Nick Joaquin's reportage on the 1961 Zapote Street massacre in Manila goes beyond typical crime reporting by delving into the background and relationships between the victims. Pablo Cabading, a police officer, lived with an authoritarian influence over his daughter Lydia, son-in-law Leonardo, and wife Anunsacion in the house on Zapote Street. Tension grew as Cabading asserted control over Lydia and Leonardo's household. His unpredictable behavior revealed a sinister nature, culminating in Cabading killing Lydia, Leonardo, and himself in a murder-suicide that captured national attention. Joaquin brings the multidimensional Cabading to life rather than reducing him to a name, and uses

1. The chilling account of Pablo Cabading's murder-suicide, which claimed the
lives of his daughter, son-in-law, and himself, unfolds like a sinister plot from a
horror film. This tragic incident, known as the Zapote Street massacre, captured the
nation's attention in 1961 with headlines proclaiming "COP KILLS DAUGHTER,
SON-IN-LAW, HIMSELF." The motive behind this gruesome crime, rooted in
Cabading's possessiveness and jealousy, has been explored in various artistic works,
including Mike de Leon's film "Kisapmata" and Nick Joaquin's reportage titled "The
House on Zapote Street."
Joaquin's storytelling goes beyond typical true crime narratives, delving into
the background of the tragedy. Instead of starting on the day of the crime, the
narrative begins with the relationship between the victims, Lydia and Leonardo. A
central figure in their story is Pablo Cabading, an authoritative officer in the Manila
Police Department. Joaquin vividly describes Cabading, initially portrayed as a robust
man whose outward strength hides darker complexities. Lydia's mother, Anunsacion,
also plays a role, depicted as a submissive figure bending to her domineering
husband's commands.
Tension builds during the married life of Lydia and Leonardo. Rather than
establishing their own household, they yield to Cabading's insistence to live in the
house on Zapote Street, supposedly built for his daughter. As the couple settles into
this seemingly idyllic home, signs of an ominous atmosphere emerge. Cabading's
influence becomes palpable, with every member of the household seemingly bending
to his will. What initially seemed like eccentricities reveal themselves as something

2. more sinister. Cabading, with unpredictable and violent tendencies, becomes the focus
of dread in the narrative.
Joaquin's reportage stands out for its meticulous character development. While
newspaper reports reduced Cabading to a mere name, Joaquin brings him to life,
portraying him as a multidimensional character with motivations, fears, and a capacity
for harm. This humanization of Cabading, despite his monstrous actions, establishes a
profound connection between the reader and the unfolding events.
"The House on Zapote Street" not only serves as a backdrop but also becomes
a symbolic entity in the narrative. Described as an architectural representation of
rising social status, the house takes on a foreboding quality, an extension of
Cabading's imposing nature. Architectural structures witnessing heinous acts often
become morbidly fascinating, and Joaquin skillfully incorporates this element into the
story.
In essence, Joaquin's reportage surpasses traditional crime reporting by
providing details not only of the crime but also a nuanced exploration of the events
leading up to it. The Zapote Street massacre becomes immortalized in collective
memory, with readers drawn into a world where characters are more than names in a
newspaper headline. The House on Zapote Street, vividly portrayed by Joaquin,
becomes a haunting symbol of a dark chapter in Philippine history.