David B. Katague is an online memoirist and cultural essayist whose writing has appeared on HubPages

Tuesday, March 24, 2026

The War Through a Child’s Eyes- My Personal Experiences-An Update

The War Through a Child’s Eyes- My Personal Experiences-An Update

https://chateaudumer.blogspot.com/2024/11/my-childhood-experiences-during.html💚 

The following is an excerpt and more detailed event from my article listed above. 

I was only a small boy when the Japanese-American War in the Philippines reached our corner of Panay Island, but the sounds and shadows of those years have never left me. Sirens, hurried whispers, the rustle of belongings packed in the dark, these are the fragments that stitched my childhood together as war replaced the ordinary rhythms of provincial life.

When the Japanese arrived, our world shrank to the hills above Barotac Viejo, Iloilo. We left behind our small city (Jaro)  and the comfort of familiar streets and moved into a life of hiding.💚 The grown-ups spoke in low voices about raids and arrests, about men taken in the night, about families who simply disappeared. I did not yet understand strategy or geopolitics; I understood only that we had to be quiet, that light at the wrong time could mean death, and that my father was now part of something both dangerous and necessary.

My father joined the guerrillas (USAFFE)💜, and with that decision our family stepped fully into the shadows. He would come and go at odd hours, sometimes gone for days, returning leaner, more tired, but resolute. We children watched his movements with wordless awe. He seemed to carry the entire war on his shoulders, though he treated us with the same affectionate firmness he had before the Japanese came. The difference was in his eyes, there was a vigilance there, as if he never fully put down his guard, even at home.

One of the earliest lessons I learned in that time had nothing to do with reading or numbers. It was a lesson in survival, distilled into a single instruction: Never say our real surname. My father gathered us and explained that if strangers asked, we were to say we were “Katigbak,” not “Katague.” Somewhere, he said, the Japanese had lists, names of guerrillas and their kin and our true surname might draw them straight to us. As a child, I could not imagine such lists, but I understood the fear in his voice.

From that day on, I whispered the borrowed name to myself like a strange prayer: Katigbak, Katigbak, Katigbak. I repeated it as I walked the narrow paths in the hills, as I tried to sleep on a mat in some temporary shelter, as I listened to distant gunfire roll across the night. I wanted it to be the first word on my tongue if anyone ever pointed a rifle at me and asked who I was. My identity, which should have been simple, became something I had to rehearse, a mask I might need to wear to stay alive.

The war was not just a matter of secrecy; it was also a matter of silence. We learned to lower our voices at the slightest noise outside. I remember nights when the adults froze mid-sentence, faces turned toward the dark, listening. A dog barking somewhere, the echo of boots on a distant path, the faint rumble of trucks, each sound was a question: had they found us? The air itself seemed thinner in those moments, as if even breathing too loudly might betray our hiding place.

Stories of atrocities traveled faster than the wind in those days, and even a child could feel their weight. News reached us of the Noel Balleza clan in Barotac Viejo, relatives on my mother’s side. They had taken refuge in a hideout not far from where we stayed. One day, word came that their entire family had been slaughtered. Only one member of the Family survive and was able to tell the story.  I did not witness it, but the adults’ stunned grief was its own kind of testimony. Their faces, set in a shocked, quiet horror, told me enough: the war was not a distant battlefield; it was inside our own family tree.

Later, I would learn of another massacre of relatives, this time on my father’s side. My aunt, Adela C(K)atague Guillergan, and her family in Negros Occidental were also killed. At the time, these were fragments of information, spoken around me rather than to me. As I grew older and traced the branches of our family, I realized how many of those branches had been cut short in those years. The war, which I had first understood as soldiers and uniforms, revealed itself also as empty chairs at the table, names no longer called during reunions.

Despite the fear, life did not entirely stop. Children find ways to be children, even in the shadow of occupation. We played with improvised toys, chased one another along the mountain paths, and stole moments of laughter when the adults were not looking. Yet even our games were edged with caution. We knew which directions were forbidden, which trails might lead toward Japanese patrols or informers. Our playground was a landscape of invisible borders drawn by danger.

The line between collaborator and neighbor became blurred, even to a child. I heard the word “traidor” whispered with contempt, Filipinos who aided the Japanese, pointing out guerrillas and their families. It was a sobering lesson: fear and hunger could twist some people into betraying their own. As a boy, I did not judge them with the harsh certainty of adulthood, but the knowledge that someone who looked like us, who spoke our language, might lead soldiers to our door added a new layer to the anxiety of each day.

As the war dragged on, the boundaries of time dissolved. There were no reliable calendars in the hills, only seasons and rumors. We knew something was changing when the mood around us shifted, when whispers of American landings and retreating Japanese forces began to filter through. Hope is a dangerous thing in wartime: it glows softly at first, then flares at any sign of confirmation. For us children, hope meant imagining a future where we could use our real name again without fear.

When liberation finally came, it did not arrive as a single, clear event in my memory but as a gradual loosening of the invisible ropes that had bound our lives. Soldiers changed, flags changed, and with them, the quality of sound in our village changed, too. There were still stories of fighting and revenge, but the constant, suffocating tension lifted. One day, almost without ceremony, the name “Katague” could be spoken freely again.

Looking back now, my memories of that “Japanese-American War” in the Philippines are a mixture of sharp images and lingering impressions: my father’s serious face as he taught us to deny our surname, my mother’s quiet efficiency in making a life out of almost nothing, the hushed accounts of massacres that claimed the lives of people I would never meet, and the subtle shift from terror to tentative relief as the occupation ended.

As an adult, and later a father and grandfather, I came to understand that what I experienced as a child was only a small part of the larger history. Yet those years shaped me in ways I still feel. They taught me that identity is both fragile and stubborn, that courage can look like a man slipping into the night to join guerrillas or like a child memorizing a false name to protect his family. They taught me that war does not just redraw maps; it redraws the interior landscape of memory, leaving marks that endure long after the guns fall silent.

In telling these stories now, I reclaim those days not only as episodes of fear but as proof of survival. The boy who whispered “Katigbak” in the dark grew into a man who can sign his real name without hesitation. That simple act, so ordinary in peacetime, is, for me, one of the quiet victories of a life lived beyond war.

In conclusion, as I wrote in my original article above, There are no winners in War. Everyone are losers. For PART 2 and 3 of this trilogy read: 

https://discover.hubpages.com/literature/my-childhood-memories-of-world-war-2  

💜United States Arm Forces of the Far East ( USAFFE)

Meanwhile, here's the AI Overview on the Above Topic:.
Key Memoirs and Documentaries
Several books and films provide firsthand accounts of this period:
: Curt Tong, the son of American missionaries, recounts his three years in Japanese prison camps starting at age seven.
Rising Sun Blinking: A Young Boy's Memoirs
: Jose Maria Lacambra Loizu uses his wartime diary to describe the "horror, adventure, and excitement" of being an 11-year-old in occupied Iloilo.
: Writer Joan Orendain compiles poignant accounts from witnesses across the country, detailing the lifelong scars left by the occupation.
: Angus Lorenzen offers a child’s perspective on life inside the notorious Santo Tomas Internment Camp in Manila.
: A documentary film featuring reflections from survivors of the 1945 Battle of Manila.
Common Children’s Experiences
  • Internment Life: Children in camps like Santo Tomas often tried to maintain normalcy through structured activities and play, though conditions deteriorated into severe malnutrition and fear by 1944.
  • War Games: To cope, children sometimes turned the conflict into games, such as "playing guards" or daring each other to stand still during strafing runs by planes.
  • Guerrilla Involvement: Some teenagers and even children as young as 12, like Martin Bantug, joined resistance units to fight for freedom.
  • 💚Survival in Hiding: Many Filipino families fled to the mountains to avoid Japanese patrols, facing constant hunger and the threat of discovery.

My Animated Photo of the Day- Me and Knitz at her Wedding Day, 1976 

https://www.meta.ai/create/1073148365876800

Tuesday, November 4, 2025

Onoda and the Magellan Movies

While looking For Old Movies, I discovered this Gem:
During the final months of World War II, Lieutenant Hiroo Onoda was stationed on Lubang Island in the Philippines and given orders to defend the territory until reinforcements arrived.
Remarkably, unaware that the war had ended, Onoda remained hidden in the dense jungle for nearly three decades.
Despite repeated attempts to inform him the war was over, Onoda dismissed all news as enemy propaganda.
His existence was only confirmed in 1974 when traveler Norio Suzuki tracked him down.
Onoda surrendered only when his former commanding officer personally relieved him of duty.
Upon returning to Japan, he was greeted as a hero, capturing international attention and symbolizing extreme loyalty and resilience.
His incredible story inspired a bestselling memoir and a critically acclaimed film, “Onoda: 10,000 Nights in the Jungle.”
Onoda: 10,000 Nights in the Jungle(Japanese: ONODA 一万夜を越えて, Hepburn: Onoda: Ichiman'ya o Koete; lit."Onoda: Over ten thousand nights", French: Onoda, 10 000 nuits dans la jungle) is a 2021 war drama film directed by Arthur Harari and co-written with Vincent Poymiro, with the collaboration of Bernard Cendron. It is inspired by the life of Hiroo Onoda (Yuya Endo) a Japanese soldier who refused to believe that World War II had ended and continued to fight on a remote Philippine island until 1974.

It is an international co-production between France, Japan, Germany, Belgium, Italy, and Cambodia. And was particularly inspired by Cendron and Gérard Chenu's 1974 biography Onoda, seul en guerre dans la jungle, Cendron's archives, and Harari's conversations with the author. Harari did not base it on Onoda's own memoir; he considers the film to be fiction inspired by history rather than a biographical book.The film had its world premiere at the Un Certain Regard section of the 2021 Cannes Film Festival, on 7 July 2021. It was theatrically released in France on 21 July 2021, and in Japan on 8 October 2021. It was received with critical acclaim, winning Best Original Screenplay at the 47th César Awards.

Critical reception

On the review aggregator website Rotten Tomatoes, 97% of 35 critics' reviews are positive, with an average rating of 7.70/10. The website's consensus reads: "With absorbing patience and palpable empathy, Onoda: 10,000 Nights in the Jungle finds poignant drama in one real-life soldier's stubborn pursuit of honor." Metacritic, which uses a weighted average, assigned the film a score of 78 out of 100, based on 12 critics, indicating "generally favorable" reviews.

On RogerEbert.com, Ben Kenigsburg writes: "Technically, "Onoda"... is a biopic, but it never plays like one. This austere, bleak, occasionally even darkly funny film is, at nearly three hours, more like an absurdist slow burn." James Lattimer, writing for Sight and Sound, called it "...a nearly three-hour wannabe existentialist war drama intended as an exercise in the sort of big-screen immersion that has been impossible of late... [T]he film's humdrum dramatization lacks the necessary visual or narrative finesse to keep viewers absorbed."

Accolades

The film won the Prix Louis-Delluc for 2021. At the 11th Magritte Awards, it received a nomination in the category of Best Foreign Film in Coproducti

The Movie is free from TUBI.. It's quite long almost 3 hours, It may be boring to those people whose lives were not directly affected by the Japanese-American War in the Philippines, 1941-1945. But to me, it is nostalgia time again,    

My Food For Thought for Today:

https://www.facebook.com/reel/4084237285150626

Lastly, The Movie-Magellan



#LavDiaz’s film “Magellan”, the Philippines’ official Oscars entry for Best International Feature Film, won the Golden Spike (Best Picture) at the 70th Valladolid International Film Festival (SEMINCI) in Spain.
It shared the top honor with Kelly Reichardt’s “The Mastermind.” The jury praised “Magellan” for its powerful reimagining of colonial history, stunning visuals, and bold storytelling that connects the past with the present.

The Film Academy of the Philippines celebrated the win, calling it a proud moment for Filipino cinema. The movie, starring Gael García Bernal as Ferdinand Magellan and Ronnie Lazaro as Rajah Humabon, premiered at Cannes 2025 before its release in the Philippines.

Thursday, May 1, 2025

The Narrow Road to the Deep North- A War and Love TV Mini Series

The Narrow Road to the Deep North is a 2025 Australian drama miniseries. It is based upon the novel of the same name by Richard Flanagan and directed by Justin Kurzel. It stars Jacob Elordi, Odessa Young, and Ciarán Hinds. The series follows Dorrigo Evans across three periods: before his deployment to the Second World War, during his time as a Far East prisoner of war, and several decades after the war. Each period reveals different parts of Dorrigo's love affair with his Uncle's wife, Amy. The series was released on Amazon Prime on 18 April 2025 to critical acclaim.

The review aggregator website Rotten Tomatoes reported a 100% approval rating with an average rating of 8.3/10, based on 21 critic reviews. The website's critics consensus reads, "A difficult watch made riveting by director Justin Kurzel and star Jacob Elordi's sterling work, The Narrow Road to the Deep North chronicles the inhumanity of war with fierce intelligence."  Metacritic, which uses a weighted average, assigned a score of 84 out of 100 based on 7 critics, indicating "universal acclaim " reviews.

In a review for The Guardian, Luke Buckmaster awarded the show 4 out of 5 stars, noting the strength of the performances and the complexity of the relationships depicted. He also complimented the direction, writing: "You never doubt the show’s realism, or the compassion underpinning it". Hugh Montgomery of the BBC praised the acting of Elordi and Young and described them as possessing "smouldering chemistry".

 Here's one of the reviews, that I concur. I enjoyed the TV mini-series very much.  I cried because of the cruelty and inhumanity of war. It reminded me of my childhood experiences during the Japanese- American War in the Philippines. The incidence of brutality by the Japanese to the Australians is similar to the brutality committed by the Japanese to the Filipino and American Prisoners during the Bataan Death March.   

https://chateaudumer.blogspot.com/2024/07/tears-in-darkness-my-book-review-update.html

W

What do we want from our war stories? That's a question at the core of this new five-part adaptation of Australian author Richard Flanagan's Booker Prize-winning novel. Preparing to make a speech for a book launch, World War Two veteran Dorrigo Evans (Ciarán Hinds) ruefully says people just want tales "of heroism and mateship" – where he would rather give them "the truth".

It's certainly true that in general cultural discourse, there can be a tendency to present war history through a romanticised, "inspirational" lens – but on screen there is also a strong lineage of works that have sought to lay bare its abjectness, from Apocalypse Now to All Quiet on the Western Front. However, if this miniseries is not radical in that respect, it is, on the evidence of the first two episodes that have premiered at the Berlin Film Festival, set to be a stunning, shell-shocking piece of work nevertheless – as well as an impressive showcase for Jacob Elordi, the in-demand star who made his name with HBO series Euphoria and, after working with the likes of Sofia Coppola and Paul Schrader, continues to make judicious choices.

It sets out its stall right from the opening scene, in Syria in 1941, in which a group of Australian soldiers' blokeish banter is cut through by a bomb explosion that gruesomely takes out one of their number and a Syrian child: filmed with tight, disorientating camerawork by  director Justin Kurzel, the visuals drained of colour amid the murk of the landscape, it immerses you completely in the horror. 

From there the story moves between three timelines. There's young Dorrigo (Elordi) in 1940, as he is stationed to Adelaide for military training and forms an intense connection with his uncle's young wife Amy (Odessa Young); Dorrigo in Thailand in 1943, now one of thousands of prisoners of war in the Thai jungle forced by the Japanese to help build Burma's notorious "Death" railway; and 77-year-old Dorrigo in 1989, an affluent surgeon with a happy-ish marriage who nevertheless can never hope to forget what he witnessed all those decades ago – "the strange terrible neverending-ness of human beings," as he puts it – or make others who didn't experience it understand.

(Credit: Curio Pictures)

(Credit: Curio Pictures)

The older Dorrigo's sense of alienation is deftly sketched in an early scene in which he is interviewed by a combative young journalist, prepared to question his blanket definition of the Japanese as "monsters". It's a measure of Shaun Grant's skilled writing that as she prods him, and with his rebuke, you sympathise with both characters' point of view. Similarly impressive is the way the show deals with Dorrigo's extra-marital affairs, as both young and old man, with no crude judgements. There are no heroes and villains in either set-up, exactly, just messy feelings and a search for connection.

It's a show as much about love as war, and it's good that the romance has equal impact, thanks to the smouldering chemistry of Elordi and Young

Where the drama possesses clearer moral definition is in the indisputable evil of the sadism directed at the captured Australian soldiers. It is in these prisoner of war scenes that Kurzel, known for films like Snowtown and True History of the Kelly Gang, really excels himself, creating grimly powerful images – take a scene early on of a heap of dehydrated men being transported in a truck, sticking their tongues out ecstatically as rainwater comes through the slats of their container. But he also deftly colours in the bravado and, yes, mateship, that (barely) sustains them in the most terrible of situations, as they share penis jokes and impromptu comedy skits amid the unbearable slog of their labour.

When it comes to their Japanese captors, meanwhile, the dangers of presenting them as one-dimensionally malign are counterpointed in part by the character of a conflicted young major. At the same time, the way one of his seniors talks about how cutting off someone's head feels both "euphoric and horrible" could not be more chilling. It will be interesting to see how their perspective develops, as the episodes progress.

But this is a show as much about love as war, and it's good that the romance has equal impact, thanks to the smouldering chemistry of Elordi and Young. Young gives a beguiling sense of a woman with a wisdom and self-knowledge beyond her years, while Elordi has simply never been better: returning both to the small screen and his homeland Australia, he holds the screen with a particular kind of reserved charisma, suggesting his character's hidden recesses of pain and desire with mere flickers of expression. And even if he hardly resembles Elordi, Hinds is equally superb in the older timelines, his natural lugubriousness put to good use.

As for Kurzel, he brings an auteur's confidence to everything here, creating a seamless symphony of visuals, editing and music. The Narrow Road to the Deep North feels like a searingly "true" account of war, indeed, but also one founded on the finest artistry, if that's not too much of a contradiction. I watched this on Prime Video. 

Source: https://www.bbc.co.uk/culture/article/20250215-the-narrow-road-to-the-deep-north-review-this-ww2-miniseries-is-a-stunning-showcase-for-jacob-elordi

Meanwhile, another new TV Series on Starz is Etiole ( pronounced it tual), that I enjoyed also very much this week. Etiole is a French word meaning-Star. This TV series has mixed reviews. If you love Ballet and Comedy, this is a must view TV show. Amazing Choreography! 

 For Details visit: 


https://www.rottentomatoes.com/tv/etoile/s01

Finally, here are two photos of Grand Daughter Carenna Katague Thompson on her recent trip to the Netherlands. 


  


Saturday, December 7, 2024

Lighting of the Beacon on Mount Diablo Today


The Beacon on Mount Diablo was originally installed and illuminated in 1928 to aid in transcontinental aviation. It is one of the four guiding beacons installed along the West Coast by Standard Oil of California and is the only one known to still be operational.

After the attack on Pearl Harbor, the Beacon’s light was extinguished during the West Coast blackout, for fear it could enable an attack on California.

It stayed dark until Pearl Harbor Day in 1964, when Fleet Admiral Chester Nimitz, Commander in Chief of Pacific Forces during World War II, relit the Beacon in a commemorative ceremony and suggested it be illuminated every December 7th to honor those who served and sacrificed.

Since that day, Pearl Harbor veterans and their families have gathered every December 7th to see the Beacon light shine once again.

The Beacon now shines brighter than ever since it underwent an extensive restoration process in 2013 (thanks to a campaign led by Save Mount Diablo) to ensure it continues to shine for many more years.

The Pearl Harbor Survivors now know that the Beacon will shine long after they are gone.

The Beacon is lit at sunset and shines all night on this evening each year. Beginning in 2022, it is also lit on Memorial Day and Veterans Day.

On Sunday, April 11, 2021, Save Mount Diablo concluded a year of lighting the Beacon weekly to bring light and hope to our region during the worst of the pandemic.

Save Mount Diablo has restored, maintained, and operated the Mount Diablo’s Summit Beacon, the Eye of Diablo for many years, and the organization is grateful to provide this service to our communities despite the time and cost involved.

About Save Mount Diablo

Save Mount Diablo is a nationally accredited nonprofit land trust founded in 1971. Our mission is to preserve Mount Diablo’s peaks, surrounding foothills, and watersheds; and its sustaining Diablo Range, through land acquisition and preservation strategies designed to protect the mountain’s natural beauty, biological diversity, and historic and agricultural heritage; enhance our area’s quality of life; and provide educational and recreational opportunities consistent with protection of natural resources. To learn more, please visit https://www.savemountdiablo.org/.

SUMMARY

What:  Save Mount Diablo; the Sons and Daughters of Pearl Harbor Survivors Association, Chapter 5; and California State Parks will light the “Eye of Diablo,” the Beacon atop Mount Diablo to memorialize National Pearl Harbor Remembrance Day. As the number of survivors has decreased over the years, the number of people attending the ceremony in honor of these heroes has increased, including many sons and daughters vital to organizing the service.

When: Saturday, December 7, 2024

USS Arizona viewing begins at 3:00 PM, ceremony at 3:45 PM, Beacon lighting at 5:00 PM

Where: The ceremony will be held at the California State University, East Bay Concord Center, 4700 Ygnacio Valley Road, in Concord.

Directions: http://goo.gl/maps/jXhcW

Access: Parking is available, and parking fees will be waived for this event. See map.

For more information on the Beacon:

https://savemountdiablo.org/experience/events-outings/beacon-lighting/

Photo: Mount Diablo Summit Beacon, the “Eye of Diablo,” by Stephen Joseph. Additional high-resolution photos of the Beacon and the Pearl Harbor Survivors are available upon request by contacting lkindsvater@savemountdiablo.org.

Media Contacts: 

Ted Clement, Executive Director, Save Mount Diablo

P: 925-947-3535, C: 925-451-8108, email: tclement@savemountdiablo.org

Personal Note: I was 7 years old in the Philippines  when Japan bombed Pearl Harbor. It was a day, I will always remember.