Alex tizon cause of death: Regardless of the reactions, some insightful and provocative, others bound with the derisive put-down, this must be stated: “My Family’s Slave” was Alex Tizon’s last demonstration of mental fortitude.His choice to expound on Eudocia Pulido’s life as a contracted slave who got no compensation for quite a long time while being mishandled by his folks took guts and extraordinary individual quality. The fuming, resentful remarks demonstrate that.Alex had accepted the consequences for expounding on different debates. He realized Pulido’s story would trigger a more incredible firestorm that will undoubtedly overwhelm him and his family.
But he composed it.
He could have recently stayed silent and let Eudocia Pulido and her heartbreaking story be overlooked. However, he didn’t.
It isn’t right to minimize the offensiveness of the off the record piece of information that Alex uncovered. Yet, the outcomes of what he did are additionally worth featuring to draw exercises from what happened to Lola, as Eudocia Pulido was known to Alex and his family — and to discover approaches to ensure it never happens again.
“My Family’s Slave” uncovered Alex and his family to outrage and scorn. In any case, it likewise started a warmed, essential conversation and discussion on how homegrown partners are treated in Filipino culture.
The startling turn in Alex’s choice to reveal to Pulido’s story is that he passed on before The Atlantic ran the exposition.
Alex isn’t around to address the inquiries regarding Pulido’s life and his complicity in her experience. He isn’t here to react to the disdain, some of it as vainglorious and dastardly assaults.
Undoubtedly, “My Family’s Slave” left numerous unanswered inquiries, including those now coordinated at Alex’s kin: ‘For what reason didn’t you do anything sooner? For what reason did you let Lola languish over so long? For what reason didn’t you take care of her circumstance?’
These are substantial inquiries. I discovered a few answers from somebody who imparted a profound attachment to Alex and lived with the excruciating mystery he uncovered: his more youthful sibling Albert.
An extended, mystery battle
Albert, otherwise called Al, is a Christian priest currently situated in Chicago. We initially met in 1992 in Manila when he was living there as a feature of his work. We reconnected on Facebook after Alex passed on in March.
I searched him out after “My Family’s Slave” was distributed. When I contacted him, his family was reeling from the open put-down and assaults. Melissa Tizon, Alex’s widow, has been representing the family in media interviews. In any case, Albert consented to share his musings.
The discussion we had was brief. He was going to go on an abroad excursion. He said the Tizon family upheld Alex’s choice to disclose to Pulido’s story, including his choice to utilize the expression “slave.”
Albert offered a significant knowledge, one that, for reasons unknown, Alex made light of in the paper. As Albert recounts to the story, Alex and his kin tried to take care of Pulido’s circumstance, and they did this much sooner than what Alex depicted in the Atlantic exposition.
Alex reviewed in “My Family’s Slave” the fights the Tizon kin — including their most established sibling Art and two more youthful sisters, Leticia and Maria — had with their folks, particularly their mom, over their treatment of Pulido.
Albert bemoaned that those endeavors to change how their folks treated Pulido seemed to be insufficient and immaterial to a portion of their family’s faultfinders “who I surmise needed us to mount a revolt.”
There was no revolt. There was no uprising. In any case, what the Tizon kin did was wage an extended, mystery battle to help Eudocia Pulido to free a lady they came to know as their mom; however, whom they knew was a casualty of misuse.
“As we got more established, in our late adolescents and mid-twenties, every one of us was eager to improve Lola’s circumstance successfully,” Albert let me know. “We offered to get her a [plane] ticket and orchestrate her family in Tarlac to get her back. We would ask Lola, ‘What’s keeping you here? How might we get you out of here?
“Lola’s response was consistent, ‘Where do I go? I can’t leave your mother. I love your mother. I love every one of you.”