Read what people are saying about the Sugar Sun series!

Sugar-Moon-book-two-trilogy

Praise for Sugar Moon, the second full novel in the Sugar Sun series:

Named one of the 10 Best Historical Romances with Sports by Frolic!

“So this book I was saving for the long weekend? Readers, I just finished it. WHY DID I READ IT SO FAST?…Pretty sure Allegra will be my favorite heroine this year.” (★★★★★ review by Kat of BookThingo on Twitter and Goodreads)

Fantastic!…a comprehensive fictional characterization…” (Rolando O. Borrinaga, Ph.D., leading expert in the history of the Balangiga Incident)

“…this richly layered romance is filled with vivid details of a location not often found in historical romance…” (Bestselling author Joanna Shupe)

“I cared intensely for Allegra (Allie), a young woman who knows what she wants but not how to get it, and Ben, who doesn’t believe he deserves to have anything at all….Ben, a curmudgeon of an opium addict who I instantly disliked in Sugar Sun, is transformed through some sort of writerly witchcraft into a sympathetic character I couldn’t help but root for.” (★★★★★ review by Alexa Rowan on Goodreads)

“Highly recommended.” (Historical Novel Society review)

“These characters were so vibrant!…The portrayal of women—and Allegra in particular—uplifts and inspires…Sugar Moon sparkles with wit and romance…” (Michaelene M.’s review in Historical Romance Magazine)

Smart, engaging, and unspeakably naughty.” (★★★★★ review on Amazon)

Ben and Allegra’s story was “on a completely different level.” (Joy Villar’s review on Twitter)

Read Sugar Moon for free on Amazon’s Kindle Unlimited.


Tempting-Hymn-novella-Sugar-Sun-seriesPraise for Tempting Hymn, a novella in the Sugar Sun series:

A- and Desert Isle Keeper from All About Romance: “If you like underrepresented settings, social class conflict, intercultural romance, working class characters, or just damn good historicals, the Sugar Sun series is one to get into. I’m certainly developing a sweet tooth!”

“Reading this book feels like a spoon gliding through a custard dessert.” (Phebe on Goodreads)

Tempting Hymn manages to give adequate breathing room to the harsh historical realities of American colonial rule in the Philippines, while delivering a romance that is sweet, realistic and – above all – emotional….Hallock doesn’t pull any punches in Tempting Hymn, with either the romance or the historical detail. She does her setting and her characters justice, delivering a story that is raw and unflinching, but never too dark, because it has an engaging and touching romance at its core. [And] all the sex scenes here are insanely hot, just like in Under a Sugar Sun.” (Dani St. Clair, Romancing the Social Sciences)

“This novella does a hell of a lot of work between the lines. It’s actually breathtaking.” (Kat at BookThingo, posted on Twitter)

“The pairing here is American man/Filipino woman and that is a tricky, sensitive trope…but it’s handled with deft and care. And dignity.” (Mina V. Esguerra, author of Iris After the Incident, reviewed on Facebook)

“…the first love scene between Jonas and Rosa is a master class.” (Bianca Mori, author of the Takedown trilogy, reviewed on Goodreads)

Read Tempting Hymn for free on Amazon’s Kindle Unlimited.


Under-the-Sugar-Sun-book-one-trilogyPraise for Under the Sugar Sun, the first novel in the Sugar Sun series:

“If you’re looking for a meaty historical romance that will transport you somewhere you’ve never been, Jennifer Hallock’s books…are must-reads.” (Courtney Milan, NYT bestselling author of The Duchess War.)

“Intensely absorbing…the charged political climate of the day is drawn with refreshing nuance.” (Laura Fahey review for Historical Novel Society)

“Two pages in and I was utterly hooked. I sensed the voice of a confident writer and spied the shorelines of a diligently-researched world. I finished it this weekend, hungry for more.” (Bea Pantoja, blogger)

“It will take me a few days to recover from reading Jennifer Hallock’s beautifully written novel. It was vivid, funny, unflinching, poignant, and sexy…. I didn’t want to say goodbye to Georgie and Javier.” (Suzette de Borja, author of The Princess Finds Her Match, reviewed on Facebook)

“Oh my god this book!…And I’m usually not into the high-stakes romance because my heart doesn’t want to handle it, but this guy…” (Mina V. Esguerra, author of Kiss and Cry and the Chic Manila series).

“It’s a perfect read for those who love their romance with a little more plot, and for history buffs who want to see a different perspective on the Philippines.” (Carla de Guzman, Spot.ph on “10 Books That Will Take You Around the Philippines”)

“…Under the Sugar Sun was also just a great romance, the kind that makes you feel squiffy in the stomach when you remember it at odd moments during the day…grand in scope in the same way old-school romances were, but with a very modern presentation of race, class and gender.” (★★★★1/2 review by Dani St. Clair of Romancing the Social Sciences)

Read Under the Sugar Sun for free on Amazon’s Kindle Unlimited.


Hotel-Oriente-prequel-novella

Praise for Hotel Oriente, the prequella novella to the Sugar Sun series:

“The strength of this book, aside from the lyricism with which it describes Manila in what was arguably its heyday, is the intimacy between Della and Moss.” (Five-star review from Kat at Book Thingo)

“. . . a quick but delightful read. I loved that the plot played on a real profiteering scandal that occurred at the Hotel de Oriente, but I was equally intrigued by Hallock’s heroine.” (Erin at Historical Fiction Reader)

“I loved this book. It’s got an easy, fluid style that’s both readable and vivid.” (Author Erin Satie)

“…a stellar novella…[with] political intrigue, a sexy hard-working hero, and fascinating details about early 20th century Philippines. Her stories are beautifully-written and painstakingly-researched.” (Penny Watson, author of A Taste of Heaven, reviewed on Goodreads)

Find Hotel Oriente at Amazon as a standalone novella, or grab it as part of the Romancing the Past anthology wherever you purchase your ebooks, starting September 15, 2021.


History-Ever-After-Jennifer-Hallock-reader-group

The Sugar Sun series an epic family saga of love and war at the beginning of the twentieth century. Books are listed below in reverse-publication order, starting with the latest releases first. This series does not need to be read in order, however, and all are interconnected-yet-standalone happily-ever-afters.

A lovely article introducing the Sugar Sun series to the Philippine general reader. You can find a digital copy of the article at the Manila Bulletin.

Author Bio:

Jennifer Hallock spends her days teaching history and her nights writing historical happily-ever-afters. She has lived and worked in the Philippines, but she currently writes at her little brick house on a New England homestead—kept company by her husband, a growing flock of chickens, and a mutt named Wile E.

Jennifer-Hallock-author-bio

Author Details:

Jennifer is available for speaking engagements, interviews, and appearances. She is also happy to speak to reading and writing groups via Zoom.

She presents on the history of America in the Philippines: How is a war you have never heard of more important than ever today?

She also presents to writers’ groups on:

Contact Info:

Jennifer Hallock — jen at jenniferhallock dot com
Mailing List — info at jenniferhallock dot com or http://bit.ly/sugarnewsletter
Twitter — @jen_hallock
Facebook — jenniferhallockbooks
Instagram — jen_hallock
Amazon author page — http://bit.ly/jenniferhallock

Photos:

Author photo: download here
Sugar Moon cover: download here
Tempting Hymn cover: download here
Under the Sugar Sun cover: download here

What’s So “New” about Imperialism?

The Gilded Age was an age of New Imperialism. The age of empires began over five thousand years ago, so what was so “new” about imperialism, you ask? Well, there were new players: Germany, Japan, and the United States, to name three. (Though the US had been imperial from the very beginning, if you want to be honest about it. Thus began a long tradition of American imperial amnesia. If interested in more, check out Daniel Immerwahr’s How to Hide an Empire.) There were also new technologies: industrial transport and communication opened up the interiors of Africa and India, as well as tying together the disparate islands of the Pacific.

New Sea Power

But one of the most puzzling aspects of New Imperialism was its doctrine: “Yes, we are here in your country, ruling your people, and pilfering your resources—but it is all meant to help you, not us.” Cue the rest of the world saying: “Are you kidding me?”

Cartoon from the April 1899 issue of Judge magazine.
Cartoon from the April 1899 issue of Judge magazine.

Well, no, the imperialists were not kidding. In fact, they wrote poetry about how much they were not kidding. In “The White Man’s Burden,” Rudyard Kipling famously instructed the Americans that it was their turn to play the game in 1899, after seizing Manila in the Spanish-American War.

White-Man-Black-Burden-Comparison
A comparison of two stanzas of different burdens at the turn of the twentieth century. Rudyard Kipling’s poem (1899) is one of the most famous defenses of “New Imperialism,” but African American editor Henry Theodore Johnson’s critique entitled “The Black Man’s Burden” (1899) reflects the reality of who bore the weight of colonization.

The people may hate you for it, Kipling was saying, but it is the Americans’ duty to colonize the Philippines and refashion the islands in the mold of Anglo-American civilization. African American editor Henry Theodore Johnson responded with “The Black Man’s Burden” (1899), which hit every note of opposition in the African American community, including: (1) the unnecessary nature of the war; to (2) how it fits into a long history of oppression of non-white peoples in the name of US expansion; and ends with (3) a reminder that Black Americans were already at war in their own country, not by their own choice. In the end, it would be African American regiments who would save the army in Cuba and serve in significant numbers in the Philippines, both in the US Army and in the Philippine Constabulary.

December 1898 Puck cartoon shows Uncle Sam welcoming world trade in his off-shore entrepôt.
December 1898 Puck cartoon shows Uncle Sam welcoming world trade in his off-shore entrepôt.

The authorities in the United States took up Kipling’s standard. They also believed the Philippines could be the Americans’ own foothold in Asia, an economic entrepôt to compete with the Great Powers in China. And, unlike those gauche Spaniards, the Americans would be enlightened rulers. President McKinley proclaimed:

…we come not as invaders or conquerors, but as friends, to protect the natives in their homes, in their employments, and in their personal and religious rights….[The American military must] win the confidence, respect and affection of the inhabitants of the Philippines…by proving to them that the mission of the United States is one of benevolent assimilation, substituting the mild sway of justice and right for arbitrary rule. [emphasis mine]

William Howard Taft, the first civil governor of the Philippines (and eventual President of the United States), was credited with saying that the Filipinos would be our “Little Brown Brothers,” which—get this—was too generous for the tastes of most Americans. U.S. soldiers on the march in the Philippines sang in response: “He may be a brother of Big Bill Taft, but he ain’t no brother of mine.” (The ditty was eventually prohibited by officers because it did not make a great first impression, to say the least.)

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“It’s ‘up to’ them.” Uncle Sam gives the Filipinos the choice of either a soldier or a schoolteacher: the stick or the carrot. This Puck centerfold was published on 20 November 1901.

To be fair, there were some attempts at benevolence by the Americans. To name a few: the establishment of the first truly national and secular coeducational public school system in the islands; the creation of American university scholarships for the brightest Filipino youth; the building of ports, roads, telegraph lines, irrigation systems, hospitals, schools, and universities; the creation of a Filipino National Assembly; several Filipino Commissioners to advise the American governors; and a Supreme Court of the Philippines, led by a Filipino chief justice. This was not really democracy, but it was not the Belgian Congo, either.

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From left to right: The trench of dead Moro soldiers and civilians at Bud Dajo (1906); a demonstration of the “water cure” by the 35th Volunteer Infantry; and the news headlines about General Smith’s orders to kill all Filipinos capable of bearing arms, which he defined as over the age of ten.

Still, there were plenty of ugly aspects to American rule in the Philippines, as you can see above. Occupation is always dirty. There was the Moro War, the water cure, and the Howling Wilderness of Samar. And, of course, there were the double-standard economic policies of the insular regime. The Americans set up a system by which American goods were sold in the Philippines tariff-free, but Filipino goods were taxed twice, both when they were exported from the Philippines and when they arrived in the United States. Where did that tariff revenue go? To pay the tab of the American administration, of course.

(Side note: The only US Treasury money spent for civilian reconstruction in the Philippines was the million dollars paid to farmers to compensate for the lost of their water buffalo to the rinderpest epidemic. The disease wasn’t the Americans’ fault, but the loss of 90% of these beasts of burden would hold economic progress back. Note that the US did not reimburse loss of carabao to military action or even deliberate slaughter in counterinsurgency actions.)

The hypocrisy of New Imperialism also prompted English writer and politician Henry Labouchère to write his own version of the “Brown Man’s Burden,” which included this stanza:

Pile on the brown man’s burden,
compel him to be free;
Let all your manifestoes
Reek with philanthropy.
And if with heathen folly
He dares your will dispute,
Then, in the name of freedom,
Don’t hesitate to shoot.

Before you pat Labouchère on the back for his progressive skewering of Kipling’s motives, do know that he was a homophobic campaigner whose most lasting legacy was the Labouchère Amendment that made all sexual activity between men a crime. (This is the law that Oscar Wilde and Alan Turing were prosecuted under.) And Labouchère was not the only anti-imperialist who might disappoint our modern sensibilities. Both Andrew Carnegie and William Jennings Bryan were anti-imperialists, but their opposition was actually based on racist visions of nationhood. Carnegie wanted us to only take land that would “produce Americans, and not foreign races,” and Bryan worried about Chinese and Filipino immigration “exciting a friction and a race prejudice” that would damage America’s homogeneity.

In fact, some of the most vociferous anti-imperialists were racist Southern Democrats, many of them ex-Confederates. A former major in the Confederate Army, Senator John W. Daniel is quoted in the Congressional Record as saying:

We are asked to annex to the United States a witch’s caldron. . . . We are not only asked to annex the caldron and make it a part of our great, broad, Christian, Anglo-Saxon, American land, but we are asked also to annex the contents and take this brew—mixed races, Chinese, Japanese, Malay, Negritos—anybody who has come along in three hundred years, in all of their concatenations and colors; and the travelers who have been there tell us and have written in the books that they are not only of all hues and colors, but there are spotted people there, and, what I have never heard of in any other country, there are striped people there with zebra signs upon them. This mess of Asiatic pottage 7,000 miles from the United States, in a land that we can not colonize and can not inhabit, we are told today by the fortune of a righteous war waged for liberty, for the ascendency of the Declaration of Independence, for the gift of freedom to an adjoining State, we must take up and annex and combine with our own blood, and with our own people, and consecrate them with the oil of American citizenship.

Images of Carnegie, Bryan, and Twain from the public domain.

Before you despair, though, let’s move onto Mark Twain, who “updated” the lyrics of the Battle Hymn of the Republic, Julia Howe’s abolitionist hymn, to more properly reflect what he felt Americans had been doing in the Philippines:

Mine eyes have seen the orgy of the launching of the Sword;
He is searching out the hoardings where the stranger’s wealth is stored;
He hath loosed his fateful lightnings, and with woe and death has scored;
His lust is marching on.

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The American Flag as redesigned in 1901 by Mark Twain. Image found here.

And, if that was not enough, Twain redesigned the American flag to include skulls and crossbones instead of stars. His essay “To the Person Sitting in Darkness” is a brilliant piece of political satire:

Shall we? That is, shall we go on conferring our Civilization upon the peoples that sit in darkness, or shall we give those poor things a rest? Shall we bang right ahead in our old-time, loud, pious way, and commit the new century to the game; or shall we sober up and sit down and think it over first? Would it not be prudent to get our Civilization-tools together, and see how much stock is left on hand in the way of Glass Beads and Theology, and Maxim Guns and Hymn Books, and Trade-Gin and Torches of Progress and Enlightenment (patent adjustable ones, good to fire villages with, upon occasion), and balance the books, and arrive at the profit and loss, so that we may intelligently decide whether to continue the business or sell out the property and start a new Civilization Scheme on the proceeds?

Both Johnson and Twain give us some faith that not every American bought into the plunder-but-call-it-progress ideology of New Imperialism. But most did.

Featured image at the top of the page is the 20 March 1901 cover of Puck. Read more about New Imperialism here.

Sugar Sun series glossary term #26: aswang

Sugar was such a greedy crop, drinking the lifeblood of the soil like the aswang demons that peasants feared.

Under the Sugar Sun

With the popularity of the Twilight series—or, let’s get old school with Anne Rice’s Vampire Chronicles—I am surprised that more writers have not widened their paranormal worlds to include the folk traditions of the Philippines. Though legends vary, the Aswang Project website has come up with three common characteristics of aswangs in them all:

  1. The aswang’s diet consists mainly of human liver and blood;
  2. It has an unholy preference for unborn children; and
  3. It is also known to prey upon children and sick people.

Um, did you notice number two? Aswangs have been blamed for miscarriages and stillborn babies all over the islands. Scholars say that Spanish Catholics spread the aswang legends to vilify the female midwives and folk healers, called babaylans, especially those in the interior of the southern islands. As this website describes:

When they know of a pregnancy . . . they would land on the roof of the pregnant woman’s home, and, trying to remain undiscovered, dig a hole to get inside. Once close, they use their razor-sharp teeth and their tongue that can stretch out as a thin wire to drink the blood and eat the fetus through the mother’s belly button . . .

Even worse, there is a related creature called a manananggal, who is a beautiful woman by day, but at night she detaches the upper half of her torso, sprouts bat-like wings, and flies around with her guts hanging out, looking for victims.

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A manananggal as pictured at Florente Aguilar’s guitar project site, Aswang: Tagalog Song Cycle.

The aswang legends are particularly popular in the Western Visayas region, near where the Sugar Sun series is set. In fact, when Silliman University in Dumaguete opened their first dormitory in 1903, people thought it was haunted with these very creatures.

You may be wondering, how are aswangs created in the first place? What is their origin story? Getting bitten, like by a European-style vampire, is not going to do it. (You would just be dead, I think.) In the Filipino version, the dying aswang vomits up a small black chick—as illustrated below—which the aswang-to-be must swallow. Waiter, check please.

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Image from Erik Matti’s “Tiktik: The Aswang Chronicles,” found at the AswangProject.

In European folktales, like those of the Brothers Grimm, the big bad wolf is eventually punished for eating children. But the victims of aswangs get no such justice. (Maybe because carrying a child to term and then actually delivering it has been the most dangerous thing a woman could do for most of history?) This is very dark stuff. I don’t write novels this dark, but someone should. I cannot imagine an aswang hero, but maybe that’s my lack of imagination.

Featured image from sweet00th on DeviantArt.

The History Games: Micro-History Models

What is micro-history, you ask? It is the investigation of small units in history—an individual, a small village, a family, or a school, for example. Why is this important? Because large trends, the kind of history you get in encyclopedias, smooth out history to give you only the most average experience. And who likes to read about average? No one!

You want to read about the outliers, the dangerous, the obscure, the interesting! Part of what authors are selling is the chance to live someone else’s life for a little while. Maybe your character is Marianne, a half-Jamaican hotelier seduced by a spy during the Crimean War; or Lily, a diplomat’s daughter who rescues a wounded American Marine in the Boxer Rebellion in China.


Either way, flat descriptions from encyclopedias won’t cut it. You need to mine primary sources for the convincing details of everyday life. Where else would you learn how Marianne chased off a thief with her rusty horse pistol, primed only with coffee? Or how Lily saved her favorite pony from becoming dinner for starving Americans in Beijing?

Marianne and Lily are intriguing because they are based upon real people—real outliers. My inspiration for Marianne came from The Wonderful Adventures of Mary Seacolewhile Lily is based on Laura Conger in Sarah Pike Conger’s Letters from China. Cool books! Where did I find them, you ask? At the end of this post, you will find a handout detailing many wonderful places to find free primary sources on the internet: books, articles, artifacts, photographs and videos (if available), illustrations, newspapers, and more, all from the time period itself.

But how do you use this information to create realistic characters and believable conflict? And how do you know what facts to use and what to make up? I came up with five models to help you figure it out:

The Ice Cube Tray Model

My fake characters Marianne and Lily are based upon the broad outlines of real people—one or two sides of a mold—but if I actually wrote books for them I would fictionalize them by mixing in other elements. Pour in all the individual hopes, dreams, and quirks that you need to make each character three-dimensional.

Here is an example from my writing: I found the original inspiration for my character Allegra Alazas of Sugar Moon from a single lantern slide found at the Philippine Photographs Digital Archive. Why did this image speak to me? Because the half-scowl on the woman’s face seems to say, “Mr. Photographer, you and I both know that you are an idiot, but I am just polite enough not to say it out loud.” Based on what I could discern from the photo, I thought that maybe this woman would have been educated in Manila at a fancy convent school. So I found a few of those in another primary source, a Commercial Directory of Manila in 1901. And what would the woman in the photo say to Sister Elenteria in their Artificial Flowers class? Well, if you know Allegra, you know that she told the sister where exactly she could put her artificial flowers in a country with bountiful natural ones. And Allegra was born.

Ice-Cube-Tray-Micro-History-Sugar-Moon

The Straitjacket Model

What if you find outliers you don’t like? There always will be archival sources that represent the worst of a chosen era, and these constraints can give you what you need for a foil or villain. I did this for Archie Blaxton and the Stinnetts, the ugly Americans from Under the Sugar Sun and Tempting HymnThese characters were partly modeled after the Coles, teachers in Leyte (see photo of Mary Cole below).

Straitjacket-Micro-History-Jennifer-Hallock

The Open Flame Model

Real history can also provide conflict, too. Why did Georgina Potter head to the Philippines in Under the Sugar Sun? I found a newspaper article in the Manila Times archive about an undelivered letter that fell into the hands of the wrong person. It was written by a very-worried sister who did not know what had become of her brother. And I thought to myself, “Where was this brother? What was the sister going to do next? What would happen when she actually finds him?” Good conflict adds heat underneath your character’s feet. I call this the open flame.

Open-Flame-Micro-history-Jennifer-Hallock

The Millstone Model

For Sugar Moon, I gave my hero a troubled past. Ground down by the millstone of war, he is someone new because of this real event. It is a big part of his internal conflict.

millstone-historical-fiction-model

The Fridge Magnet Model

Finally, I use real vignettes and anecdotes throughout my books. A lot of people remember the snake scene in Under the Sugar Sun, and I wish I could take full credit for it. But that really happened to a real clueless American on one of his first nights in the Philippines in the early 1900s. There’s some stuff you cannot make up, and you shouldn’t have to. But you do need those little details that make your book convincing.

Consider this: when you walk into a house, where do you find the small details important to that family’s daily life? On their fridge. (Or their medicine cabinet, but shame on you!) Therefore, I call this the fridge magnet model. These little snippets tell your reader more about a character or setting than Mr. Exposition ever could. For example, the snake story told me how clever people were to use one pest to control another; and it told me that Georgie, for all her pluck, wasn’t going to get anything right her night in Bais. Her “fish out of water” anxieties will be essential to her later conflict with Javier.

fridge-magnet-historical-fiction-model

Conclusion

Whenever I approach a primary source, I think: how can this event advance my story or my character development? And you need to be thinking this, too. No matter how much fun it is to research—no matter how many rabbit holes you want to fall down—everything should move your book forward. Stay focused on these five models. I hope they help!

By the way, here is the handout of websites that I cover in the workshop’s “how to” portion: Hallock Micro-History Researching Tips. Happy researching!

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Sugar Sun series glossary term #25: boondocks

Bundok is the Tagalog word for mountain. When American soldiers arrived in the Philippines in 1898, they adopted the word and, of course, changed its meaning. Because ‘Merica. U.S. Marines, in particular, made “boondocks” a buzzword for everything from jungle to backwoods to, in fact, mountains. In their minds, whatever looked “wild.”

For the first half of the century, it remained specialized military slang. One source claims that boondocks appeared in the 1909 Webster’s New International Dictionary, but if so this was the first print usage by at least 30 years. The Online Etymology Dictionary also recognizes the word’s vernacular use as early as the 1910s, but it was otherwise not published until 1944 in the Marine Corps Reader—interestingly, describing Parris Island, South Carolina, a Marine Corps training station that looks pretty flat to me.

In World War II, the word was revived, not only among American fighting forces in the Pacific, but also among those soldiers’ and sailors’ families Stateside, too. The Vietnam War reinforced this usage, and now the word is ubiquitous: being out in the boondocks means being in an isolated or wild region. And, yes, my town in New Hampshire probably counts. I’m proud to live in the boondocks—but I just wish it were closer to the real mga bundok (Philippine mountains).

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A selfie before smart phones—and selfie sticks.

Featured photo by Jojo Nicdao in the Creative Commons, found here.