Rosario, a Filipina novelist in New York City, has just learned of her mother’s death in the Philippines. Instead of rushing home, she puts off her return by embarking on a remote investigation into her family’s history and her mother’s supposed inheritance, a place called La Tercera, which may or may not exist. Each life Rosario explores opens onto an array of other lives and raises a multitude of new questions. But as the search for La Tercera becomes increasingly labyrinthine, Rosario’s mother and the entire Delgado family emerge in all their dizzying complexity: traitors and heroes, reactionaries and revolutionaries. Meanwhile, another narrative takes shape --- of the country’s erased history of exploitation and slaughter at the hands of American occupying forces.

It is the mid-’80s, two decades into the kleptocratic, brutal rule of Ferdinand Marcos. The Philippine economy is in deep recession, and civil unrest is growing by the day. But Primi Peregrino has her own priorities: tracking down books and pursuing romantic connections with their authors. For Primi, the nascent revolution means that writers are gathering more often, and with greater urgency, so that every poetry reading she attends presents a veritable “Justice League” of authors for her to choose among. As the Marcos dictatorship stands poised to topple, Primi remains true to her fantasy: that she, “a vagabond from history, a runaway from time,” can be saved by sex, love and books.

Gina Apostol’s second novel takes the form of a memoir by one Raymundo Mata, a half-blind bookworm and revolutionary, tracing his childhood, his education in Manila, his love affairs, and his discovery of writer and fellow revolutionary Jose Rizal. Mata’s 19th-century story is complicated by present-day foreword(s), afterword(s) and footnotes from three fiercely quarrelsome and comic voices: a nationalist editor, a neo-Freudian psychoanalyst critic, and a translator, Mimi C. Magsalin. In telling the contested and fragmentary story of Mata, Apostol finds new ways to depict the violence of the Spanish colonial era, and to reimagine the nation’s great writer, Jose Rizal, who was executed by the Spanish for his revolutionary activities and is considered by many to be the father of Philippine independence.

Two women, a Filipino translator and an American filmmaker, go on a road trip in Duterte’s Philippines, collaborating and clashing in the writing of a film script about a massacre during the Philippine-American War. Chiara is working on a film about an incident in Balangiga, Samar, in 1901, when Filipino revolutionaries attacked an American garrison, and in retaliation American soldiers created “a howling wilderness” of the surrounding countryside. Magsalin reads Chiara’s film script and writes her own version. INSURRECTO contains within its dramatic action two rival scripts from the filmmaker and the translator --- one about a white photographer, the other about a Filipino schoolteacher.

Sol, a rich filipino, attempts to remold herself from a studious girl, to a communist rebel.