel in minute doses—one-third grains—every two hours, having been used with benefit in some cases.
Lead pills. Opium. Morphine. Chalk. Cocaine. And do you know what “calomel” is? Mercurous chloride. If the cholera doesn’t kill you, Dr. Lynch’s treatment will! Though the coffee and brandy sounds nice…
When the Americans could not control the spread of the disease with their ridiculous treatments and counterproductive policies, they blamed the epidemic on the victims. As public health historians Roy M. MacLeod and Milton James Lewis wrote:
American cleanliness was being undermined by Philippine filth.The Manila Times lamented the cholera deaths of “clean-lived Americans.”It identified the “native boy” as “the probable means of infection” since in hotels and houses he prepared and served food and drinks to unwitting Americans.The newspaper reminded its American readers that “cholera germs exude with the sweat through the pores of the [Filipino servant’s] skin”and that “his hands may be teeming with the germs.”
According to the Manila Times, the Americans organized their cholera hospitals by race: the tent line marked street A was “Chinatown,” street B was for the Spanish, street C for white Americans, street D for black Americans, and E through G for Filipinos. Though trade with China had been the cholera vector, Chinese-Filipinos actually had the lowest death rate of any group, including Americans. A Yankee health official ascribed this to the fact that they “eat only long-cooked and very hot food, in individual bowls and with individual chopsticks, and that they drink only hot tea.”
The epidemic reached its peak in Manila in July 1902, and in the provinces in September 1902, before running its course. Its decline was probably due to the heavy rains cleansing the city, increased immunity among the remaining population, and a strategic call by the Archbishop of Manila to encourage Filipinos to bury their dead quickly—but Americans still congratulated themselves on their efforts. And they had worked hard, it is true: Dr. Franklin A. Meacham, the chief health inspector, and J. L. Judge, superintendent of sanitation in Manila, died from exhaustion. The Commissioner of Public Health, Lt. Col. L. M. Maus, suffered a nervous breakdown. Even the American teachers on summer vacation were encouraged to moonlight as health inspectors—for free, in the end. The wages paid to them by the Police Department were deducted from their vacation salaries because no civil employee was allowed to receive two salaries at once. (The relevant Manila Times article explaining this policy is not online, but its title, “Teachers are Losers” is worth mentioning.)
All their hard work might have been for nought, though. Filipino policies of quarantine would have probably been more effective, had they been given the chance to work. Whipping up the population into a panic was exactly what the Americans should not have done. In the name of containing the disease, they caused the real carriers—people—to disperse wider and faster throughout the country. We all need to be on guard against such hubris, which is why I write my love stories in the middle of strange settings like cholera fires and open insurrections. Come for the sexy times, stay for the political history. Enjoy!
Featured image is of the cholera squad hired by the Americans in the Philippine outbreak of 1902. Photo courtesy of the Library of Congress.
Taking their name from the Visayan words for “woman” and “spirit,” the babaylans were “mystical women who wielded social and spiritual power in pre-colonial Philippine society,” according to Marianita “Girlie” Villariba. I recently wrote a priestess like this named Valentina:
“We are people,” Valentina said. “Farmers, sisters, mothers. We are the faithful.”
“Fanatics,” Allegra muttered.
“Why, because we defend ourselves? You compadres are like capiz oysters, burrowing down into the sludge of occupation—first Spanish, now American. You think you will come up as shiny as a pearl. I am a healer, a shepherd. I created a sanctuary where women can be free.”
Valentina is not the heroine of the book, but she is not the villain either—no matter what the Spanish or Americans believed. Because the Spanish especially viewed these women as a threat to the spread of Catholicism and patriarchy, the friars discredited the babaylans by spreading rumors that they were really vampire-like mythical creatures, or aswangs.
But babaylans did not have to be women. You could be a man—or you could be a man living under an adopted female identity, part of the long proto-transgender tradition in Southeast Asia. (By the way, the Philippines just elected their first transgender congresswoman.) Anyone who had a lifetime’s track record of helping the community—through both bandages (healers) or swords (warriors)—could be selected. This range of duties will be important to the way the identity of babaylans will evolve, especially at the turn of the twentieth century.
The babaylan’s unique blend of nationalism and traditionalism pushed them to challenge both Americans and hacenderos at the same time. Babaylans spoke to God in their native language, and God told them to oppose the changes hitting their island. They believed that God inhabited all of nature, so the destruction of nature—particularly by industrial machines—was against the will of the universe. Men joined the movement in large numbers in the late 19th and early 20th century, particularly “discontented marginalized peasants,” according to Violeta Lopez-Gonzaga. This made the babaylans “a peasant protest movement with messianic, revivalistic, and nativistic overtones.”
The largest of these revolts was led by Dionisio Sigobela, also known as Papa (Pope) Isio. As historian Renato Constantino wrote, the situation in the early 1900s was particularly tenuous. War and revolution had closed ports and destroyed farmland. Natural disasters like drought, locusts, and rinderpest made the situation worse.Laborers were rapidly being replaced by machines, though both were in short supply. According to Constantino, only one-fifth of 1898’s arable land was planted four years later, in 1902.
Times were tough, as Javier Altarejos will tell you in Tempting Hymn. In this scene, Javier reveals the babaylan ties of one of his former employees, Peping Ramos, whom you may remember as the disgruntled cane slasher who shot a young boy in Under the Sugar Sun. Javier is speaking to the hero of Tempting Hymn, Jonas Vanderburg. The American is curious about the babaylans because he is falling in love with Peping’s daughter, Rosa Ramos.
“When I took over the hacienda, Peping was sure he could manage me.” Javier took a sip of his drink. “He was wrong.”
“So he ran off to join the madmen in the mountains?”
“They’re not all madmen—though they do attract every troublemaker on the island. The babaylan are more like the trade unionists you have in America.”
“But their popes and special charms—”
“Give them credibility.”
That credibility came from the traditional role of babaylans as priest(ess), sage, and seer. People admired the babaylans, and they would not stop admiring them just because the Americans said so. In fact, the Yanks were not able to put down Papa Isio’s insurrection until 1907—a tough reality for Americans to stomach since they had made such a big deal of declaring peace in 1902.
The declaration fooled no one because Samar was rising up again, too. In fact, Samar had a very similar movement to the babaylans, complete with its own popes and sacred amulets: the pulahans (or “red pants”). Both the pulahans and the babaylans believed that:
an apocalyptic clash was coming;
they alone would survive; and
a new independent world order would be built upon the ashes of imperialism and industrialism.
If this sounds familiar, take a look at the Boxer Rebellion in China—same time, same motives, and the same ideology. It’s not a coincidence. As a teacher of world history, imperialism, and comparative religions, movements like the babaylans and the pulahans represent the intersection of everything that interests me, which is why they turned out to be such an important part of Sugar Moon‘s plot. I hope you find the politics as interesting as I do.
Featured image includes three babaylan mandalas, created by artist Perla Daly.