21st Century Literature

UNIT 1 Introduction

to Literature

LITERATURE manifests the truly creative genius of a race a faithful reproduction of life, executed in an artistic pattern. It is the orchestration of the manifold manifold but elemental elemental experiences experiences of man, blended with harmonious and desired patterns patterns of expressions as old as the civilization of man embodies the expression of his soul and collectively, the soul of the nation unknowingly records man’s experiences as he progresses in time with and against the varying elements of life merely words used for a specific purpose. From simple words, writers create a variety of  stories, express a gamut of emotions and dissect a range of ideas. as a body of words, it can determine the destiny of a nation, the thinking of a state and the standard of life in a community. It can even shape man’s thinking towards his afterlife. af terlife.  popularly defined as a “body of writings comes comes from a !atin !atin word " LITERATURA " meaning “writing, learning from literatus, learned, literate  both oral and written work characterized by expressive or imaginative writing, nobility of  thoughts, universality #irrespective of race or color$, and timelessness or forever 

LITERARY APPRECIAT APPREC IATION ION the the expre expressi ssion on of idea ideass and and feeli feelings ngs gathe gathered red from from a lite litera rary ry piec piecee and and becom becomes es a springboard for other ideas and activities intelligent reading which implies a depth of understanding so that the new ideas are developed and fresh approaches are generated to heighten the reading pleasure

FACTORS THAT INFLUENCE LITERARY PROGRESS: %. geograph geographic ic nature nature of the coun country try &. exper experie ienc nces es of of the the peo peopl plee '. aesthet aesthetic ic idea ideals ls of a parti particul cular ar group group

WHY DO WE NEED TO STUDY LITERATURE? %. plea pleasu sure ress of rea readi ding ng &. ente enteri ring ng a new new wor world ld '. to know know man as one one impo importan rtantt ob(ect ob(ect)) a. *an *an has has a dua duall natu nature) re) he is not only only a doe doerr of deeds deeds but but also also a dream dreamer er of of drea dreams ms..  b. !iterature records not only what man has accomplished but also what he has h as thought and felt, how he looks on life and death, and what he loves and fears.

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THE LITERARY TECHNIQUES I. Figurative Laguage %. gives gives new new meani meanings ngs to to ordina ordinary ry word wordss &. writer writerss do not have have a special special langua language ge all their their own, they they take everyd everyday ay words and combine them in new ways to create vivid sensory images for their readers to see, hear, touch, feel and taste '. cannot be interpreted interpreted in the literal literal sense to get at the the meaning meaning +xample)

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P!e" by avid *c-ord

ooks fall open, /ou fall in, elighted where /ou’ve /o u’ve never been.

#!$t C!""! Figurative Laguage$ %. 0imi 0imile le 1 is a stat stated ed comp compar aris ison on betw betwee eenn two two thin things gs that that are are actu actual ally ly un unli like ke,, but have have something in common. 1 they are introduced by the word like or as. +xamples)

dead as a dodo sweet like chocolate sure as day

&. *etapho *etaphorr " makes makes a direct direct compari comparison son between between two unlike unlike things things that have someth something ing in common - does not use like or as to make a comparison e%te&e& "eta'(!r "eta'(!r " term used when the comparison is used fully and - e%te&e& consistently throughout the selection +xamples)

-hun is the star that shines in my darkest night. 2er tears are pearls glistening as they fell from her eyes. *emory is but a shadow of what was once.

'. 3ersonification " gives human 4ualities 4ualities to non1human ob(ects 1 helps readers see ordinary things in a new and interesting way +xam +xampl ples es))

!uck uck sm smiled led at the happ happyy cou coupl ple. e. o you hear the wind sigh through your hair5

6. 0ymbolism 0ymbolism " uses uses ob(ects ob(ects to represent represent another another person, person, place place or idea. idea. - $)"*!+ " an ob(ect or idea that has its own meaning7 in literature, it is used to suggest another meaning. - is a way of explaining something using another ob(ect that is more familiar  and more readily understandable

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THE LITERARY TECHNIQUES I. Figurative Laguage %. gives gives new new meani meanings ngs to to ordina ordinary ry word wordss &. writer writerss do not have have a special special langua language ge all their their own, they they take everyd everyday ay words and combine them in new ways to create vivid sensory images for their readers to see, hear, touch, feel and taste '. cannot be interpreted interpreted in the literal literal sense to get at the the meaning meaning +xample)

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P!e" by avid *c-ord

ooks fall open, /ou fall in, elighted where /ou’ve /o u’ve never been.

#!$t C!""! Figurative Laguage$ %. 0imi 0imile le 1 is a stat stated ed comp compar aris ison on betw betwee eenn two two thin things gs that that are are actu actual ally ly un unli like ke,, but have have something in common. 1 they are introduced by the word like or as. +xamples)

dead as a dodo sweet like chocolate sure as day

&. *etapho *etaphorr " makes makes a direct direct compari comparison son between between two unlike unlike things things that have someth something ing in common - does not use like or as to make a comparison e%te&e& "eta'(!r "eta'(!r " term used when the comparison is used fully and - e%te&e& consistently throughout the selection +xamples)

-hun is the star that shines in my darkest night. 2er tears are pearls glistening as they fell from her eyes. *emory is but a shadow of what was once.

'. 3ersonification " gives human 4ualities 4ualities to non1human ob(ects 1 helps readers see ordinary things in a new and interesting way +xam +xampl ples es))

!uck uck sm smiled led at the happ happyy cou coupl ple. e. o you hear the wind sigh through your hair5

6. 0ymbolism 0ymbolism " uses uses ob(ects ob(ects to represent represent another another person, person, place place or idea. idea. - $)"*!+ " an ob(ect or idea that has its own meaning7 in literature, it is used to suggest another meaning. - is a way of explaining something using another ob(ect that is more familiar  and more readily understandable

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+xam +xampl ple) e)

a bir birdd in in a cag cagee can can stan standd for for som someone eone with withou outt fre freed edom om

8. 2yperbole 2yperbole " exaggerates exaggerates an idea idea so vividly vividly that the reader reader develops develops an instant instant mental mental picture picture of it - it is used to emphasize a poetic idea - more often than not, it produces a humorous effect +xam +xampl ple) e)

9he 9he only only thin thingg deep deep abou aboutt him him is the the bo bott ttom omle less ss pit pit he call callss his his stom stomac ach. h. 3apa’s voice is so loud that when he whispers, some six or seven houses could still hear him.

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II.I"ager) :hen words are used in speech and writing, their most obvious purpose is to point at something " an idea or property. 9his is the word’s meaning. :ords stimulate in the reader different meanings and associations depending on how they are used alone, or in combination with others. 9hey create mental pictures and allow the readers to participate in a variety of experiences. %. enotation enotation " the the direct direct and explicit explicit meaning meaning as defined defined in the the dictionary dictionary.. 1 the &e!tative "eaig " the ob(ective ob(ective meeting that does not go beyond the re4uirements of exact scientific definition. +xam +xampl ple) e)

; dog dog is is a four four1l 1leg egge gedd ani anima mall coat coated ed by fur fur.

&. -onnotation -onnotation " the meaning meaning of a word word that arouses arouses particular particular emotiona emotionall attitudes attitudes from the hearer. - it suggests meanings beyond its standard scientific or dictionary definition. - the special emotional feelings vary according to the individual. +xam +xampl ple) e)

:hen :h en a man man is call called ed a dog, dog, it coul couldd mea meann tha thatt he he is is roug rough. h.

'. escription escription " a techni4ue techni4ue that that tells tells about people, people, places, places, things things or actions actions through the the use of ad(ectives. 1 this helps the reader to picture the event, scene or character.  

+xample)

Thick, overgrown  bushes bushes and and climbing  plants   plants now cover what was once a  splendid   castle castle whose whose magnificent   structure used to tower over everything

else. 6.
bang bang,, gro growl wl,, scre screec ech, h, ring, ring, swis swish, h, rumb rumble le,, pop pop,, wham wham,, ka1b ka1bla lam m

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III. Re,a++ -

readers need to remember what they have read. writers use certain techni4ues to help readers remember the points they want to emphasize.

%. =epetition " of letters, words and sounds create a certain pattern in writing. 1 words that are repeated are important +xample)

irt and -lean them clean them clean them

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&. ;lliteration " is the repetition of sounds at the start of words either se4uentially or  intermittently. 1 this gives the written work a musical 4uality and also helps create a particular  mood. a. ;ssonance " is the repetition of vowel sounds in the beginning of a series of words. +xample)

;nna acts annoyed at ;ntonia about ;my’s assignment.

 b. -onsonance " the repetition of consonant sounds in the beginning of a series of words. +xample)

I-. %.

>erni vivaciously vacates >oltaire’s >olkswagen.

#ai'u+ati! ! Evet$ Foreshadowing " a techni4ue where the writer gives hints or clues to indicate action that will occur later in the narrative. - it allows the reader to guess the ending of the story.

&. Flashback " an interruption of the progress of the story. - normally a plot progresses chronologically7 however, a flashback interrupts the order to tell the readers something that happened before the story began '. 0uspense " is the excitement the reader feels about the outcome or solution to the problem of the story. 1 a techni4ue that encourages the reader to finish the story. 6. Irony " of situations entails events developing into the opposite of what would naturally be expected. 5.

In medias res 1 !atin for ?into the middle of things.? It usually describes a narrative that  begins, not at the beginning of a story, but somewhere in the middle @ usually at some crucial point in the action.

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1 refers to a literary techni4ue in which a story begins after the action has already begun and the explanation of plot, character roles, the importance of  setting, and so on are left to be revealed via flashback, a characterAs thoughts or dialogue, or a ?reverse chronology? in which the story is told backwards econstruction 1 a theory used in the study of literature or philosophy

6.

which says that a  piece of writing does not have (ust one meaning and that the meaning depends on the reader. -  suggests that all interpretation of a text simply constitutes further texts, which means there is no “outside the text at all. 9herefore, it is impossible for a text to have stable meaning. 9he practice of deconstruction involves identifying the contradictions within a text’s claim to have a single, stable meaning, and showing that a text can be taken to mean a variety of things that differ significantly from what it purports to mean.

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-. A++u$i! -

a techni4ue of referring to a person, place or event that has been mentioned or  written about earlier. 9hese people and events are usually famous and the meanings associated with them are carried over to the new one.

%. !iterary allusion " a reference to a famous story book character. +xample)

:ith his numerous girlfriends, one can say 0am is a -asanova.

&. *ythical allusion " a reference to a character from a myth regardless of its country of origin. 9he more famous ones are from Breek mythology. +xample) '.

It would take a 2ercules to clean up this mess.

2istorical allusion " a reference to a famous person or event in local, national or world history. +xample)

6.

9hat mean old curmudgeon *iss *inchin is 2itler incarnate. iblical allusion " a reference to character, place or event in the 2oly

ible. +xample)

9he battle between the orcs and the elves is rather apocalyptic.

-I. Hu"!r %. -omical 2umor " makes use of (okes and situations that are funny - the writer makes a conscious effort to make his readers laugh. &. ;musing 2umor " is not obvious and is very discreet - its humor can stem from the author’s choice of words.

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'. 0atirical 2umor " is biting because it comments on the ills of society and pokes fun at  people and things that are products of that failure. 6. ;bsurd Cokes " derive its humor from things and people that are incongruous or out of place - if it were a painting, it could be known as surrealistic.

THE LITERARY GENRES PROSE

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3rose is divided into six general types namely) e$$a)/ 'r!$e &ra"a/ 'r!$e i,ti!/ *i!gra'() and aut!*i!gra'()/ +etter$/ &iarie$/ 0!ura+$ and !t(er 'r!$e !r"$.

ESSAY -

is a prose composition which discusses a particular sub(ect

T1! Geera+ C+a$$e$: %. Formal essay " reflects the attitude and opinion of its author but written in a more ob(ective manner. &. Informal essay " suggests confidential talk, relaxation, and entertainment and the laughter  that comes of taking life not too seriously. 9his essay uses the pronoun “I freely. C+a$$e$: %. -haracter 0ketch " a study of the appearance, character, and personality of a real or  imaginary person. &. escriptive +ssay " a picture of a place, building, ob(ect, etc. as seen through the author’s eyes and mind. '. FamiliarD3ersonal +ssay " an intimate or informal revelation of the author’s own personality, whims, tastes, and habits. 6. =eflectiveD3hilosophic +ssay " a more serious discussion of deeper problems in life. 8. +ditorial +ssay " a discussion #often argumentative$ of current issues, such as what we find in the magazines, giving not (ust the news but also a point of view toward it. E. -ritical +ssay " a review which passes (udgment on a play, a movie, a book, a musical composition or concert, a picture, or other works of art. . Garrative +ssay " an essay largely narrative in form but written for the idea, not the story. H. iographical +ssay " an analysis of the life of some important persons, not (ust narrating the events but also explaining them and weighing their significance and influence. T)'e$ ! E$$a)$ %. +xpository " attempts to explain or clarify something. It provides new or additional information about a topic. &. ;nalytical " attempts to study certain topics or issues through investigation of its pros and cons. It ends in a conclusion. '. 0peculative " is more concerned with stimulating discussions through 4uestioning about an issue. It does not attempt to explain, answer or defend a topic. 6. Interpretative " simplifies an article, a line or a statement previously made using a certain yardstick or set of rules.

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PROSE DRA#A -

has the same types as the poetic plays except that these are in prose form.

PROSE FICTION -

is a prose composition in which character, setting or events are imaginatively created. 3rose fiction is of various types, namely)

%. 3rose allegory " a narrative in prose form in which abstract ideas are personified. &. 3rose romance " a prose narrative treating imaginary characters involved in events remote in time or place and usually heroic, adventurous or mysterious. '. 9ale of adventure " prose fiction dealing with something involving danger and unknown risks or man’s encounter with nature. 6. Govel " a fictitious prose narrative of considerable length portraying characters, actions, and scenes representative of real life in a more or less intricate plot. 8. Govelette " a prose composition shorter than a novel, longer than a short story containing the elements of plot, setting and character with its plot more complicated and the characters more in number than a short story. E. 0hort story " a prose narrative of about %,  words intended to be read in one sitting with  plot, setting and character contributing to achieve a unified or single effect. . Fable " a prose narrative with animals or inanimate ob(ects as characters and devised to teach a moral lesson. H. 3arable " a short prose narrative that teaches a spiritual truth or moral lesson. It differs from a fable as it uses persons as characters. It has setting, characters and events. J. *yth " a prose narrative embodying the convictions of a people as to their gods and other  diving personages, their own origin and early history and the heroes connected with it or the origin of the world or to explain a natural phenomenon. %. !egend " a prose narrative coming down from the past especially one regarded as historical although not verifiable. %%. Folk tale " a characteristically anonymous, timeless and placeless tale circulated orally among a people. %&. Fairy tale " a narrative of adventures involving fantastic forces and beings too good to be true and almost always has a happy ending.

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C(ara,teri$ti,$ ! Fi,ti! %. Fiction is ramatic " it is an imitation of life &. Fiction is concrete and specific " embodied by dramatic symbols '. Fiction is generally representative 6. Fiction instructs and entertains " it broadens and extends our sympathies7 it helps us understand life and humanize ourselves 8. Fiction is related to life " dependent upon its relationship to life E. Fiction is creative and imaginative. E+e"et$ ! Fi,ti! %. ;ction and plot &. -haracter  '. 0etting 6. ;tmosphere and tone

8. E. . H.

9heme Garrator and point of view !anguage ;llegory and 0ymbolism

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2IOGRAPHY -

is an account of a person’s life written by another.

AUTO2IOGRAPHY -

is an account of a person’s life written by himself.

LETTER -

is a direct or personally written or printed message addressed to a person or organization.

3OURNAL -

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is a prose composition published periodically for an exclusive readership.

DIARY -

is a daily record of personal activities, reflections or feelings written by a person for   posterity.

POETRY 3oetry is a literary composition in verse form having a regular rhyme, rhythm and meter and divided into stanzas. It is of three kinds namely) arrative '!etr) which tells a story7 +)ri, '!etr) which expresses the ardent personal feelings of the poet on a sub(ect and &ra"ati, '!etr) which is designed to be spoken and acted on stage. Narrative '!etr) is of three kinds)

%. +pic " a long narrative poem elevated in style and dignified in tone telling of the adventures and achievements of a hero important to the history of his race or nation. &. allad " a simple narrative poem often meant for singing, characterized by simplicity of  language and usually dealing with basic sub(ects such as love, honor or death. '. *etrical taleDromance " a medieval tale in verse form dealing with heroic or marvelous achievements of knights in shining armor and of fair ladies in distress. L)ri, '!etr) is of six types namely)

%.
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Dra"ati, '!etr) is classified into)

%. 3oetic plays, which in turn are of five types namely) a. -omedy " a dramatic play of light and humorous character, typically with a cheerful or  happy ending.  b. 9ragedy " a dramatic play portraying the struggle of a strong1willed protagonist against fate, as predestined by mysterious, divine, social or psychological forces culminating in disaster and usually death caused by a flaw in the protagonist’s character. c. ramatic history " dramatic play dealing with a past historical event. d. Farce " a light dramatic composition marked by broadly satirical comedy and improbable plot. e. *elodrama " a dramatic composition characterized by extravagant theatricality and by the predominance of plot and physical action over characterization. &. *as4ue " a short allegorical dramatic entertainment popular with courtly audiences in %Eth century and %th century +ngland originally consisting of pantomime and dancing, but later  characterized by elaborate staging and costuming, the use of dance and song and very little dialogue. '. ramatic monologue " a dramatic composition is verse form having one speaker only.

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C(ara,teri$ti,$ ! P!etr) %. =hythm " the musical 4uality produced as words are stressed and unstressed in one poetic line &. *eter " the measured and patterned arrangement or grouped syllables according to stress and length. Free >erse " not following the pattern but instead more on or according to the natural rhythm of his thoughts and feelings. >erse " one line of a poem '. =hyme " the regular occurrence of similar sounds at the end of the line. 6. Imagery " the sum total of mental pictures created as words as used with special meanings. 8. 0ense of meaning " the sub(ect matter of the poem which may be implicitly or explicitly expressed. E+e"et$ ! P!etr) %. art " beauty &. emotion " core, meat, sub(ect '. rhythm " succession of the stressed and unstressed syllables

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UNIT 2 Development

of Philippine

Literature 9he diversity and richness of 3hilippine literature evolved side by side with the countryAs history. 9his can best be appreciated in the context of the countryAs pre1colonial cultural traditions and the socio1political histories of its colonial and contemporary traditions. 9he average FilipinoAs unfamiliarity with his indigenous literature was largely due to what has  been impressed upon him) that his country was ?discovered? and, hence, 3hilippine ?history? started only in %8&%. 0o successful were the efforts of colonialists to blot out the memory of the countryAs largely oral past that present1day Filipino writers, artists and (ournalists are trying to correct this ine4uity by recognizing the countryAs wealth of ethnic traditions and disseminating them in schools and in the mass media. 9he rousings of nationalistic pride in the %JEs and %Js also helped bring about this change of attitude among a new breed of Filipinos concerned about the ?Filipino identity.?

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PRE4COLONIAL TI#ES
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of the people often sung to go with the movement of workers such as the kalusan #Ivatan$, soliranin #9agalog rowing song$ or the mambayu, a Kalinga rice1pounding song7 the verbal (oustsDgames like the duplo popular during wakes.
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THE SPANISH COLONIAL TRADITION :hile it is true that 0pain sub(ugated the 3hilippines for more mundane reasons, this former  +uropean power contributed much in the shaping and recording of our literature. =eligion and institutions that represented +uropean civilization enriched the languages in the lowlands, introduced theater which we would come to know as komedya, the sinakulo, the sarswela, the  playlets and the drama. 0pain also brought to the country, though at a much later time, liberal ideas and an internationalism that influenced our own Filipino intellectuals and writers for them to understand the meanings of ?liberty and freedom.? !iterature in this period may be classified as religious prose and poetry and secular prose and poetry. =eligious lyrics written by ladino poets or those versed in both 0panish and 9agalog were included in early catechism and were used to teach Filipinos the 0panish language. Fernando agonbantaAs ?%alamat nang walang hanga&gracias de sin sempiternas? #Lnending thanks$ is a fine example that is found in the #emorial de la vida cristiana en lengua tagala #Buidelines for the -hristian life in the 9agalog language$ published in %E8. ;nother form of religious lyrics are the meditative verses like the dalit  appended to novenas and catechisms. It has no fixed meter nor rime scheme although a number are written in octosyllabic 4uatrains and have a solemn tone and spiritual sub(ect matter.

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ut among the religious poetry of the day, it is the pasyon in octosyllabic 4uintillas that  became entrenched in the FilipinoAs commemoration of -hristAs agony and resurrection at -alvary. Baspar ;4uino de elenAs ? Ang #ahal na 'assion ni (esu )hristong 'anginoon natin na tola? #2oly 3assion of erse$ put out in %6 is the countryAs earliest known pasyon. icente 0otto, 9rinidad 3ardo de 9avera, =afael 3alma, +nri4ue !aygo #-aretas or *asks, %J&8$ and almori who mastered the prosa romantica  or romantic prose. ut the introduction of +nglish as medium of instruction in the 3hilippines hastened the demise of 0panish so that by the %J's, +nglish writing had overtaken 0panish writing. uring the languageAs death throes, however, writing in the romantic tradition, from the awit and korido, would

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continue in the novels of *agdalena Calandoni. ut patriotic writing continued under the new colonialists. 9hese appeared in the vernacular poems and modern adaptations of works during the 0panish period and which further maintained the 0panish tradition.

 THE A#ERICAN COLONIAL PERIOD ; new set of colonizers brought about new changes in 3hilippine literature. Gew literary forms such as free verse Min poetryN, the modern short story and the critical essay were introduced. ;merican influence was deeply entrenched with the firm establishment of +nglish as the medium of  instruction in all schools and with literary modernism that highlighted the writerAs individuality and cultivated consciousness of craft, sometimes at the expense of social consciousness. 9he poet, and later, Gational ;rtist for !iterature, Cose Barcia >illa used free verse and espoused the dictum, ?;rt for artAs sake? to the chagrin of other writers more concerned with the utilitarian aspect of literature. ;nother maverick in poetry who used free verse and talked about illicit love in her poetry was ;ngela *analang Bloria, a woman poet described as ahead of her time. espite the threat of censorship by the new dispensation, more writers turned up ?seditious works? and popular writing in the native languages bloomed through the weekly outlets like !iwayway and isaya. 9he alagtas tradition persisted until the poet ;le(andro B. ;badilla advocated modernism in poetry. ;badilla later influenced young poets who wrote modern verses in the %JEs such as >irgilio 0. ;lmario, 3edro I. =icarte and =olando 0. 9inio. :hile the early Filipino poets grappled with the verities of the new language, Filipinos seemed to have taken easily to the modern short story as published in the 'hilippines +ree 'ress, the )ollege +olioand 'hilippines Herald . 3az *ar4uez enitezAs ?ead 0tars? published in %J&8 was the first successful short story in +nglish written by a Filipino. !ater on, ;rturo . =otor and *anuel +. ;rguilla showed exceptional skills with the short story. ;longside this development, writers in the vernaculars continued to write in the provinces. aleriano 2ernandez 3eOa and 3atricio *ariano were writing minimal narratives similar to the early 9agalog short fiction called dali or pasingaw #sketch$. 9he romantic tradition was fused with ;merican pop culture or +uropean influences in the adaptations of +dgar =ice urroughsA Taran by F. 3. o4uecosa who also penned Ang 'alad ni  'epe after -harles ickenAs David )opperfield   even as the realist tradition was kept alive in the novels by !ope K. 0antos and Faustino ;guilar, among others. It should be noted that if there was a dearth of the Filipino novel in +nglish, the novel in the vernaculars continued to be written and serialized in weekly magazines like !iwayway, $isaya,

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 Hiligaynon and $annawag1

9he essay in +nglish became a potent medium from the %J&As to the present. 0ome leading essayists were (ournalists like -arlos 3. =omulo, Corge ocobo, 3ura 0antillan -astrence, etc. who wrote formal to humorous to informal essays for the delectation by Filipinos. ;mong those who wrote criticism developed during the ;merican period were Ignacio *anlapaz, !eopoldo /abes and I.>. *allari. ut it was 0alvador 3. !opezAs criticism that grabbed attention when he won the -ommonwealth !iteray ;ward for the essay in %J6 with his ?!iterature and 0ociety.? 9his essay posited that art must have substance and that >illaAs adherence to ?;rt for  ;rtAs 0ake? is decadent. 9he last throes of ;merican colonialism saw the flourishing of 3hilippine literature in +nglish at the same time, with the introduction of the Gew -ritical aesthetics, made writers pay close attention to craft and ?indirectly engendered a disparaging attitude? towards vernacular  writings 11 a tension that would recur in the contemporary period.

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THE CONTE#PORARY PERIOD 9he flowering of 3hilippine literature in the various languages continue especially with the appearance of new publications after the *artial !aw years and the resurgence of committed literature in the %JEs and the %Js. Filipino writers continue to write poetry, short stories, novellas, novels and essays whether  these are socially committed, genderDethnic related or are personal in intention or not.
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56ST CENTURY PHILIPPINE WRITING 3hilippine writing in the &%st century has taken a new turn. 9he works are seen as sensitive to gender, alludes to technology, show culture as plural rather than singular, and 4uestions conventions and supposedly absolute norms. :riting by women continues to flourish. 9hey have a feminist stance that 4uestions the centrality of the patriarchy #male1centered viewpoints$. +orbidden +ruit2 3omen 3rite the /rotic edited by 9ina -uyugan and "ung Ibig #o, love poems edited by Coi arrios show that a woman’s map of dreams and desires is better drawn by a woman writer herself. Bone were the days when female characters only came from the imagination " or fantasy " of men. 9echnology is also an important part of this literature, centered on the rise of the city and anchored on globalization. 9he economic boom, albeit benefiting only the elite, has led to the opening of the 3hilippines to diverse economic interests. :ritings on Filipinos abroad and of  Filipinos abroad also add to this more cosmopolitan, if not more consumerist, attitude of the &%st1 century Filipino. *oreover, writings from the regions have served notice that “imperial *anila is no longer  the only fountain of ideas. :e have to thank ;teneo de Gaga 3ublishing 2ouse, Gational -ommission on -ulture and the ;rts, L3 3ress, and Lniversity of 0an ;gustin 3ublishing 2ouse, among others. 9he on -arlos 3alanca *emorial ;wards in !iterature has opened its magisterial doors to writing from the regions. ;teneo de *anila Lniversity 3ress and L09 3ublishing 2ouse are both in fine form, publishing important works from Katipunan and +spana.  Gowadays, writers are no longer made to feel guilty if they write in +nglish. In true subversive fashion, they now write not (ust in +nglish or Filipino but in both languages. 0ome  books show poems printed enface) one side in +nglish, the other in Filipino. 9he twains have met, and you can no longer detect which is written first, and which is the translation, for there is e4ual facility and fluency in both. 9his recalls the verbal legerdemain of our ladino poets in the %th century. *oreover, *ar(orie +vasco has been translating her poems in +nglish into -ebuano, C. Iremil 9eodoro writes lyrical stories in Kinaray1a and translates them into +nglish, 3eter Gery slides from +nglish to 2iligaynon in his erotic poems, Kristian -ordero and >ictor Gierva write works in icolano and in the next breath, translate them into elegant +nglish. 0urely, the vessels that contain

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3hilippine literature are no longer one, or two, or even three, but as many as the different languages in our archipelago. :hat about the +nglish being written5 9rinidad 9arrosa 0ubido coined the phrase “language if MourN blood. r. Bemino 2. ;bad has used it as framework in his three anthologies on 3hilippine  poetry in +nglish. 2e said that we have colonized +nglish and have made it our own, and the poems are now “wrought from +nglish. It is no longer the very proper +nglish from the old textbooks, or the ;mericanese in books copyrighted in Gew /ork. It is now a language filtered by our regional languages and by mass media " printed, seen, broadcast " as well as shaped by social media, by the fragmentation of text language, by sound bites, anime, graphic novels, and cosplays #costume plays$. 9hus, we no longer find a poem about  a poem7 or a poem with Breek or =oman allusions7 or  a story set in Breenwich >illage. 9here is now a certain historicity7 allusions to 3hilippine myth and fable, lore and legend7 astringent satires of popular culture and political foibles. ;nglo1;merican writers are still being read, but now they are hyphenated and seem like dispatches from the global village. :orks, in translation, of ;frican, ;sian, and !atin ;merican writers are being devoured. 9here is the shock of recognition in reading about postcolonial experiences similar to ours, and fears and dreams coming from the same socio1political conditions. 9he internet has also made the Filipino writer less insular or old1fashioned. ob series or a romance film. Bhost stories are selling, and so do children’s books and graphic novels. /oung1adult novels are being written, for a generation on the run #or eyes glued to their gadgets$. 9he Filipino public has begun to read " and we are all the better for it.

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st

UNIT 3 21

 Century Literature from Western isayas

POETRY: Ang Ulod sa Mansanas *) A+i,e Ta G!7a+e$ A*!ut t(e Aut(!r: A+i,e Ta G!7a+e$ was born on Cune &6, %J86 in acolod -ity. 0he finished ; +nglish at Lniversity of 0t. !a 0alle1acolod, *; in !iterature at ;teneo de *anila Lniversity, and 3h.. in +nglish 0tudies at Lniversity of the 3hilippines1iliman. -urrently, she is a full 3rofessor in +nglish and !iterature in L3 >isayas, Iloilo. 0he has received the -ultural -enter of the 3hilippines !iterature Brants four times) 0hort 0tory #%JJ$, Govel #%JJ%$, 3lay #%JJ6$, and -hildren’s 3lay #%JJ8$. 0he has won the 3alanca ;wards for 0hort 0tory in 2iligaynon several times) “Isa Ka 3ungpong nga =osas #; unch of  =oses, %JJ$7 “*ga !uha para kay 9atay Cose #9ears for 9atay Cose, %JJ$7 “;ng !ikum sang Isla 0an *iguel #9he 0ecret of Isla 0an *iguel, %JJJ$7 “0a 9aguangkan sang uta #In the :omb of  the +arth, &&$7 at “awata ;nak #=eceive, *y -hild, &H$. 0ome of the plays she had written which were performed onstage were the sarswela “3inustahan nga Bugma #etted !ove$ and the musical “Cuanita -ruz. In &J her collection of 2iligaynon short stories %a Taguangkan sang   Duta kag iban pa nga %ugilanon #In the :omb of the +arth and
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ANG ULOD SA #ANSANAS ;lice 9an Bonzales

;ng ikaduha nga angkab kag indi ang una ;ng nagpukan sa tawo sa paghigugma ;ng angkab ni ;dan amo ang nagbaylo 0ang dalan nga pagaagyan sang tanan nga tawo. ;ng daku nga ulod nga nagakabod sa sanga  Gaibog sa kalipay nanday ;dan kag +va

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 Gagtuyo magwasak sang ila paghigugma Bani ang anak nga diutay ginsulod sa bunga. ;ng ulod sa mansanas natulon ni ;dan Kag nagkamang paulo halin sa iya tiyan  Gag1ut1ot sang utok tubtob nangunod Kag ang utok ni ;dan nangin daku nga ulod.  Gag1uriod ang ulod sa iya bagol Kag ang una nga angkab iya ginbasol  Galimtan sing dayon nga ang dason nga angkab 9anang nga bunga sang iya kaasab.

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3agtambok sang ulod nanginwala si ;dan  Gga sila ni +va gintuga sang dungan. 0i +va gintuga sang iwa sa kamatuoran ;pang si ;dan sa mansanas nagikan. ugalon nga ulod nga sia nagdumdum  Gga ang *ahal nga iwa lalaki sang bayhon Kag sang trono sia sang iwa ginbilinan ;gud si +va paludhon sa iya tiilan. 0ang malumos ang tawo sa katawhan ;ng ;nak sang iwa nanaug sa kalibutan. ;ng bugal ni ;dan ilabi nga naglala 0ang iya makita nga lalaki ang ata. Kag paano kon bayhon sang babaye ang ginpili5 ;ng linahi ni ;dan indi mamati. alaan nga 3ulong sa hangin ila ipakabit :ala sing lalaki nga makapalangit. !inibo ang nagligad nga mga dinag1on Kag si +va nagtindog sa pagluhodon *abaskog nga gasinggit sa kabanwahanan ;ng tingog galanog sa bukid kag kagulangan. 0a pagbalik sang ;nak sang iwa nga ugtong 0ia magapili na sang babaye nga bayhon *agatindog sia sa ibabaw sang kalibutan Kag ang ulod sa ulo ni ;dan iya tapakan. 0a ulo ni ;dan dayon magabuskag ;ng bulak sang paghidait kag kasanag Iya ihalad ining bulak sa kay +va Kag ang kalibutan mangamyon sang paghigugma.

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SHORT STORY: Donato Bugtot  *) Peter S!+i$ Ner) A*!ut t(e Aut(!r: Peter S!+i$ Ner) #born E Canuary %JEJ$ is an award1winning Filipino poet, fictionist, and author. :riting in his native 2iligaynon language, he has won such prestigious literary contests as the -arlos 3alanca *emorial ;wards for !iterature, the -ultural -enter of the 3hilippines #--3$ !iterary Brant, and the ;ll1:estern >isayas !iterary -ontest of the Gational -ommission for  -ulture and the ;rts #G--;$. 2e was inducted into the 3alanca ;wards 2all of Fame in &%&. iversifying into +nglish and Filipino, he has authored over & books, and wrote screenplays that won the 3hilippine -entennial !iterary 3rize of %JJH, the %JJH Film evelopment Foundation of the 3hilippines’ 0creenwriting -ontest, the &% -inemanila International Film Festival 0criptwriting -ompetition, and the &%& Film evelopment -ouncil of the 3hilippines’ First 0ineng 3ambansa Gational Film -ompetition. 2e wrote and edited wide circulation newspapers in Iloilo -ity before becoming a nurse in the Lnited 0tates. ;s a screen actor, 3eter   briefly appears in 9ikoy ;guiluz’s film on cybersex, www.PPP.com #*averick Films, &'$, of  which he was also the ;ssistant irector. 2e also has a cameo performance in Bugma sa 3anahon sang akunawa #Braydonnery ;rtists and ream:ings 3roductions, &%&$, the first full1length feature film that he wrote, directed, and produced. 3eter worked as an orthopedic nurse in !os ;ngeles, -alifornia for seven years before moving to =eisterstown, *aryland, where he now lives. 2e continues to write in +nglish and 2iligaynon.

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DONATO 2UGTOT 3eter 0olis Gery Lna nga ginbun1ag ang akon kapid. Bin1utdan sia sang pusod, ginhampak sa buli, gintinluan, ginputos sa lampin, kag gindaho sa akon iloy. ayon, ang paltera nagsiyagit sa kakibot, “;y, may paamanQ " kag nagdalhay ako halin sa taguangkan ni Ganay paggua sa kalibutan.  Gatawo ako nga bugtot, kulang1kulang sa bug1at, lipid ang ulo, kag kulakig nga daw palito sang posporo. 9ungod linubag ang akon dagway, namangkot ang paltera kon buhion pa ako. :ala nagsabat ang akon iloy. Gaghibi lang sia kag nagnguyngoy. ;mbot kon ginhangop sang paltera nga “0ilence means yes, apang ginhingagaw n’ya ako. Bin1utdan sang pusod, ginhampak sa buli, gintinluan, ginputos sa lampin, kag gindaho man sa akon iloy. 0ang tatlo na ako ka adlaw, ginsulod ako sa karton sang sapatos kag ginbilin sa hagdanan sang kumbento ni 3adre 9ino. Gasapwan ako sang kusinera1mayordoma nga si Gay 9iling. 0ia ang nagbatiti kag nagsapupo sa akon. Ihatag man kuntani ako ni 3adre 9ino sa 0:7 apang may lakip nga sulat sa ginbilin nga karton, gani gin1ayop na lang ako sang tigulang nga pari. 0a belasyon para kay 3adre 9ino, nagsiling si Gay 9iling nga bisan kuno malaw1ay ako kag  bugtot, naghatag man ako sang kalingawan sa mal1am nga pari. 0a huna1huna ko lang, "asubong   sang tutoy ni +ather ichard1

Binpadaku ako ni Gay 9iling. 9ubo1tubo kami sang iya kinagot nga si imbim. ;mbot kon ginpasuso man ako ni Gay 9iling sa iya titi nga daw mga kalubay, apang nahagop ako sa iya nga daw ato bala nga sia ang akon iloy. 0ang may pamensaron na ako, ginpamangkot ko sia. :ala sia nagsabat sang tadlong. 0iling n’ya, nagdaku kuno ako sa su1am kag tsa. R

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0ang bata pa ako, nabatian ko gid nga gin1akigan ni Gay 9iling si imbim sa kusina sang kumbento. “2inugay mo gani away inang si ondon, ha5 Brasya ina sia sa aton. “;no nga grasya man5 Kalaw1ay sa iya kag bugtot paQ Indi angayan sa iya ang ngalan nga onato, dapat oogieS tungod bugtot sia. “imbim, ang baba moQ “9uod man. “al1an mo kon ano ang matuod, ha5 Kon indi tungod kay ondon, indi ka makaangkon sang mga hampanganan. 3ara mo mahangpan, ginatiblian ako sang sobra ni 3adre 9ino tungod kay ondon. Kon ginabaklan ka monyeka sang pari, ina bilang pasalamat sa pagpadaku ko kay ondon. Bani, kabigon mo nga daw utod si ondon. “Indi Tko Tya. Kalaw1ay sa iyaQ *adamu lang sang kauslitan ang maldita nga si imbim sang mga bata pa kami. 0ang una, ako ang ginadala ni Gay 9iling sa ila balay. 0ang ulihi, ginapaupod na lang niya si imbim sa kumbento agud may kahampang man ako. 3agkatapos dagyang, nagabulig kami ni imbim sa mga hilikuton sa kusina, kag sa pagpaninlo sang kumbento. ;pang kon may disgrasya, ako pirme ang ginapasibangdan n’ya. Kon may mabuka nga baso o pinggan, ako ang may sala7 kon mabatok ang tinig1ang, ako ang may sala7 kon malimtan punpon ang hinalay, ako gihapon ang may sala. isan ginamaltrato ako, kag ginahimo nga kaladlawan ni imbim, indi ko mahimo nga magtanum sang dumot kag kaakig sa iya. 9ungod sia lang ang bestfriend ko. 0ia lang ang akon kahampang, ang kaedad nga sarang ko mahambal. R 0ang nagnobyo1nobyo na si imbim kay *acmac, ako ang iya tsaperon. Binapasugtan sila ni Gay 9iling nga magdeyt1deyt basta upod ako. ;ko ang paaman, daw liso sang kasuy. Kon magpabaybay, hambalan ako ni *acmac, “3alayo1layo ka lang anay, ogs, kay kalaw1 ay gid sa imo. Binaguba mo ang view. 0ikulon sia ni imbim, dayon makadlaw sila. ayon, pangilayan lang ako ni imbim, kag mahangpan ko na. Kon mangulabo, ginaupod man nila ako agud may magsaka sang lubi. “;baw, tan1awa bala ang payatot nga bugtot kon magtaklas sang lubiS daw tuko. ayon, maharakhak si *acmac. Kon kaisa, ginaapinan man ako ni imbim. “*as mapuslan siguro si ondon sang sa imo5 “;pang sin1o ang mas gwapo5  Gahangpan ko man ang amon mga papel sa kabuhi. Kilala ko sanday Uuasimodo, +smeralda, kag ang maambong nga si -aptain 3hoebus. Gagabasa man ako sang mga libro kag komiks. Binpamana ni imbim ang gwapo nga si *acmac. ;ko, nagpabilin nga nangalagad sa kumbento. ;ntes nagretiro si 3adre 9ino, ginpangabay niya nga tagaan ako empleyo sa simbahan  bilang dyanitor kag kampanero. 0oltero na ako sadto, natan1awan ko na ang “9he 2unchback of   Gotre ame, kag nabatian ko man ang “Kampanerang Kuba ni >ilma 0antos. Gaanad na ako sa mga sunlog, libak, kag yaguta. 0ang nakasal sila ni imbim, nagbuot si *acmac sa akon. Binpamaninoy pa gani nila ako sa ila subang nga ginhingalanan namon +smeralda. ;pang Togs’ man gihapon ang tawag n’ya sa akon, short sang Tbugtot.’ R ag1o nagtaliwan si 3adre 9ino, gintuad kag ginsaysay n’ya ang pagkapulot sa akon. Binpabasa n’ya ang sulat nga nalakip sa karton, kag ginhatag sa akon ang kulintas nga, suno sa sulat, ginpanag1iyahan sang akon iloy " isa ka *arita de los =eyes.

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:ala ko napunggan ang pag1agay sang akon mga luha para kay 3adre 9ino, ang pinaka1 Kristiyano nga tinuga nga nakilala ko. ;ng mga ulihi n’ya nga laygay sa akon daw gikan sa 0iete 3alabras " “3alanggaa sila. Ilabi na gid ang mga nagatamay sa imo. :ala ko na ginpangita ang akon matuod1tuod nga iloy. :ala ako nakahibalo kon ang e los =eyes apelyido niya nga kasado, o sa pagkadalaga. Kag daw wala man sia ginapangita sang akon ginhawa. ayon, sang nagligad nga tuig, sa pagsugod sang novenario sang ;guinaldo, samtang nagapaninlo ako sang simbahan, ginpalapitan ako sang isa ka babaye, mga kwarentahon ang edad, may hitsura, kag daw may1ikasarang sa kabuhi. Gamangkot sia parte kay 3adre 9ino, kag sang nakita n’ya ang kulintas nga ginasuksok ko, nangusisa man sia nahanungod sa akon. 0iyam ka kaagahon sia nga nagtambong sang simbang1gabi. 0a huna1huna ko, #ay

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 ginapangayo sia sa 'askwa nga ini1

3agkatapos sang *isa sang 3agkatawo, ginpangita n’ya ako sa kumbento. Gagpakilala nga sia kuno ang akon iloy. :ala ako nakibot. :ala man ako natublag. aw bato lang ako7 daw gin1igo sang kilat, kag nangin bato. Bin1agda n’ya ako nga mamaskwa sa siyudad. Gangindi ako. 'ara ano4 Gagpakitluoy sia, halos maluhod sa atubang ko, tubtub wala na ako nakapamalibad. Binpasugtan man ako ni Father =ichard. R  Gagsulod kami sa 0arabia 2otel para manyaga, apang wala man kami sang ginkaon didto.  Ganghalawhaw ako sa hotel, apang wala gid ako nagpamulalong nga ginakulbaan ukon namanulan.  Gag1order sia sang iced tea. -oke kuntani ang gusto ko, apang ambot kon ngaa ice tea man ang gin1 order ko. 0ang nag1order sia sang pagkaon, pareho man sang iya ang gin1order ko. Indi man abi ako  pamilyar sa menu. “onato gali ang ginhingalan sa imo ni 3adre 9ino. *atahum nga ngalan. “onato de los =eyes.  Gagpanagitlon si *rs. e los =eyes. Gaglag1ok sang ice tea. *adugay1dugay nga wala sia sang tinimuk1timok. aw nagahulat nga matunaw ang yelo. Binpamalhas ang baso. aw ginahulat n’ya ako maghambal, gani ginsaysay ko sa iya ang paathag ni 3adre 9ino sang akon ngalan, “Binkuha sa Italyano nga onatello, nga ang buot1silingon, Tginhatag.’ ugay kuno ako sang *akaako.  Gagyuhum si *rs. e los =eyes. “Kumusta ka na5 2amtong ka na gid subong. “ente1kwatro sang nagligad nga 0etyembre.  Gagtango sia. .ahibal-an n5ya1
 Gag1abot ang pagkaon. “eef stroganoff, siling sang weyter. “-areful, the plate is hot.  Gagsugod tulo ang mga luha ni *rs. e los =eyes. R “Kon ikaw ang akon iloy, sin1o ang akon amay5 “3asaylo, on. :ala mo na sia nakilala. Gaaksidente si anny, napulo na katuig ang nagligad. :ala sia sang hinalung1ong nahanungod sa imo. ;ko naman ang nagpanagitlon.

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“;ntes ako nanganak, nag1away kami ni 3apa mo. Gaglayas ako, nanago sa tiya ko sa arotac Guevo tubtub nakabun1ag. ayon ginbilin ko ikaw sa simbahan sang 0an ionisio tungodS tungodS  Gagpisngu1pisngo sia, daw ginakataro nga indi makahambal. aw naluoy man gani ako sa iya. “9ungod indi ko mabatas ang imoS kahimtangan. “Indi mo mabatas ang akon dagwayQ “0iling sang paltera, sarang ka mapatay. “;pang nabuhi ako. “0iling n’ya, kon mabuhi ka, magaantus ka lang. “Indi sia ang ios. Indi man ikaw. “3asayluha ako, on. ;pang nahibaluan ko nga magaantus ka lang sa luyo sang imo amay. Kilala ko si anny. *adayaw sia nga sahi sang tawo. Indi n’ya mabaton nga may depekto ka. “;may ko sia.  Gaghibi pa gid si *rs. e los =eyes. Gagpaindis1indis agay ang iya mga luha.  Gadulaan ako sang gana. :ala sang nagtandog sang pagkaon. “*ay kapid ka, on. idto ako nakibot. ;bi ko anay, ang naigo sang kilat, indi na maigo liwat. 0iling nila, “lightning never strikes the same place twice. Indi matuod. “Kilala mo si Ced elvis5 ;ng bokalista sang 9unog ;makan5 “2uo, e. Indi bala sia ang nagdaug sa T0tar in a *illion’ nga kontest sa 9>5 “0ia ang kapid mo. ;pelyido ko ang ginagamit n’ya nga stage name. Cohn +dward elvis de los =eyes ang bug1os n’ya nga ngalan. aw liwat ako nga ginkilatan. Ang maambong, talented, kag kilala nga si (ed $elvis7

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kapid ko4

R “Lna sia nga ginbun1ag. ayon, ikaw. T3aaman,’ siling sang paltera. Kon napat1ud ko lang nga batunon ka ni anny, wala ko ikaw ginbilin sa kumbento. ;pang kilala ko ang batasan ni anny, mas pasulabihon n’ya ang mapagrus mo nga kapid. Gabal1an ko gid nga sika1sikaon ka lang n’ya. *agaantus ka lang. “Ggaa5 !uyag ko ipamangkot kon ngaa ginbalikan niya ako. Ggaa subong. Ggaa subong lang. “0a nasiling ko na, wala sa hinalung1ong ko ang mga ginpanghimo ko sadto. :ala ako nakahangop sang akon mga opsiyon. ;no ang sarang ko mapilian5 Binhimo ko lang ang sa  pamatyag ko labing maayo. Binbilin ko ikaw sa simbahan. antog ang kaayo ni 3adre 9ino.  Gahibaluan ko nga indi ka niya pagpabay1an. 0a imo kahimtangan, siling ko, mas maayo ang maabtan mo sa luyo sang pari sang sa 0:. “Ggaa nagbalik ka5 Ggaa subong lang5 “*ay pangayuon kuntani ako sa imo, on. “*agluwas sa kapatawaran5 “*ahangpan ko man kon magpamalibad ka. ;pang indi ini para sa akon. 3ara ini sa imo kapid. Binpahiran ni *rs. e los =eyes ang iya mga luha. “Kinahanglan ni Ced sang kidney transplant. Binadialysis na lang subong si Ced. :ala na si anny. Indi ako tissue match7 sa dugo pa lang, 9ype ; ako, 9ype ; si Ced. Gagapasimpalad lang ako. 0iling koS “9ype ; ang dugo ko. Kag basi matuod ako ang iya tissue match. *ay nahibaluan man ako nahanungod sa kidney tranplants, may mga nabatian. Indi tungod bugtot, wala na ako sang nabal1 an. Bintudluan ako ni 3adre 9ino, ginpaathagan sang mga balita sa peryodiko kag telebisyon, ginkabig nga may kaalam kag ihibalo. 0iling ni 3adre 9ino, daw espongha kuno ang akon utok. ilib man sia sa akon.

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 Gagtango si *rs. e los =eyes. Gagtulo liwat ang iya mga luha. aw tun1og nga nagdalhay sa baso sang ice tea.  Gaghipus lang ako. 0ang ulihi, ginhatagan n’ya ako sang calling card. “9awgi ako kon magbaylo ang pensar  mo. Bin1inom namon ang ice tea. Binpaputos n’ya ang beef stroganoff. Gagpamilit sia nga dal1 on ko ang pinutos. Binkup1an n’ya ako, kag nagpaalam. Gasaw1ahan ako sa iya paghakus. 3agkagua sa hotel, ginhatag ko sa mga bata nga nagapakalimos ang pinutos nga beef  stroganoff. R Bintuad ko ang tanan kay Father =ichard. 9reyntahon lang si Father =ichard, apang lagting sia nga pari, gani sia ang gintal1us nga kura1paruko sang nagretiro si 3adre 9ino. “*akatilingala ang mga pamaagi sang ios. Ikaw, ang bato nga gin1etsa1pwera sang mga manugtukod, ikaw subong ang sadsaran sang kaluwasan. Ikaw " ang paaman, ikaw subong ang sugpon nga kabuhi sang imo kapid. Binhingalanan ka nga onato, nagakahulugan Tginhatag sang ios,’ apang ikaw subong ang ginatawag nga maghatag. 0iling naman iya ni *acmac, “ogs, indi ka magpasugot. ;ra na kay Ced ang tanan. Ggaa subong ikaw ang kinahanglan nga magsakripisyo5 9ugda naman ni imbim, “Bin1ubos ni Ced ang lugar kag pagkaon sa taguangkan sang imo iloy gani nangin lipid ang ulo mo, bugtot ka, kag kulakig. 0ia ang gwapo, nami tingog, kag manggaranon. 0ia ang nagpaayaw sa pagtamod kag pagpalangga sang imo mga ginikanan. ugang pa ni *acmac, “ogs, indi pag1ihatag ang imo bato1bato. Itigana ina. Kay kon may tagaan ka gid man, ayhan sa ihada mo na lang sa pila ka adlaw. amu ka na bala utang nga regalo sa iya. :ala mo naman sia ginpaskwahan sang nagligad. 0ang nakapamat1ud na ako, gintawgan ko si *rs. e los =eyes. Bintestingan ako, madamu nga mga eksamen kag iskrining) sa dugo, ihi, tissue matching, x1ray, ultrasound, stress test, -9 scan, kag kon anu1ano pa. Gapasaran ko tanan. 0iling sang duktor, ako ang perfect tissue match. ;ko ang perfect donor para kay Ced. R Bin1estorya ako liwat ni *rs. e los =eyes. “*ay dapat ka mahibaluan. Gasamad ang bato1bato ni Ced tungod nag1inom sia sang =acumin nga hilo para sa mga ilaga. Kag sang daw kulang pa, nagtomar pa gid sia sang madamu nga 9ylenol kag aspirin.

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 .aghandum sia nga magpakamatay4

“;kig si Ced sa akon. 3apa’s boy sia. 0ang nagtaliwan si anny, ako ang iya ginbasol. 3irme na lang kami nagabangigay. Gagbarkada sia. Gagbanda1banda. Gagbisyo. Gagdrugs. *asami nga ginasukma sa akon ni Ced, indi ko sia kuno palangga. :ala gid sia kuno nakabatyag sang  pagpalangga gikan sa akon. “;pang sia ang ginpili mo. ;ng ginpasulabi. “Gagkanervous breakdown ako pagkatapos nga ginhatag ko ikaw sa simbahan. 0a huna1huna ko, Ginbilin mo ako, wala ginhatag6 “0iling nila, post1partum depression. ;pang wala lang sila nakahibalo sang sulod sang akon konsensya. 2alos ko tandugon si Ced. Indi ko sia makungkong. 2alos indi ko sia pagtan1awon. Ikaw ang ginapanumdum ko kon makita ko sia. Gagalain dayon ang buot ko. Kabug1at. Kapiut.  Gagakahidlaw ako sa imo. 0a huna1huna ko, Ti, ngaa wala mo ako ginbalikan4 “:ala na ako nakabalik sa 0an ionisio. Gahadlok ako. 3aano kon wala ka nabuhi5 Kag kon nabuhi ka gid man, ano ang himuon ko5 ;no ang hambalon ni anny5 asi maguba ang diutay

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namon nga pamilya. 0ang nagtaliwan na si anny, tin1edyer na si Ced. Gagkahangawa naman ako nga indi ka niya mabaton. ;pang subong, kinahanglan ka ni Ced. Indi ko luyag nga pati sia madula man sa akon. Gadula na sa akon si anny. Gadula ka na sa akon sang ginbilin ko ikaw kay 3adre 9ino. “!uyag ko makita si Ced. R 0i Ced elvis ang gina1amba sang mga pederast nga mamalaybay kon ginasaulog nila sa mga tinaga ang mapagrus nga mga butkon, malaba nga mga batiis, mabukod nga abaga, makitid nga hawak, mala1porselana nga panit. ;nghel ang kaanggid sang nawong ni Ced. *ataas ang iya ilong, nagabawod sa kalaba ang mga amimilok, mahulutyugon ang mga mata, matibsol ang makakilinam1 kinam nga mga bibig, mapino ang supat, wala punggod, wala bukol1bukol. Indi sia lipid, o bangian ang guya, o kurapa kasubong ko. Indi sia bugtot, ikig1ikig, o daw tiki nga masami ginasunlog sa akon. aw mahangpan ko kon ngaa sia ang ginpili ni *rs. e los =eyes sang sa akon. “Ikaw ang madonate sang kidney para sa akon5 *ay namutikan ako nga pagpangyaguta sa tono ni Ced. “3ila ang ginbayad sa imo ni *ama5 “Kabubut1on ko nga ihatag para sa imo ang isa ko ka bato1bato. “Ggaa5 ;no na naman nga drama ina5 *ay kwarta kami. *aldito si Ced. !uyag ko na gid ituad sa iya nga ako ang iya kapid apang ginpunggan ako sang pakitluoy ni *rs. e los =eyes. asi kuno maghurumentado si Ced kon mabal1an n’ya nga may kapid sia. “;no ang baylo sang imo kidney5 !uyag mo magsakay sa popularidad ko5 !uyag mo makilala5 *angin sikat5 ;ng bugtot nga naghatag sang iya kidney kay Ced elvisQ ;mo ina ang gusto mo5 “Ced, ngaa akig ka sa kalibutan5 “;ko, akig5 2oyQ 3anumduma kon sin1o ang kahambal mo, ha5 Indi lang ikaw ang may kidney sa kalibutanQ !uyag ko na gid iburuka sa iya, Apang ako ang imo perfect match6 Ako ang perfect donor1

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Tungod ako ang imo kapid1 Ang lawas kag dugo nga igaula sa kapatawaran sang mga sala1 #ga  sala sang aton pamilya1 %ang sala ni Danny, sala ni #arita, sala mo6 ;pang indi ako makahambal.

;yhan, sa tuman nga kaakig, kaugot, kagS kaluoy.  Galuoy ako kay Ced. Ano ang natabu sa iya4 .gaa nagtilaw sia nga mag-utas sang iya kaugalingon4 .gaa tuman ang iya kaugot sa kabuhi4

 Gagharakhak si Ced. Gagapangyaguta. “Indi ka dapat maluoy sa akon, ugtot. *aluoy ka sa kaugalingon mo. :ala ka nakatilaw sang tanan nga kapritso nga naaguman ko. :ala ka pa gani siguro nakanobya tungod sa kalaw1ay mo, ano5 Gakatilaw ka na sang babaye5 3adayon nga nagharakhak ang demonyo. Binapossess si Ced elvis. “3auli ka kag magpaukoy. Indi ko luyag makita liwat ang itsura mo. *akaluluoy ka man, ugtot. Binsumpa ka sang kapalaranQ Binpamahulay ako sang makagua sa kwarto ni Ced. *ayami nga mga balhas. emonyo ang batasan ni Ced. 0ia nga ginbugayan sang katahum kag mala1anghel nga hitsura, napun1an sang kalain kag kalaw1ay. BarukQ *akangilil1ad sia7 kag makatalagam, tungod makatiliplang. 2itsura n’ya lang ang mabuot, apang ang sulod, dukot. R 3ebrero %6, >alentine’s ay. ;dlaw sang mga tagipusoon. Igsakto nga singkwenta ka adlaw sumugod sang nagpakilala si *rs. e los =eyes bilang akon iloy, gintigayon ang kidney transplant para kay Ced.

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 Gamat1ud ako nga ihatag ang isa ka bahin sang akon lawas sa akon kapid. Indi tungod ginpangayo n’ya. Kundi tungod kinahanglan n’ya. Kag tungod luyag ko. Kinahanglan ni Ced ang sugpon nga kabuhi para sa kahigayunan nga makabag1o. *akabalik  sa ios. Kag luyag ko nga ako ang maghatag sang tsansa sa iya. Kon sarang lang mahatag sa iya ang akon kasing1kasing agud mabag1o man ang iya tagipusuon, himuon ko. Indi tungod onato ang ngalan ko, kundi tungod kapid ko sia. ;yhan, matuod ang ginhambal ni imbim nga si Ced ang nag1ubos sang pagkaon kag lugar  sa taguangkan ni Ganay nga para kuntani sa amon nga duha. ;pang kon balikdon ang tanan, wala ako ginpatay sang akon kapid sa madulum nga taguangkan ni Ganay kon diin mahapus ang pagpipi kag pagdugmok sa akon. 0a baylo, ginbilinan n’ya ako sang tsansa nga mabuhi.

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Ginbilinan n5ya ako sang tsansa nga mabuhi6

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2LOG POST: Pavia Carabao Carroza Festival  *) E&gar Si$,ar %ide .ote6

W(at i$ a *+!g? ; *+!g is a type of website that is usually arranged in chronological order from the most recent Tpost’ #or entry$ at the top of the main page to the older entries towards the bottom. logs are usually #but not always$ written by one person and are updated pretty regularly. logs are often #but not always$ written on a particular topic " there are blogs on virtually any topic you can think of. From photography, to spirituality, to recipes, to personal diaries to hobbies " blogging has as many applications and varieties as you can imagine. :hole blog communities have sprung up around some of these topics putting  people into contact with each other in relationships where they can learn, share ideas, make friends with and even do business with people with similar  interests from around the world.

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A*!ut t(e Aut(!r: E&gar Hu*er! Si$,ar was born in the town of 3avia, Iloilo #%J8'$. 2e currently lives in -adena de ;mor 0treet, on Francisco >illage, Caro, Iloilo -ity. 2e finished the course ; +nglish with 3hilosophy as *inor Field of -oncentration at *aryhurst 0eminary in aguio #%J6$, and *aster of *anagement, *a(or in 3ublic *angament #**3*$ at Lniversity of the 3hilippines >isayas #%JJ$. 2e now works as ivision -hief, ;dministrative V =ecords ivision of Iloilo -ity 9reasurerAs
PA-IA CARA2AO CARRO8A FESTI-AL  #http)DDnewedgarsiscar.blogspot.comD&%ED&Dpavia1carabao1carroza1festival.html$ +dgar 2. 0iscar  -elebrated annually every 'rd of *ay and consistently since %J' in 3avia, Iloilo, this Festival showcases 3avia’s ingenuity and of  their being an indigenous people. Included in the -alendar of ;ctivities of the epartment of 9ourism, -arabao -arroza Festival attracts many foreign and domestic tourists, guests, and visitors all over the region. 9he festival which highlight the celebration of the town fiesta is being participated by the eighteen #%H$ barangays of the municipality and consists of three #'$ main attractions namely7 the

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a.$ -arabao -arroza 3arade  b.$ -arabao -arroza =ace and c.$ 0earch for -arabao -arroza Uueen. Hi$t!r)

It was on *ay ', %J' that the -arabao -arroza Festival was conceptualized by Former *ayor   Gelson B. Bumban together with *r. =odolfo -laparols, then Field 9ourism 2osts and +ntertainers. 3avia is blessed with town leaders who unselfishly commit their  leadership to the place and the people they serve. 9he festival’s concept and ob(ectives had been carried through the years with the change of time and leadership and will continue to serve as a venue to showcase what 3avia is " and who 3avianhons are.

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Cara*a! Carr!7a Para&e

+ighteen #%H$ gaily decorated carrozas and carabaos with their  muses clad in Filipiana costumes start their way parading from rgy. Lngka I down to 3avia Gational 2igh 0chool. +ach vies for the *ost Baily ecorated -arabao -arroza, and the carroza being the float bears a motif  depicting the barangay’s noted industry or the barangay’s agricultural products. 9he muses vie for the title of -arabao -arroza Festival Uueen.

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Cara*a! Carr!7a Ra,e

9he race consists of the carroza #free from any attachments and decorations$ being pulled by carabaos with their riders minus the muses is made on a %% meter lane at 3avia Gational 2igh 0chool Brounds.9hree #'$ elimination rounds complete for the final race. ; winner is then declared from the six #E$ finalists. Sear,( !r t(e Cara*a! Carr!7a Fe$tiva+ Quee

9he search is made among the eighteen #%H$ muses through various competitions like7 *iss 3hotogenic, est in 9alent, *iss -ongeniality, est in 0ummer :ear, est in +vening Bown, est in 3roduction Gumber, and est in Interview. 9his is being held in the evening of *ay ' at the public plaza.

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SHORT STORY: Binukot  *) A+ai Ru$$ Di"7! A*!ut t(e Aut(!r: A+ai Ru$$ Di"7! was born on isayas 0tate Lniversity7 and achelor in !ocal Bovernment ;dministration #!B;$ at Iloilo 0tate -ollege of Fisheries #&J$. 2e became a fellow of L3 !os aOos and th Iligan Gational :riters :orkshop #&$ at *indanao 0tate Lniversity. 2e won 'rd prize for his short story “inukot in the -arlos 3alanca *emorial ;wards for !iterature #&%&$7 his poetry collection “;ng akunawa kag iban pa nga mga binalaybay gained recognition from Komisyon sa :ikang Filipino #&$7 ;ng *anunulat kag ;ng 3endulum was his first book published by Fray !uis de !eon -ompetitive ook :riting Brant #&E$7 he also received Bawad +mmanuel !acaba for est Gew :riter in 2iligaynon from the  Gational -ommision for -ulture and the ;rts #&$.

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2INU9OT ;lain =uss imzon Binpamiud ni !eonita ang mga pinanid sang katsa. 0a isa ka patadyong, ginputos niya ang mga dagum kag may nagkalainlain nga duag sang mga hilo. ;ng iban sa mga katsa nasugudan na niya bilang mga panubok nga amo ang paghingalan sang mga ukidnon sa pagborda sang mga  bagay kag mga hitabu. *ay mga bagay kag mga hitabu nga nasugdan na sa pagborda. ;pang ini nga idihon nga sugidanon ni !eonita wala gid mahibaloan sing bisan isa ka ukidnon. 3ara sa iya, maduagon ini nga sugidanon, apang nahibaloan man niya nga ini indi maduagon para sa mga ukidnon.   3at1ud nga matingala ang mga ukidnon nga wala siya makapakigbahin sa inanog.  Gahibaloan niya nga maaligmat si !ola 9elya sa iya pagkadula. 0a ini nga hitabu, siya ang mangin una nga ukidnon nga makabuhat sang iya ginabuko. 3alangga siya ni !ola 9elya. :ala man nagkulang ang pagtatap kag pagtudlo sang tigulang sa iya sang mga kamatuoran para sa iya bilang isa ka babaye nga ukidnon. 0i !eonita makabig nga pinaka1huwaran kag pinaka1maalam.  Gagdaku siya sa sabak ni !ola 9elya nga labi nga ginatahod. 0iya makabig nga manunubli ni !ola 9elya. 0iya ang may pinaka1madamu nga nasaulo nga mga sugidanon. 0iya ang may pinakadaku nga kahigayonan nga makasaulo sang 2inilawod, ang malaba nga binalaybay nga may sugidanon nahanungod sa pagpasimpalad kag paghigugma sang mga ukidnon. 0i !eonita man ang  pinakamatahum nga ukidnon. Kon kaharian ini nga tribu, isa siya ka prinsesa nga manug1reyna. *atandaan pa niya sang siya nagpangtipon sang mga dahon sang kamangyan nga ginalubak para gamiton nga bulong sa madamu nga sahi sang balatian, kag nagtalang siya kag wala makabalik  gilayon sa ila payag ni !ola 9elya. ilog nga tribu ang nagpangita sa iya katulad lang nga nagpangita ang iban sa ila sang pinakamabaskug nga anting1anting. Karon, nagtigpasaw ang iya mga tiil sa sapa nga nagakihad sang talon kag kakahoyan sa duta sagwa sang mga ini. 0a iya panghunahuna, dugangan niya sang isa ka sugidanon ang mga ukidnon. ugangan niya ang 2inilawod sang iya kaugalingon kag matuod1tuod nga sugidanon pananglit iya ini mahimo. Ini nga sugidanon hatagan niya sang mga laragway paagi sa panubok.  Gagbalikid si !eonita sa talon kag kakahoyan. :ala sing gal1um sa ibabaw sang mga ini. 0a kalayuon, mahinay nga mabatian ang tunog sang mga tambur, agung, kag kahoy nga ginabasal. Ini ang mga kasangkapan nga ginapatunog sa pagsaut sang inanog, ang saut nga nagasunod sa hulag

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sang banog ukon pispis nga dapay. *ahinay na nga mabatian ang mga tigbato sang pag1amba sang ta1ta. ;ng ta1ta ang pinakamatagsing kag pinakamagahod nga bahin sang inanog. “2erlikitaQ 2erliQ 2erliQ 2erlikitaQ Gahibaloan niya nga padayon ang pagsaut sang tribu.

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RRRRR “!amunon sang higante nga man1og nga si akunawa ang iya iloy nga si Lgsad. *agabangon si akunawa nga nagabaruron sa idalum sang dagat sa diin ginbilin kag ginpatumbayaan siya ni Lgsad. Gagdaku siya nga nakaangkon sang kalabaon nga makatabid sang langit kag dagat. 0a kalain sang iya balatyagon, luyag magtimalus ni akunawa kay Lgsad, nga iya iloy. Gagalutaw sa hangin ang pangayaw nga nagpulong sini kay !eonita. RRRRR *angin masiri ang mga lalantawon gikan sa putokputokan sa diin malapit sa dagat. ala ni !eonita ang mga pinanid sang katsa, mga dagum, kag hilo nga may nagkalainlain nga duag. *agabuhat siya sang panubok nga magalaragway sang paglamon ni akunawa kay Lgsad. 2inali matabu, ini nga panubok indi niya mahimo nga mahigot sa iya agtang bilang sampulong ukon puni sa tagsa ka pagsaut sang inanog. Indi ini iya sang mga ukidnon. Iya ini sang isa ka pangayaw. !aban nga maakig si !ola 9elya bangud batuk sa kinaandan sang mga ukidnon ang  pagabuhaton ni !eonita nga may kakulba. *alayo ang talon kag kakahoyan sa dagat. Binatawag man sila nga mga 0ulodnon bagud nagapuyo sila sa sulod sang talon kag kakahoyan. RRRRR ;ng pangayaw nagalutaw sa hangin. Isa ka gab1i, nagtuhaw siya samtang nagatamwa si !eonita sa ugsad kag nagahuyop sang tulali santu sa huni sang mga pispis nga punay. 0a siga sang ugsad, ang pangayaw naka1sarwal lang nga human sa daw may tuman kagagmay nga mga mata nga lambat nga lanot. :ala ini sing may ginasul1ob nga bayo. Indi tuman kadalagku apang bayhonan ang iya dughan kag mga butkon. ;ng iya mga mata nagalaragway sang kaalam kag kaisog. *alaba nga bangkaw nga ang punta sini may tagub nga may dagway sang isda kag napunihan sang pilak  ang nahigot sa iya likod. 3ara kay !eonita, indi ini sayup nga pagpalatihan. Ini kamatuoran sagwa sang mga kamatuoran nga nagapalibot sa mga ukidnon. !amunon sang higante nga man1og nga si

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akunawa ang iya iloy nga si Lgsad. *agabangon si akunawa nga nagabaruron sa idalum sang dagat sa diin ginbilin kag ginpabayaan siya ni Lgsad. Gagdaku siya nga nakaangkon sang kalabaon nga makatabid sang langit kag dagat. *agatimalus si akunawa kay Lgsad.  0i !eonita naghamtong nga wala nakakilala sang iya iloy. :ala man niya makilala ang iya amay. 0i !ola 9elya nga wala man mapat1ud kon matuodtuod niya nga lola ang nagbatiti sa iya  bilang ginikanan. 0i !ola 9elya ang pinakatigulang nga babaye sa tribu. 0unu sa mga huring1huring, si !eonita anak sang mga pangayaw nga nagtalang sa ginsakpan sang mga ukidnon. !ikom sa tanan, ini nga sugilanon ginpamatian ni !eonita nga may daku nga pagpati. ;pang wala gid niya ang iya pagpati ginpahibalo sa mga ukidnon. :ala gid niya ini ginpamangkot bisan kay !ola 9elya. RRRRR 0a putokputukan, daw halos lab1uton ni !eonita si Lgsad. Gagpangita siya sing daku, malapad, kag matapan nga bato. idto niya ginhumlad and mga katsa kag ginbutang ang mga dagum kag mga hilo nga may nagkalainlain nga mga duag. “;no ang duag ni akunawa5  pamangkot ni !eonita. 3ara kay !eonita, matuod ang pangayaw. Gaghambal pa ini nga awayon kag patyon niya si akunawa para mauntat na ang paghandum sini nga magtimalos sa iya sini nga iloy nga si Lgsad  para mauntat na ang pagtublag sini sa pangabuhi sang mga taga1dagat bangud tagsa ka paglukso kag pagtupa ni akunawa sa iya handum nga malamon si Lgsad nagataub kag nagadalagku ang mga balod.  Gagpati si !eonita sa sugilanon sang isa ka pangayaw. *aakig sa iya si !ola 9elya. ;pang yari na siya sa putokputokan. Gahumlad na niya ang katsa sa matapan nga bato. Gahanda na niya ang mga dagum kag hilo. “*alagas ko ayhan sa pagtubok ang kadasigon sang mga mahimo matabu5 9andaan ko kag amo dayon ang pagtubok. ;no kalawig nga mahuman ko ang panubok sang akon sugidanon5  pamangkot naman ni !eonita. ;ng paglamon ni akunawa kay Lgsad kag ang pagpatay sang pangayaw kay akunawa ipakita ni !eonita paagi sa panubok. 3ananglit makita sang mga ukidnon ang mga laragway sa  panubok, matingala sila kag mamangkot. ;ng pangayaw, si akunawa, kag Lgsad indi kinaandan  para sa mga ukidnon.   “Karon, indi na mabatian ang tunog sang tambur, agung, kahoy nga ginbasal kag ta1ta. angud nga natapos na bala ang inanog ukon bangud na ini sa kalayuon sang talon kag kakahoyan5 dugang nga pamangkot ni !eonita. *ay liwan nga lumay ang pangayaw. *ay kinalain ang iya sugidanon. *ay kinalain ang iya kaambong. Katulad sang lana nga ginsimpon sa duga sang ginlubak nga dahon sang kamangyan nga nagailig sa dughan kag mga butkon sini ang manipis niya nga balhas. aw ginabutong sang iya kaambong si !eonita. !iwan nga pagpalangligbos kag kainit ang mabatyagan niya. ;ng iya mga tinaga sugod sang una siya mabatian ni !eonita nagadala sang kamatuoran nga daw indi ni !eonita mahimo duhaduhaan. “*ahimo ka mag1upod sa akon kon mapatay ko si akunawa. *apuyo kita upod sa akon tribu, nagabalikbalik sa pamatin1an ni !eonita ang mga ginpulong sang pangayaw.  Gagtulok si !eonita kay Lgsad. Binhulat niya ang pagpakita kag paglukso ni akunawa halin sa dagat kag paglamon sini kay Lgsad. :ala na ang paghuni sang mga punay. Indi na niya makita ang mga bukol sang mga tanum nga labog. Binhulat niya ang pagpakita sang pangayaw.  Gagtanog siya sang mapulapula nga hilo. Gagtubok siya sang dughan pagkatapos sang mga  butkon. Bindugangan niya ini sang ulo. Bintapos niya ang lawas kag ginbutangan ini sang mga tiil. ;ng lalaki may malaba nga bangkaw nga ang punta sini may tagub nga may dagway nga isda nga napunihan sang pilak nga nakahigot sa iya likod.

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 Gagtulok si !eonita kay Lgsad. :ala pa nakapakita ang pangayaw. Binpadayon ni !eonita ang pagtubok. Gagdugang siya sang kayumanggi nga hilo. Binhuman niya sa pagtubok ang isa ka  babaye nga hublas kag nagadupa sa atubang sang pangayaw.  Binpadayon ni !eonita ang pagtubok sing isa ka wala matapos nga laragway. 0a ini nga laragway yara si !eonita kag ang pangayaw nga may ginadapit nga gamay nga bata. Indi mapat1ud ni !eonita ang nawong nga bahin sang bata nga ila ginadapit. Bindihon niya ang lawas sini nga may  panit nga mapulapula katulad sang panit sang pangayaw.  0a isa naman ka katsa, may payag. Ila ini payag sang pangayaw bilang mag1asawa. !uyag niya ibutang ang laragway sang talon kag kakahoyan. ;pang nagaagaw sa iya panghunahuna nga ibutang ang laragway sang dagat. 3ananglit magdayon siya nga mag1upod sa pangayaw, indi na siya makabalik sa sulod sang talon kag kakahoyan. ;pang indi man siya makabalik sa mga ukidnon, matuman niya ang wala matuman nga  pagtingub sang iya pamilya nga yara ang iloy, amay, kag ila anak. 0iya ang magahatag sang unod kag dugo sa naglipas nga kabuhi sang iya pamilya nga wala matuman sa iya panghunahuna. 2atagan niya katumanan ang nagligad bangud nga ginakabig niya ang iya kaugalingon nga isa ka  babaye nga pinasahi. 0a tribu sang mga ukidnon, wala pa mabun1ag ang isa ka lalaki nga mahimo  pasugtan sang mga katigulangan sang tribu nga makapangaluyag kag makapangasawa sa iya. 0a tribu sang mga ukidnon halos indi siya mapalapitan sang mga lalaki. Ikabuhi niya sagwa sang tribu sang mga ukidnon ang kabuhi nga wala matuman sang iya mga ginikanan sa iya  panghunahuna.  Gagtubok siya sang dagat sa katsa. Binapanan1aw niya ang mahimo matabu pananglit mag1 upod siya sa pangayaw.  *akagalanyat ang pangayaw. Indi niya mahangpan ang gahum sang pagkagalanyat sini. Katulad sang lana nga ginsimpon sa duga sang ginlubak nga dahon sang kamangyan nga nagailig sa dughan kag mga butkon sini ang iya manipis nga balhas. aw ginasuyop sang kaalam kag kaisog sa iya mga mata si !eonita. ;ng tinaga sang pangayaw nagadala sang kamatuoran nga mabudlay duhaduhaan.   “*ahimo ka mag1upod sa akon pagkatapos ko mapatay si akunawa. *abatian ini ni !eonita nga katulad lang nga yara sa iya atubang ang pangayaw. 0unu sa mga ukidnon, duha ka napulo ka tuig ang nagligad sang ginbun1ag si !eonita sa talon kag kakahoyan. ;pang ini mahipos niya nga wala ginpatihan. *as nagapati siya nga isa lang siya ka pangayaw sa mga ukidnon. !uwas sa mga ini, naghamtong siya nga isa gid ka tunay nga ukidnon. Gangin sampaton siya sa pagsaut sang tinigbayi nga bahin sa inanog. *asaulo niya ang tunog sang mga barasalon nga ginagamit sa paglanton upod sa pagsaut) ang tambur, agung, kahoy nga ginabasal kag ang mga ginamitlang nga mga tigbato sa ta1ta. Karon, indi na niya mabatian ang tunog sang mga ini. Gadula na ang mga ini sa iya pamatin1an. !iwan na nga kalibutan ang pagaatubangon ni !eonita. !iwan ang pangayaw. *ay kinalain siya nga lumay. 9uhay ang iya sugidanon.  Katulad sang lana nga ginsimpon sa duga sang ginlubak nga dahon sang kamangyan ang nagailig sa dughan kag mga butkon sang pangayaw ang manipis sini nga balhas. uga ini nga makabulong sang kauhaw sa paghandum ni !eonita karon.  Gag1untat si !eonita sa pagtanog. :ala siya makahibalo sang duag ni akunawa. 2alos magaampo na si !eonita sa paghulat. Gagaduhaduha na siya nga hinali indi na magpakita ang  pangayaw. “:ala sing kinalain nga lumay ang pangayawQ :ala sing kinalain ang iya sugidanonQ :ala sing kinalain ang iya kaambongQ *akita man ini tanan sa mga ukidnon, sa mga lalaki nga ukidnonQ :ala sing mga mata nga makapaamag sa akonQ Gagsinggit si !eonita. “:ala sing kinaalam kag kaisog nga makapaamag sa akonQ 9anan ini yara sa mga ukidnonQ ;ng mga tinaga

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lang sang mga ukidnon ang kamatuoroanQ :ala na sang kamatuoran nga mahimo duhaduhaanQ ;ng kamatuoran, amo ang kamatuoran lang sang mga ukidnon.  Gagdaguob ang tingug ni !eonita gikan sa putokputokan.  “*ahimo ka mag1upod sa akon pagkatapos ko mapatay si akunawa Q Ini nga mga tinaga sang pangayaw iya na nga kalimtan. Binpiud ni !eonita ang mga katsa. Binhimos niya ang dagum kag mga hilo. *agabalik siya sa sulod sang talon kag kakahoyan.  Gagbaskug ang hangin. Gaglantaw si !eonita sa palibut. 2inali nagtuluhaw ang mga dahon kag bukol sang mga labog. Gagsugod sa pagtunog ang mga barasalon nga ginagamit sa inanog.  Gagsigabong ang mga tambur. Gaglanug ang mga agung. Gaglinagapak ang mga kahoy nga ginabasal. Gaglagsing ang mga tigbato sang pag1amba sang ta1ta. 2erlikitaQ 2erliQ 2erliQ 2erlikitaQ *akita niya ang iya kaugalingon sa tunga sang inanog. *akita niya si !ola 9elya nga nagapiyong kag nagamitlang sang mga sugidanon, sugidanon sang magkahagugma nga naangut sa pagtuga sang mga kasangkapan sa paglanton katulad sang kubing nga ginalanton sunod sa hangin sa sulod sang bukas nga baba, tulali nga ginahuyop, kag suganggang nga ginahampak sa kamut kag nagapagana sa pagsaut sang inanog. Ini ang mga sugidanon nga iya nahamut1an sa duha ka napulo ka tuig niya nga pang1edaron.  Gagsaut siya sang tinigbayi nga bahin sang inanaog. Katulad siya sang isa ka banog ukon dapay nga nagalupadlupad sa nagaagaway nga amihan kag habagat. Gagkiaykiay siya sa wala.  Gagkiaykiay siya sa tuo. Gakasul1ob siya sang pula nga patadyong kag puti nga bayo nga may  panubok sang mga bulak sang labog. 0ang magtulok si !eonita sa kalangitan, nagtuhaw sa nawong ni Lgsad ang pangayaw.  Gaglupad nga tuman ka dasig ini palapit sa iya atubang. Gagsulod sa panghunahuna ni !eonita nga nagbutig ang pangayaw. “;ng pangayaw kag si Lgsad isa lang. Indi tanan nga ginhambal sang  pangayaw matuod. apat ini pamatud1an ni !eonita.  Gagbaylo ang palibut. Gadula ang mga barasalon sang inanog. Gadula ang tunog sang mga tambur, agung, kag kahoy nga ginabasal. Gadula ang mga tigbato sang pag1amba sang ta1ta. ;ng lawas sang pangayaw luyag ni !eonita matandug. !uyag niya ini pamatud1an. !uyag niya mahaplos ang balhas nga daw ginsimpon nga lana kag duga sang ginlubak nga dahon sang kamangyan sa dughan sini. !uyag niya ini mapamatud1an. !uyag niya mauyatan ang baslay sini kag  pamatud1an nga indi ini panan1awan lang. *ahimo lang, luyag niya nga pilason ang iya pagka "   babaye nga ginakabig nga ukidnon sang bangkaw sang pangayaw para indi siya magduhaduha nga ini indi matuod. !uyag niya nga makita ang pagtulo sang dugo sang iya pagka1babaye nga una ginpilas sang isa ka pangayaw. !uyag niya mapamatud1an ang kasakit kag kadalag1an sang  pagkapilas sang kaisganan sang iya pagkababaye. 0a unod nga inagyan sang tinulo sang iya dugo magahalin ang bag1o nga tinuga nga magapadayon sang isa ka bag1o nga sugidanon. “!amunon sang higante nga man1og nga si akunawa ang iya iloy nga si LgsadQ Karon, nagadaguob na ang tingug sang pangayaw. “;pang diin si akunawa5 sabat ni !eonita.  “Gakita mo na si akunawaQ Iya iloy ang iya ginhalinan. Indi niya ini mahimo malamon. :ala sing may makalamon sa iya ginhalinanQ “;no ang duag ni akunawa5 “Gahibaloan mo na ang duag ni akunawa. Katulad ini sang duag sang iya iloy.  “Ipakita sa akon si akunawa.  “Ipakita ko sa imo si akunawa kag magaupod ka sa akon5  “Ipakita sa akon si akunawa kag magaupod ako sa imo. “;ng duag mo, duag sang imo ginhalinan. ;ng duag ni akunawa, duag sang iya iloy nga iya ginhalinanQ Gagadaguob ang tingug sang pangayaw.

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Gaglupad pabalik kay Lgsad ang pangayaw. Bintinghuwaan nga lagson siya ni !eonita. Binlakad ni !eonita ang mga talaytay. 0a iya pamatyag, ginalakad niya ang mga panganod. !ambuton niya ang pangayaw nga karon nangin isa upod kay Lgsad. 2inali nga ginlamon sang kasanag ni Lgsad ang pangayaw. aw ginalakad ni !eonita ang mga panganod. !ambuton gid niya ang pangayaw. !ambuton niya ang pangayaw nga karon nangin isa kay Lgsad. !ambuton niya karon si Lgsad. aw ginalakad niya ang mga panganod. Binlagas ni !eonita si Lgsad tubtub si Lgsad ginlamon sang kaagahon. ;pang natiplang siya sang pangayaw. ;ng pangayaw, si Lgsad kag si akunawa isa lang ka tinuga. RRRRR Binpahigda ni !ola 9elya si !eonita sa iya mga paa. Binkuha sang isa ka siglo kag duha ka tuig nga mga kamut ni !ola 9elya ang mga katsa nga may mga panubok ni !eonita. Binpahid ni !ola 9elya ang isa ka katsa nga may panubok nga laragway ni !eonita kag sang pangayaw kag sang wala mahuman nga bata sa nawong ni !eonita.  Gagkuha si !ola 9elya sang lana nga ginsimpon sa duga sang ginlubak nga dahon sang kamangyan. Binbanyosan niya ang mga butkon kag ulo ni !eonita. Gabatyagan ni !eonita ang  pagsuyop sang kainit kag pagkadula sang pagpalanugnaw nga naglikop sa iya bilog nga lawas.  Gaghugot ang paghakos ni !ola 9elya kay !eonita. Binpiyong sang tigulang ang iya mga mata. Gadumduman ni !ola 9elya nga sadto may nagtuhaw man nga isa ka pangayaw sagwa sang iya bintana. Gagdala ini sang sugidanon nahanungod kay akunawa nga luyag maglamon sang iya iloy nga si Lgsad. Gadumduman ni !ola 9elya nga sa siga sang ugsad, naka1sarwal lang ini nga human sa daw may tuman kagagmay nga mga mata nga lambat nga lanot. :ala ini makasul1ob sing bayo. *atahum lantawon ang dughan kag mga butkon sini sa diin nagailig ang manipis nga balhas nga daw katulad sang ginsimpon nga lana kag ginlubak nga dahon sang kamangyan. ;ng mga mata sini nagapakita sang kaalam kag kaisog nga tuhay sa iya sang mga ukidnon. *alaba nga bangkaw nga ang tagub sini may dagway nga isda kag napunihan sang pilak ang nahigot sa iya likod. “*ahimo ka mag1upod sa akon pagkatapos ko mapatay si akunawa, pulong sang  pangayaw Kay !ola 9elya.  Gagsugod si !ola 9elya sa pagmitlang sang mga tinaga. aw halos wala nagatunog ang  pagmitlang ni !ola 9elya sang mga tinaga. aw nagakutibkutib lang ang iya mga bibig kag sa ini lang nga kahigayonan nga indi ni !eonita mahangpan ang buot silingon sang ginapangmitlang ni !ola 9elya.  Gagbangon si !eonita kag nagtipon naman sang mga pinanid sang katsa, mga dagum, kag mga hilo nga may may nagkalainlain nga mga duag. Gagsugod siya sa pagtubok sang dagway ni Lgsad nga diin katulad ini sang isa ka salaming sa diin makita ang ulo sang pangayaw nga nakatabid sa lawas sang isa ka higante nga man1og. 3agkatapos niya sa pagtubok sang pangayaw, kay Lgsad kag kay akunawa, nagtubok naman siya sang isa ka bag1o nga laragway. 0a laragway, isa siya ka tigulang nga may pangedaron katulad ni !ola 9elya karon. 0a laragway, nakapungko siya sa ulunan sa tunga sang salog sang payag ni !ola 9elya. *ay tupad siya nga isa ka dalaga nga may pangedaron katulad niya karon. 0a laragway, nagapiyong ang iya mga mata kag nagamitlang siya sang mga tinaga sang isa ka sugidanon. RRRRR  0a masunod nga pagpakita ni Lgsad, mahipos nga ginhagad ni !ola 9elya si !eonita nga magkadto sa sapa nga nagakihad sang talon kag kakahoyan kag sang duta sagwa sini. 0a isa ka  bahin sang patag nga kahilamunan, nagpungko si !ola 9elya katulad sang iya pagpungko kon siya ang magmitlang sang mga tinaga sang mga sugidanon sa sulod sang iya payag. Gagsugod siya sa  pagmitlang sang mga tinaga sang isa ka sugidanon. *atigda ang pagmitlang ni !ola 9elya kag labi nga mahangpan ni !eonita ang mga tinaga. Gagpungko si !eonita sa tupad ni !ola 9elya katulad sang iya ginahimo tagsa nga yara sila sa sulod sang payag samtang nagapamati siya sa mga

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sugidadon ni !ola 9elya. Karon, makita ang pagkakibot, pagkatingala, dayon pagkalipay sa nawong ni !eonita. 3agkatapos ni !ola 9elya sa pagmitlang sang sugidanon, nagpagwa siya kag naghumlad sang mga panubok. *ay yara nga may laragway ni !eonita, sang pangayaw kag nahuman nga bata nga may duag sang pangayaw. *ay yara man nga ay laragway sang isa ka payag . *ay isa ka panubok sa mas malapad nga katsa. 0a ini nga panubok, may yara sang laragway sang babaye kag lalaki nga indi mga ukidnon. Binhangop ni !eonita nga pangayaw ang mga ini. *ay lapsag nga ginadahu ang babaye kag lalaki sa isa ka tigulang nga babaye nga ukidnon. ;ng panapton sang babaye indi katulad sang panapton sang mga ukidnon nga babaye. ;ng lalaki naka1sarwal nga nahuman sang may tuman ka gagmay nga mga mata nga lambat nga lanot. :ala ini makasul1ob sang bayo. *alaba nga bangkaw nga ang punta sini may tagub nga may dagway sang isda kag napunihan sang pilak ang nahigot sa iya likod.   Bindaho niya kay !eonita ang mga panubok. Binhimutadan ni !eonita ang mga ini. Bilayon nga naglakat si !eonita. Gaglakat siya padulong sa ginahamtangan sang dagat nga wala sing pangduhaduha ukon kahadlok. :ala gid siya nagbalikid sa talon kag kakahoyan. 0i !ola 9elya naman naglantaw sa nagapalayo nga !eonita tubtub nadula ang dalaga sa mga talaytay kag mga  panganod.

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POETRY: Ang Baboy *) 3!( Ire"i+ E. Te!&!r! A*!ut t(e Aut(!r: 3!( Ire"i+ Erie Te!&!r!  #born Govember %6, %J' in *aybato Gorte, 0an Cose de uenavista, ;nti4ue, 3hilippines$ is a Filipino writer , literary critic and cultural scholar. orn to a middle1class family in ;nti4ue province, 9eodoro gained early recognition as a creative writer since his college years. 2e writes in four languages, namely +nglish, Filipino, 2iligaynon and Kinaray1a. 2e is a member of the ;lon -ollective and the 9abigD2ubon *anunulat ;nti4ue. *any of his literary works have been published some of the countryAs leading (ournals, magazines and newspapers. 2e is a five1time awardee of the 3alanca ;wards and has published countless books of  fiction and poetry. 2e obtained his bachelorAs degree in biology from the Lniversity of 0an ;gustin in Iloilo -ity and completed a masterAs degree in creative writing from the e !a 0alle Lniversity1*anila with high distinction.

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ANG 2A2OY Cohn +remil +. 9eodoro 0ugot takun nga mangin baboy Kon ang tangkal ko mga butkun mo. asta damogan mo lang ako Kang imo nga yuhum kag haruk  ;ga, hapon. ali man lang ako patambukun. ;ng pangako mo man lang  Gga indi ako pagpabay1an ;mo ang bitamina nga akun Binatomar. Kag kon gabii gani ;ng mga apuhap mo man lang 0a akun likod kag dughan ;ng makapahuraguk kanakun.

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ONE4ACT PLAY: Children of the Sea *) G+e Sevi++a #a$ A*!ut t(e Aut(!r: G+e Sevi++a #a$ #born %JEH$ is a Filipino teacher, theater artist, writer, and nine1time winner of the -arlos 3alanca *emorial ;wards for !iterature. *as is currently a Fine ;rts professor  at the ;teneo de *anila Lniversity. Blenn *as hails from 0an Cose de uenavista, ;nti4ue. 2e studied in ;nti4ue -hristian -enter, 0t. ;nthonyAs -ollege, isayas 0tate Lniversity, and 9he -atholic Lniversity of ;merica. 2e is the contributing editor for drama in +nglish of the website ; -ritical 0urvey of  3hilippine !iterature and the drama editor of !iteratura, an online magazine of 3hilippine literature. 2is plays have been published in 9ony, the literary (ournal of 0t. ;nthony’s -ollege in 0an Cose de uenavista, ;nti4ue7 0an;g, the literary (ournal of the Lniversity of 0an ;gustin in Iloilo -ity and ;ni, the literary (ournal of the -ultural -enter of the 3hilippines. Blenn has won nine times in the on -arlos 3alanca *emorial ;wards for !iterature. 2e won first place for T’2er Father’s 2ouse’’ #&6$, ?In the !and of the Biants? #&8$ and T’9he eath of *emory’’ #&E$, second place for T’In the ark’’ #&%$, T’-hildren of the 0ea’’ #&8$ and T’Bames 3eople 3lay’’ #&$, and third place for T’9he Feline -urse’’ #%JJE$, T’irth of Flight’’ #&'$, and T’=ite of 3assage’’ #&6$.

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CHILDREN OF THE SEA Blenn 0evilla *as C(ara,ter$

*anding 0oling " an old woman
-orazon "
Settig 9he stage’s walls are made of katsa #sack or muslin cloth$. 9o the right is *anding 0oling’s  bedroom. 2ere, an old bamboo bed occupies most of the space. Gear it is an old table with a lighted candle. 9o the left is a small kitchen with its re4uisite table and chairs. In one corner is a bamboo cupboard. Gear it is the sink with an earthen (ar filled with potable water.
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9he sound of angry waves is heard. 0oon, thunder roars and the wind howls. ;t the foreground of the stage, +strella and -orazon are worriedly looking out to the sea. !ight comes from the kerosene lamp that +strella carries. +09=+!!; o you see anything, -orazon5 -<=;W
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angrier and she is disturbed1 The bed creaks as she tosses and turns in her sleep1 The flickering  images of a grim shadow play are then pro*ected on the katsa walls2 a boat being tossed at sea 7 a man desperately trying to save his boat and his life 7 the waves becoming even angrier as the man  slowly loses control of the boat 7 the boat suddenly getting hit by a big wave 7 the man bravely  facing death as he frantically prays the 9#aghimaya ikaw, #ariya1:$

*;G *aghimaya ikaw, *ariya S buta ikaw ti grasya S ipangamuyo mo kami kadya kag sa tion kang amun kamatayun S # Another wave, bigger and more fatal, hits the boat1 The man screams1 The flickering images disappear as another dim light reveals the rest of the stage1 /strella and )oraon enter the kitchen1  /strella places the lamp on the dining table, )oraon sits in one of the chairs1$ *;GIGB 0
+09=+!!; -orazon5 -orazonQ ;bi bring a glass of water anay here for your lola. -<=;W
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*;GIGB 0
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+09=+!!; 0ige, TGay. -orazon5 -orazonQ #Gets up and goes to the kitchen.$ ;bi go with me to the shore anay. :e will wait for your tatay thereQ -orazonQ ;y sus S # eturns immediately.$ /our granddaughter, TGay. 0he went ahead run gali. I pity gid the man who will choose her for his wife. :e’ll be back as soon as
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+09=+!!; 0he’s still trying to be brave about all this man. 0he’s been waiting for something like this gani to S <0*;= #;verlapping1$ 2ave you had supper run, -orazon5 -<=;W
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<0*;= TGay5 *;GIGB 0
*;GIGB 0
<0*;= on’t worry, TGay. endor cannot (ust disappear man, indi bala5 2e is bound to turn up somewhere soon. ;nd for all we know, endor (ust might be in another island, worried man about us. :e never know, indi bala5 +09=+!!;
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<0*;= +strellaQ :e talked about this run, indi bala5 idn’t we talk about this run yesterday5 2a5 ;nd you agreed that I’ll leave for *indoro the moment I arrive from 0ibayQ +09=+!!; :hat are you saying I agreed,
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miserable. I can’t allow that to happen. 9hat’s why I have to leave. # /strella still doesn5t  answer .$ +09=+!!; /our supper is waiting for you. # And she hurriedly goes out1 %he goes to the table and puts food on her plate1 %he looks at  )oraon.$ +09=+!!; <, -orazon5 :hat are you waiting for pa5 #)oraon slowly goes to the table1 %he also puts food on her plate1 %oon, the two of them eat =uietly1  #anding %oling *ust looks at them1 In a while, she slowly goes to her room.$ *;GIGB 0
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<0*;= TGay. # #anding %oling embraces ;smar .$ *;GIGB 0
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+09=+!!; ut he’s angry with me, TGay. /ou saw how we parted ways kaina. ;nd my being there might force him pa gani to leave even more, indi bala5 -orazon. -<=;W
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the cabinet and takes out the knapsack1 !ightning strikes and another thunder is heard1 %oon, there is rain1 /strella goes to the table and hurriedly opens the bag1 %he takes out its contents2 a bonnet  and a dried out, plastic-covered prayer book1 %he inspects the shirt and the bonnet but doesn5t see any identifying mark on them1 %he picks up the prayer book and looks at its cover1 %he sees  $endor5s name on it .$

+09=+!!; endorQ # !ightning strikes again1 +rom afar, a woman wails1$ +09=+!!; TGay5 *;GIGB 0
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# /strella cries1 )oraon comforts her .$ +09=+!!; ;no abi ay he won’t listen gid to meQ 2e won’t listen gid to me abi mongQ ;y,
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#The men bring in the body of ;smar1 /strella and )oraon rush to it, wailing .$ -<=;W
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+09=+!!; I pray you are at peace run,
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ESSAY: Weaponizing Soial Media *) #iria" Dee$!r Satiag! A*!ut t(e Aut(!r: #iria" Pa+"a Dee$!r Satiag! #%8 Cune %J68 " &J 0eptember &%E$ was a Filipino  politician and (udge, who served in all three branches of the 3hilippine government) (udicial, executive, and legislative. 0ome of her alma maters are Lniversity of the 3hilippines, Lniversity of  *ichigan,
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WEAPONI8ING SOCIAL #EDIA #excerpt from the speech delivered at the L3 *anila on %& Feb &%') *iriam efensor 0antiago 9he campaign period has begun. ;ll kinds of characters want to run for public office. :e, the 8& million Filipino voters, are bored with their antics. :e are aghast at their resumes. 0ome of  them are not even high school graduates. 9hey resort to all kinds of cheap gimmickry, hoping to  provide entertainment for free. 9hey should not be called candidates7 they should be called clowns. In the 3hilippines, politics is dominated by two kinds of clowns) rich clowns7 and poor  clowns hoping to become rich. Fortunately, we are at the cusp of a new ominous wave of change in the political beach. 9his wave is called the social media. In the 3hilippines, nobody knows how to control or manage social media. =ich clowns used to bribe press and broadcast (ournalists so that they could gain added illegal advantage over their competitors. ut now, the rich clowns are  beginning to discover that it is not possible to bribe the leaders, much less, all the netizens in cyberspace. If the first +dsa revolution was a ?Perox revolution, and if +dsa & was a ?text revolution, then the next revolution against political corruption should be called the ?Get revolution. 9he ideal L3 student always gives the world a shock. I ask each one of you to give the mindless political candidates a shock, by demoting 9>, which used to be the king of political advertising, and instead elevating as political campaign weapons the tablet and the smart phone.

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In terms of social network use, the 3hilippines is ranked among the top countries. 9his could  be the precursor of the participatory democracy of the future. Facebook is the premier social media service in the world. 9witter is an online social networking and micro1blogging service. /ou9ube  provides a forum for the distribution of video content, particularly eyewitness features of political  protests. Facebook, 9witter, and /ou9ube are the so1called big three social media services. 9hese services enable large numbers of people to be easily and inexpensively contacted via a variety of  services. 0ocial media lowers traditional socio1economic barriers to commanding the spotlight. 9he  power of the rich politicians becomes more porous and the political warlords have less control. It has been said that text messaging, Facebook, 9witter, /ou9ube, and the Internet have given rise to a reservoir of political energy. igital technologies enforce the formation and activities of civil society groups) mobs, movements, and civil society organizations.

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CHALLENGE TO UP STUDENTS

9he ideal L3 student is not interesting per se. :hat is interesting is what the ideal student does with his life after graduation from L3. ;s a rule, any L3 graduate will always be characterized  by academic excellence and by the courage to take social (ustice to the next level. If you are to serve your nation, I am here to testify that it will be a rough, contentious, and spirit1crushing (ourney. ut as a true L3 graduate, I insist that I have a role to perform. 9his role is to stand as one of  gazillion bricks in the cathedral of governance. Go one will remember me if I suddenly drop dead tomorrow. ut generations after you and me, would be able to put behind them the culture of  corruption, and build a new shining nation with leaders who are neither dazzled by the material world, nor confused about their purpose in life. 2ence, I have risen from my sickbed to issue you this challenge) For Bod’s sake, save this country. Lse social media during this three1month campaign period to ensure that our people shall be led to choose deserving national leaders. ;llow me to make some recommendations on how to weaponize social media against the corrupt, the clueless, and the clowns. I am paraphrasing from an article in the Get issued by -raft *edia igital and written by rian onahue. :eaponize social media during the campaign by providing content that not only informs, but also entertains and motivates. /ou need to develop skills in creative design, emotionally riveting visuals, and content that inspires action. :e can not weaponize by simply issuing a statement, a newsletter, or a Facebook post. :e need to enlist the work of more graphic designers, creative writers, videographers, and musicians. :eaponize social media during the campaign by embracing targeted messaging strategies. /ou cannot rely on single1issue national messaging. /ou have to send custom messages to specific audiences online. It is said that in today’s digital age, data is the most precious commodity. 2ook up with math students in the iliman campus. ;sk our math scholars to build algorithms for matching data. 9his will develop demographic models that will help you to identify valuable voter behavior. For example, refer to Facebook or radio, where they simply transfer information to the masses. 9he strength of the web is information sharing among social netizens. :eaponize social media in the political campaign by accepting that the future of political warfare will take place online. For example, a comparative database that provides information on

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each candidate’s age, residence, highest academic degree, and highest professional achievement, would be a sufficient counterbalance to the tendency of the low middle1class voter to sell his vote or  to vote for the cute personality. 0ocial media should be used as a showcase for intangible movement or energy, and a medium of information to motivate people to vote for or against a particular candidate. C!,+u$i!

I share one unbreakable linkage with you. ;t one time I was your age and like all L3 students, I wanted to change the world. *aybe I have. ut the world also changed me. Gow I am old enough to have seen the world and have all my illusions shattered. ;m I disillusioned5 Go, because as the poet said)

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9hough much is taken, much abides7 and though :e are not now that strength which in old days *oved earth and heaven, that which we are, we are7
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21st Century Literature from the Philippines

UNIT 4 !ther

2LOG POST:  Bakit !ga Ba "aging !akaupo Si Mabini# *) L!ur& &e -e)ra A*!ut t(e Aut(!r:

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L!ur& Ere$t Ha!'!+ &e -e)ra #born February %%, %J8 in !eyte, 3hilippines$ is a Filipino musician, emcee, poet, (ournalist, 9> host, broadcast personality and activist who became famous as the vocalist of the *anila1based (azz rock  band =adioactive 0ago 3ro(ect. e >eyra went to Uuirino +lementary 0chool for grade school and to -olegio de 0an Cuan de !etran for high school. 2e then graduated with a achelor of ;rts in Cournalism from the Lniversity of 0anto 9omas. 2e has thrice been a recipient of a on -arlos 3alanca *emorial ;ward for !iterature 1 ; third prize in essay #+nglish division$ in %JJJ, a second prize in the same category in &', and a first prize in teleplay #Filipino division$ in &6.

2A9IT NGA 2A LAGING NA9AUPO SI #A2INI? from $his is a Crazy Planets #http)DDwww.spot.phDthis1is1a1crazy1planets$ !ourd de >eyra “3hen forced to pick between truth and legend, print  the legend1 > Cohn Ford *as natutuwa ako na ang pinag1uusapan natin ngayon ay ganito@at hindi lang pinag1uusapan kundi  pinupuri@pelikula, na walang superstar, walang celebrity endorser, walang nakakasulasok sa pagka1 obvious na product placement, at higit sa lahat, walang kinalaman sa mga kabit, sirena, aswang, pilit na pagpapatawa, pang1iinsulto sa tao base sa kanyang  pisikal na anyo o kapansanan #Awag lang sanang  pagtripan si *abini$. *abuti’t nagkataon na nagkaisa ang lahat sa opinyon at panlasa.
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naiisip ko na lang) paano nagagawang tanggalin ng mga guro ang pawis, libag at libog sa pagtuturo ng history. Ua $igur! a) itigi+ a ag 'ag(a(aa' g '!$iti*!g i$'ira$)! $a aaraa;  "a+i*a a +ag ug ag +e$)! a) i1a$ag u+iti ag "ga "a+i. 0iguro Awag na ring ituring na mga perpektong superhero o mga santo ang mga “bayani natin. 3angalawa, Awag ikahon ang kasaysayan sa pag1memorize ng mga petsa, pangalan, at lugar. Pagata'!$ "a!!& g 'e+iu+a at "ag'a+a'aa/ $aa ag $u"u!& a (a*ag a) ag "ag*a$a g a$a)$a)a. Inamin naman ng pelikula sa simula) paghahalo1halo ng “fact and “fiction. 0a dulo naman ay may muling paalala na ang ilang bahagi ng pelikula ay kumuha ng inspirasyon mula sa aklat ni >ivencio Cose, The ise and +all of Antonio !una #%J&$. ago natin husgahan ang mga bagay1  bagay, &a'at $a*i(ig ag a+at i 3!$e a) i$ag *er$)! +ag g "ga 'ag)a)ari. Ag a$a)$a)a a) *iu*u! g "ara"ig u1et!/ ara"i(a &it! a) "agaa$a+ugat. 0ukatin naman natin ngayon ang ilang eksena sa pelikula gamit ang ilang references,  pangunahin dito ang libro ni A+re&! 2. Sau+! na  /milio Aguinaldo2 Generalissimo and 'resident  of the +irst 'hilippine epublic #%JH', 3hoenix 3ublishing 2ouse$. ilang honorary -aviteOo, obvious naman ang tono ng chapter na “;ntonio !una) eath by Invitation. 0a chapter na ito rin ay isa1isang tinitibag ni 0aulo ang mga salaysay ni Cose. Q. SI AGUINALDO 2A TALAGA ANG NAG4UTOS NA PATAYIN SI LUNA? ;1 “Grabe, ganun pala si Aguinaldo6 *ukhang magkakaroon ng mga susunod na henerasyon na ganap na negatibo ang tingin sa taong ito@parang anak sa labas ni !ucifer ang unang pangulo ng republika. akit ka pa magpapaka19arantino5 0a totoo lang, dapat may gumawa ng gangster film na base sa buhay ng unang presidente ng 3ilipinas na hindi si += +(ercito. *ala1 *ichael -orleone na karakter si ;guinaldo #panoorin niyo rin ang /l 'residente ni *ark *eily para may paghahambing$. ;t malamang, lalo pang titindi ang pagkamuhi pag nakita mo ito) 0o sa mapanghusgang mundo ng social media, ang instant na hirit ay “-
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0a isang panayam sa historyador na si 9eodoro ;goncillo, &e'e$a i Aguia+&!: 9ug gu$t! i)a ra1 i'a'ata) $i Lua/ ag &a+i4&a+i a"ag "ag4ut!$ $a i$ag a1a+ a *u"ari+ $a gita g &ig"aa at $i$i(i ag "ga 9a!.  Gasa kumbento rin sa -abanatuan ang pamilya ;guinaldo@bakit naman daw siya mag1uutos ng katayan dito5 #apat ring banggitin na nagkasigawan si >ivencio Cose at si 9eodoro ;goncillo sa isang conference dati.$ ;rgumento ng aklat ni 0aulo) “;fter !una had insulted Aguia+&!/ t(e "a 1(!" a++ Cavite>!$ i&!+i7e&/ uttering Aderogatory wordsA in the course of his verbal tussle with uencamino, what could he expect from the 3residential Buards5 #a) ! t(e$e guar&$ (a& *ee 1it( Aguia+&! $i,e t(e &a) (e *e,a"e teniente abanderado  ! 9a1it/ eve *e!re Lua 1a$ arre$te& a& *ai$(e& t! S'ai/ a& !ug(t t(e ee");t(e S'aiar&$ i t(e *egiig a& +ater t(e A"eri,a$;,!tiu!u$+) a& "!$t ! t(e ti"e 1it(!ut 'a). ;no nga ba raw ang sabi ng imbestigasyon5 “9he result of the official investigation showed that t(e Lua i++ig 1a$ !t 're"e&itate& as alleged by ;le(andrino, nor the result of a trap laid  by the autonomists, as claimed by Cose, *ut a $i"'+e ar"e& ,+a$( *et1ee Lua a& t(e 9a1it "e 1(!/ a,tig ! 'ri"itive i$ti,t$/ !ug(t *a, t! re'e+ t(e !r"er@$ aggre$$i!. It 1a$ a u!rtuate ,a$e ! i&i$,i'+ie ! t(e 'art ! 9a1it $!+&ier$.  0a totoo lang, wala ni isang record na nakakita ng notoryus na telegramang nagpapunta kay !una sa -abanatuan. Nag4&e) &i $i Aguia+&! a ag'a&a+a $i)a g te+egra"a. 3ero malaking  bagay ang mga dokumentong ipinautos na kunin ni uencamino mula sa bangkay ni !una. ;no nga kaya ang nilalaman ng mga papel na yun5 0ino ang nag1utos5 *araming naging personal na kaaway ni !una. Sa&a"a"a ag "ga '!$i*+eg "a$ter"i& a "a) "!ti*!. 2indi lang sila Felipe uencamino at 3edro 3aterno, hindi lang si 9omas *ascardo at 3edro Canolino. 9ug "er! "ag ai+agag $i$i(i $a 'aga"ata) i At!i! Lua/ 1a+a ag i*a $igur! u&i $i At!i! Lua ri "i$"!.  0inulat ni Gick Coa4uin sa  A ?uestion of Heroes, I  ,(ara,ter i$ &e$ti) t(e At!i! Lua 1a$ (i$ !1 vi!+et ate.B 3ero ayon sa interview ng historian na si ;ntonio ;bad sa kanyang interbyu kay 3edro Canolino #played by Ketchup +usebio$ ag'ai, +ag &a1 $i)a a)a i)a +ag ataga $i Lua . ;kala niya ay sasaktan siya. 3ero hanep din sa panic@ (i&i *a*a*a $a  ag $ugat g (eera+ #kasi nga naman ay pinagtulungan siya ng mga taga1Kawit$. 0iya nga pala, baka sakaling pag1initan niyo si Ketchup kapag nakasalubong ninyo, heto ang hitsura ng totoong 3edro Canolino alyas 3edrong Kastila.

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@%i Antonio Abad habang kinakapanayam  si 'edro (anolino ukol sa pagkamatay ni  Heneral Antonio !una1 #ula kay Dr1 0ic Torres1@ +rom Biao)hua1net   8

Q. GANOON 2A TALAGA 9A4 HENYO SI ANTONIO LUNA?

;. T(e Greate$t geera+ ! t(e P(i+i''ie rev!+uti!B  sabi ng historian na si Bregorio Waide. T(e *e$t geera+ ever 'r!&u,e& *) t(e 1ar agai$t t(e A"eri,a$/B sabi naman ng kapwa heneral na si Cose ;le(andrino #na nakasama rin ni =izal sa elgium$. 3ero may pambasag naman si 9eodoro ;goncillo) Si At!i! Lua ra1 a) t(e (er! 1(! ever 1! a *att+e.B 3aano nga ba naman siya magiging “greatest or “best kung wala nga naman siyang ipinanalo kahit isa5

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Fifteen years old siya nang grumadweyt sa ;teneo with honors. 0a edad na %J sa kanyang second year sa L09 ay nanalo ng premyo ang kanyang scientific paper. 0a edad na &% siya ay nag1 aral sa arcelona ng pharmacy. 2abang nagsusulat para sa !a %olidaridad sa alyas na “9aga1Ilog, contributor din siya sa iba’t1ibang scientific (ournals. -hemist sa municipal laboratory ng *aynila si ;ntonio !una nung pumutok ang =ebolusyon nung %HJE. Baya ni =izal, itinakwil ni !una ang =ebolusyon ng %HJE at nag1chuchu pa noon sa mga sangkot sa Katipunan. ;ng resulta) maraming nakulong at binitay #at damay din daw kahit mismong si =izal$. 3ero ang kuwento ni ;le(andrino, nagawa lang daw yun ni !una dahil tinorture siya ng mga Kastila at sinabihan kunwari na ikinanta na rin siya ng mga kababayan niya. +h pikon nga. 3ero dahil mataas ang estado sa lipunan ay ipina1deport@kasama ang utol na si Cuan@sa 0pain at doon ikinulong. 3ero pagkatapos ay nagbasa nang nagbasa tungkol sa military science sa maraming library sa +uropa. In short, self1taught military man si !una. :ala pa naman kasing 3*; noon. ukod sa pagiging siyentipiko, fencer, sharpshooter, at (ournalist, si 2eneral ;ntonio !una ay ang premyadong gitarista noong panahon niya. Wa+ag (e)! $a &ig"aa a 1a+ag $iig $a ata1a. Si #a! 8e&!g at $i H! C(i #i( a) "ga "a(u(u$a) a "aata.  *ay isang eksena sa pelikula nagpapakita ng dunong sa musika ng direktor) habang tumugtog ng gitara si !una, at nakaharap sa bilog na bilog na buwan #“!una nga eh@get it5$, kasabay ng kaskas at bagsak ng kuwerdas ay ang tila pagsabog ng kanyon sa kanyang imahinasyon. *aganda ang metafora o metaphor na ginamit ng Gational ;rtist na si Gick Coa4uin sa kanyang sanaysay kay !una. ilang mahusay na chemist, ang hangad niya ay hubog, porma, at synthesis o yung pagsasanib ng iba’t ibang sangkap at elemento. *alas lang niya) ang kemikal na sinubukan niyang hawakan ay maligalig at sumabog sa mismong mga kamay niya. *ay mga tumawag kay !una na baliw. 3ero may kasabihan din nga) T(ere i$ a t(i +ie *et1ee geiu$ a& "a&e$$. 3ikon at mainitin daw ang ulo ng 2eneral at ang kanyang kapatid. Kung ganito nga naman ang mga sundalo mo@sino ba naman ang hindi masisira ang ulo5 *araming napabilib nang i1recruit ni !una para sa revolutionary army ang mga beteranong opisyal na nagsilbi sa ilalim ng mga Kastila, kasama na ang mga nasa preso. Gung mga panahong yun, sabi ni Gick Coa4uin, ay wala pa tayong pambansang hukbo kundi mga pinagtagpi1tagping mga grupo na kung ngayon ay tipong private armed group sa iba1ibang rehiyon. 0i !una ang nag1 ambisyong pag1isahin ang mga ito, isa sa mga unang hakbang ay magkaroon ng iisang uniporme  para sa lahat. Q. 9UPAL NGA 2A TALAGA SI LUNA? ;. Pu1e&eg $a*i(i a "a$)a&!g ar!4r!"ati,i7e ag 'agigig $trit! i Lua. O $a "ga 'aa(! ga)! a$i a 'arag 1a+ag i ,!tr!+ a) (ia(aa' ati ag i$ag "ag+a+atag g 'aga+a(atag &i$i'+ia. Per! $a &a"i ag "ga *ia&tri' i)a/ (i&i a"a ataataag "a) "ag(igati $a a)a. 3ero heto ang ilan sa mga mga kuwento) *aghagupit ka ba naman ng mga pamilya para pababain mula sa tren@sa harap mismo ng  presidente. 0inampal ni !una si Felipe uencamino, 0ecretary of Foreign ;ffairs, na 88 anyos na noong %HJJ. 0i !una ay '' lang. Lnang nilabag raw ni !una ang kaugaliang 3inoy tungkol sa paggalang sa mga nakakatanda@at mas mabigat pa ito dahil ginawa rin sa harap ng 3angulo ng 3ilipinas. Isipin mong si ;ntonio 9rillanes o ;lan 3eter -ayetano na sinampal si ;lberto del =osario sa harap ni 31Goy #kung tutuusin, kung meron mang dapat sampalin sa kabinete ay si Coseph ;baya para sa kapalpakan ng *=9$. agdag pa) *ay pinabaril siyang -hinese sa ocaue, ulacan na walang paglilitis. *ay  pinapatay daw siyang Frenchman na nagngangalang “on *arrais. 0abi ni *abini ay nag1utos

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daw si !una sinumang hindi sumunod sa kanyang utos ay babarilin na walang trial1trial. *arami rin siyang pinahuli at tinaggalan ng armas. Har$( ra1 ta+aga ag "ga "et(!&$ g (eera+. Q. TOTOO NGA 2ANG NAGPIPISTA SI #ASCARDO AT 3U#A43AC9SON NG TSI9S SI 3ANOLINO NOONG HU#IHINGI SI LUNA NG REINFORCE#ENTS? ;. 0a eksenang pagsuway ng hukbong Kawit ni -apt. 3edro Canolino a.k.a. 3edrong Kastila) *ay instructions daw na sa presidente lang mismo susundin@at sabi ni 0aulo ay posibleng ag"u+a ra1 it! $a te+egra"ag 'iee g "ga e$'i)ag *a)ara g A"eria!. ;ng mga sundalo ni Canolino ay naka puwesto na sa area malapit sa bakbakan #totoong giyera, sa 9uliahan, sa may alintawak, hindi bakbakan sa kama gaya ng pinakita sa pelikula$. ;ng resulta, dinisarmahan ni !una ang mga taga1Kawit. Si)e"'re/ "a+ai ra1 ag '!$i*i+i&a& a a'a(i)a ag "ga it!/ a "ara"i $a ai+a a) *etera! a
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 pagpatay kay !una at nakiusap pa kay ;guinaldo na maglabas ng statement na si uencamino ay inosente. 3ero hanggang namatay na lang si ;guinaldo noong %JE6 ay hindi ito nangyari. Ibang usapan si 3aterno. 9inawag dati ni ;mbeth
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)oroa8

0umama raw ang loob ni *abini dahil nawala siya sa gobyerno ni ;guinaldo na pinaboran ang mga “autonomistang sina 3aterno et al. I $(!rt/ *itter +ag $i #a*ii/ at sabi ni Coa4uin, “1a$ u$ig t(e &ea& Lua t! +!g Aguia+&!.B Q. SO ANONG GUSTONG PALA2ASIN NITONG NAPA9AHA2ANG ARTI9ULONG ITO? ;. 3uwede sigurong sabihin na 1a+ag *i&a at 1a+ag !tra*i&a $a  Heneral !una1 ;t kadasalan, ganun din sa kasaysayan ng Filipinas, &e'e&e ug $i! ag aguu1et!. La(at/ 'u1e&eg *i&a/ +a(at &i 'u1e&eg !tra*i&a.  Ika nga ng imortal na kasabihan) “2istory is written by the victors. :arning din ni Beorge 0antayana) T(!$e 1(! &! !t re"e"*er t(e 'a$t are ,!&e"e& t! re'eat it.B *aganda rin na pinag1uusapan natin ang mga ganitong paksa, na hindi lang sa loob ng classroom. 0a sariling atin naman) Ag (i&i "aru!g +u"ig! $a 'iagga+iga..."ag"ag. Q. 2A9IT NGA 2A TALAGANG HINDI TU#ATAYO SI #A2INI SA 2UONG PELI9ULA? ;. *abuti pa, manood na lang tayo ng ;ldub.

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NEW GENRES: Pik%up "ines %ide note6

W(at i$ a Pi,4u' Lie? ; Pi,4u' Lie is a conversation opener to express a personAs admiration, love or any romantic intent to another person. It has been popular  nowadays especially among teenagers. 0ome use pick up lines (ust to humor  their friends.
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5J PIC94UP LINES from the Internet 6. 
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. 
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BI=!) akit5 
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NARRATI-E PROSE: $ell the Sky *) Lui$ 9atig*a A*!ut t(e Aut(!r: !uis Coa4uin Katigbak was a Filipino award1winning writer and music critic. 2e was a resident writer for 3L!3 *agazine, a columnist for 9he 3hilippine 0tar , and an associate editor  for +s4uire 3hilippines. 2e was a graduate of the Lniversity of the 3hilippines #L3$. From being a mathematics ma(or, he shifted to creative writing. Katigbak was a recipient of four 3alanca awards, a 3hilippine Braphic prize, and a /oung ;rtistsA Brant from the Gational -ommission for -ulture and the ;rts #G--;$. 2is books Happy  /ndings, a collection of short stories7 and The "ing of .othing to Do, a collection of essays, were nominated in the Gational ook ;wards by the *anila -ritics -ircle. 2is last book ?ear istance? was released in *arch &%E. 2e has been hospitalized since ecember &%8 for complications from diabetes. ; series of   benefit events were held in Canuary &%E for him. ; fundraising exhibit had been held in lanc Ballery in Katipunan in February to help cover his hospital expenses.
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TELL THE S9Y !uis Katigbak  9here is something wrong with the sky again today, and once again the city has shifted. I feel a small coldness snake itself up from my heart and through my throat. 9he unpleasant tingle settles in my mouth, and I tell myself to get ready for work.
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initially skeptical priest at the -atholic school I was attending, and involved the matter of several missing library books. ;s I spun my story, a lie of exceptional intricacy, I could see the doubt drain slowly from his gaze, and feel the story slip away from me@I knew then that it would save me from punishment, but that I would never be able to use it again. 9he second story came to me on a particularly gray morning when the routine of school weighed so heavy on me that I felt as if I would split open in tears on the morning bus ride. 9hen it came to me) I was not riding to school but to an apocalyptic war zone7 I was no student, but a soldier. *y classmates were fellow pawns in a never1ending conflict. +very lesson threatened our  lives7 every brief snack break was a blessing. In my mind, the history of the war was laid out, and our insignificant part in it was clear and unchanging. 9his scenario transformed my hatred of the day1to1day into a sort of ragged heroism.
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I’ve almost gotten used to it by now, though day by day it gets a little worse. !ast night when I was looking at myself in the mirror after a shower, my reflection shifted and reassembled itself. I saw something undeniably grotes4ue and yet at the same time deeply appealing) a sort of  chimera, with a child’s arms and face, which for a body had a roughly ovoid shape with a snaky tail. I was revulsed and fascinated in e4ual measure, and could not look away. 9he patchwork creature looked like I felt inside) half1formed, immature, somewhat ridiculous. It was then that I realized that I was not exactly hallucinating@but more like I’m seeing hidden things, secret and unsettling truths. 9onight I ride the *=9 home as usual while trying not to look out the windows or at my fellow passengers. From the station, I start walking to where I can get a (eepney ride, passing a shopping center and a s4uatters’ area, wondering as I walk if I’m going mad. /ou’re not going mad, the fortuneteller tells me. I look up and see a vague darkness, an indentation in existence. I can’t make out his face. 2e’s blocky, sketchy, indistinct. ut his voice is clear and unwavering. It’s the world that’s gone wrong, he assures me. It’s shaky and wobbly and will soon come apart. :hat you’ve been seeing are glimpses of a grand machine that will soon break down. 2e goes on to say) ;ll of everything is an unfurling and an unraveling, a binding and a weaving. It’s all cycles. 9hings turn in on themselves and blossom outwards into other things. eginnings into endings into beginnings. ut the cycle needs to be fed, he explains.
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POETRY: $oys *) Ge"i! A*a& A*!ut t(e Aut(!r: GM"i! He$! A*a& is a literary critic from -ebu, 3hilippines. 2is family moved to *anila when his father, ;ntonio ;bad, was offered professorships at Far +astern Lniversity and the Lniversity of the 3hilippines.   2e earned his .;. +nglish from the Lniversity of the 3hilippines in %JE6 and 3h.. in +nglish literature from the Lniversity of -hicago in %J. 2e served the Lniversity of the 3hilippines in various capacities) as 0ecretary of the Lniversity, 0ecretary of the oard of =egents, >ice 3resident for ;cademic ;ffairs and irector of the L.3. Institute of -reative :riting. For many years, he also taught +nglish, comparative literature and creative writing at L.3. iliman. ;bad co1founded the 'hilippine !iterary Arts )ouncil   #3!;-$ which published )aracoa, a  poetry (ournal in +nglish. 2is other works include +ugitive /mphasis #poems, %J'$7 In Another   !ight #poems and critical essays, %JE$7 A +ormal Approach to !yric 'oetry #critical theory, %JH$7 The %pace $etween #poems and critical essays, %JH8$7 'oems and 'arables #%JHH$7 Inde< to  +ilipino 'oetry in /nglish, CEF-CFE #with +dna Wapanta *anlapaz, %JHH$ and %tate of   'lay  #letter1essays and parables, %JJ$. 2e edited landmark anthologies of Filipino poetry in +nglish, among them #an of /arth #%JHJ$, A .ative )learing   #%JJ'$ and A Habit of %hores2  +ilipino 'oetry and 0erse from /nglish, Es to the Es #%JJJ$. 9he Lniversity of the 3hilippines has elevated ;bad to the rank of niversity 'rofessor , the highest academic rank awarded by the university to an exemplary faculty member. 2e currently sits on the oard of ;dvisers of the L.3. Institute of -reative :riting and teaches creative writing as /meritus niversity 'rofessor  at the -ollege of ;rts and !etters, L.3. iliman. In &J, he became the first Filipino to receive the coveted 3remio Feronia in =ome, Italy under the foreign author category.

TOYS

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Bemino ;bad  Gow our boys have such toys as my brother and I never dreamed7 id the same spirit stir our make1believe5 /et outdoor was where we took its measure. ut how could I wish it were otherwise for them, and would it be wise since other kids inhabit the same 4uarry where P1men wage their fantastic wars5

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Indeed we knew the hot spill of blood, with slingshots searched the bushes and trees,  but also knew ourselves pierced where the world’s songs first were made. ut those video games, those robots, armaments of glory, sirens of terror, must root their eyes in our politics and scavenge for hope in the world’s rubble. 0omething’s amiss, or toys perhaps have changed their meaning. In the overflood of their kind, they’ve lost their round of seasons. It may be the same with the world’s weather, but in our time, there was one season for kites when the wind seemed to make the sky rounder7 9here was another, for marbles and rubber bands, the earth firmer, the blaze of sunshine brighter7 and yet another, for tops and wheels, as streetwise we vied for dusty prizes. ;nd when the rains came, and the skies fell with the thunderclap, how we would run in drenched nakedness to dare a lightning race to the edge of time. ut how shall I travel to my boys’ heart and break their dreadnought of heroes, and find, as when light breaks, the pieces of their manhood whole5 <, their heroes create them,  but if they could invent their games

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and stage their future, might they not surprise the hero with their fate5

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NEW GENRES: &ugot "ines %ide note6

W(at i$ a Hug!t Lie? 9he term “(ug!t is a Filipino word which means to draw or to pull out. 9he usage of the hashtag “Xhugot became popular  not so long ago and is usually used along with song lyrics, a 4uote, etc. that the person tweeting relates to7 “Xhugot means the accompanying words draw emotions out of  himDher. 2ugot. Lsually words with potentially and personally deep sentimental or emotional undertones. ecause feelings come from ?deep within? so you have had to ?hugot? your emotions first ?from deep within? before you wouldAve actually blurted them out in somehow emotionally undertoned words  @ subconsciously or otherwise.

HUGOT LINES from the Internet Kapag ikaw ay magmamahal, pero sasaktan mo rin naman, dapat maghamon ka na lang ng suntukan. R R R R R *alabo na talaga ang mata ko. 3wede ba humingi sa iyo ng kahit konting pagtingin5 R R R R R Kung pangit ka mahilig kang mag1selfie, sabihin mo na lang lahat ng pictures mo ay wacky. R R R R R :ala naman talagang pangit, sadyang nasobrahan lang ako sa ganda R R R R R

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-up noodles ka ba5 akit5 Kasi gusto kitang buhusan ng kumukulong tubig. R R R R R ;ng taong nagmamahal nang tunay ay parang matalinong estudyante na kumukuha ng exam@hindi siya tumitingin sa iba kahit nahihirapan R R R R R “2indi lahat ng sweet loyal sa’yo. 9andaan, sweet nga ang candy,  pero nakabalot naman sa plastic R R R R R 0abi nga nila) ?!ahat ng tao ay may pagkakataong *;BK;*;!I o maging 9;GB; ngunit hindi  porket libre, ;;=;: 1 ;=;:IG mo na.? R R R R R  Gaiinis ka kase napapangitan ka sa ugali ko5 akit, nung napangitan ba ako sa mukha mo nag1 iInarte ako5 R R R R R alawa lang naman ang dahilan kung bakit ka iniwan. ItAs either ?3uno Ga? or ?2indi ka Gakita? 1C++3 yan. ;kala mo !ove 0tory mo na naman. Kaya ayon sabit na naman. R R R R R ;ng -=L02 parang *;92 yan. 3ag hindi mo nakuha, tignan mo na lang... R R R R R X3lastic 1111 minsan nilalagyan ng kung anu anung bagay... 1111 madalas IK;: . R R R R R ;ng L2;/ daw ay parang pag 1 seselfie, pag walang nag !IK+, di masaya. R R R R R ;ng love parang basketball. Gaka ' points sila sa puso mo, pero minsan rebound ka langQQ R R R R R Kapag -rush, -rush !ang :ag Kang *ahuhulog. *asasaktan Ka !ang. X;ww R R R R R 0a panahon ngayon mas tumatagal na ang utang kaysa sa relasyon. ) R R R R R Kung 2indi *o *aiwasan *ag *ahal, Iwasan *o Galang *aging 9anga. R R R R R 1 0a 0obra Gyong 3aglalambingan, *ukha Ga Kayong Gaglalandian. X=ealtalk  R R R R R Busto mo ng sparks5 Isaksak mo yung tinidor nyo sa outlet tapos wag mong bibitawang haliparot ka. R R R R R B:;3<. 1111*insan may Birlfriend. 1111*adalas may oyfriend. R R R R R 0a !ove pag nasaktan ka, parang *co lang. 0akit na di mo *cmcmcmcKakalimutan.

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Kung nahihirapan ka na. umili ka nalang ng sprite. *;B3;K;9<9<< K;Q R R R R R Iiwan mo lang pala ako. 0ana naman nagsabi ka manlang para kahit papaano nakapag ready naman ako. R R R R R Wero 1111 *insan numero 1111 kadalasan !ovelife mo.. R R R R R

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-rush kita , -rush *o 0ya , *ay -rush 0yang Iba . ;no to5 3;B2;GB; Gg *ga 9;GB; 5 R R R R R  Gung nagawa mo kong lokohin, yun ang *;!I. 3ero para ulitin mo, hindi na yun *;!I. *;/ 0;KI9 ka naQ

ESSAY: A &eritage of S'allness *) Ni, 3!aui A*!ut t(e Aut(!r: Ni,!"e&e$ #rue7 3!au  #*ay 6, %J% " ;pril &J, &6$ was a "ilipino writer, historian and (ournalist, best known for his short stories and novels in the +nglish language. 2e also wrote using the pen name Qui0a! &e #ai+a. Coa4uYn was conferred the rank and title of Gational ;rtist of the 3hilippines for !iterature. Coa4uYn represented the 3hilippines at the International 3+G -ongress in 9okyo in %J8, and was appointed as a member of the *otion 3ictures commission under presidents iosdado *acapagal and Ferdinand +. *arcos. ;fter being honored as Gational ;rtist, Coa4uin used his position to work for intellectual freedom in society. 2e secured the release of imprisoned writer CosZ F. !acaba. ;t a ceremony on *ount *akiling attended by First !ady Imelda *arcos,   Coa4uYn delivered an invocation to #ariang #akiling , the mountainAs mythical maiden. Coa4uYn touched on the importance of  freedom and the artist. ;fter that, Coa4uYn was excluded by the *arcos regime as a speaker at important cultural events. Coa4uYn died of cardiac arrest in the early morning of ;pril &J, &6, at his home in 0an Cuan, *etro *anila. 2e was then editor of 'hilippine Graphic magazine, where he worked with Cuan 3. ayang, the magazineAs first publisher. Coa4uYn was also publisher of its sister   publication, #irror 3eekly, a women’s magazine, and wrote the column “0mall eer for  the 'hilippine Daily In=uirer  and Isyu, an opinion tabloid.

A HERITAGE OF S#ALLNESS  Gick Coa4uin 0ociety for the Filipino is a small rowboat) the barangay. Beography for the Filipino is a small locality) the barrio. 2istory for the Filipino is a small vague saying) matanda pa kay mahoma

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noong  peacetime. +nterprise for the Filipino is a small stall) the  sari-sari. Industry and production for the Filipino are the small immediate searchings of each day) isang kahig, isang tuka. ;nd commerce for the Filipino is the smallest degree of retail) the tingi.

:hat most astonishes foreigners in the 3hilippines is that this is a country, perhaps the only one in the world, where people buy and sell one stick of cigarette, half a head of garlic, a dab of   pomade, part of the contents of a can or bottle, one single egg, one single banana. 9o foreigners used to buying things by the carton or the dozen or pound and in the large economy sizes, the ex4uisite transactions of 3hilippine tingis cannot but seem !illiputian. 0o much effort by so many for so little. !ike all those children risking neck and limb in the traffic to sell one stick of cigarette at a time.
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9he depressing fact in 3hilippine history is what seems to be our native aversion to the large venture, the big risk, the bold extensive enterprise. 9he pattern may have been set by the migration. :e try to e4uate the odyssey of the migrating barangays with that of the 3ilgrim, Father of ;merica,  but a glance of the map suffices to show the differences between the two ventures.
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ecause we cannot unite for the large effort, even the small effort is increasingly beyond us. 9here is less to learn in our schools, but even this little is protested by our young as too hard. 9he falling line on the graph of effort is, alas, a recurring pattern in our history.
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ever tries to improve his product. usiness dies when it resigns itself, as local movies have done, to a limited market. ;fter more than half a century of writing in +nglish, 3hilippine !iterature in that medium is still identified with the short story. 9hat small literary form is apparently as much as we feel e4ual to. ut by limiting ourselves less and less capable even of the small thing"as the fate of the pagan  potter and the -hristian santero should have warned us. It’ no longer as obvious today that the Filipino writer has mastered the short story form. It’s two decades since the war but what were mere makeshift in postwar days have petrified into institutions like the (eepney, which we all know to be uncomfortable and inade4uate, yet cannot get get rid rid of, becau because se the the wo woul uldd mean mean to tack tackle le the the probl problem em of mode moderni rnizi zing ng our syst system emss of  transportation"a problem we think so huge we hide from it in the comforting smallness of the  (eepney. ; small solution to a huge problem"do we deceive ourselves into thinking that possible5 9he (eepney hints that we do, for the (eepney carrier is about as ade4uate as a spoon to empty a river  with. :ith the population welling, and land values rising, there should be in our cities, an upward thrust in architecture, but we continue to build small, in our timid two1story fashion.
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enterprising spirit. illa’s more characteristically 3hilippine dictum that poetry is the small intense line.

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:ith the =evolution, our culture is in dichotomy. 9his epic of %HJE is indeed a great effort"   but by a small minority. 9he 9agalog and 3ampango had taken it upon themselves to protest the grievances of the entire archipelago. *oreover, within the movement was a clash between the two strains in our culture"between the propensity for the small activity and the will to something more ambitious. onifacio’s Katipunan was large in number but small in scope7 it was a rattling of bolos7 and its post fiasco efforts are little more than amok raids in the manner the Filipino is said to excel in. #;n observation about us in the last war was that we fight best not as an army, but in small informal guerrilla outfits7 not in pitched battle, but in rapid hit1and1run raids.$
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9hings fall apart7 the center cannot hold) *ere anarchy is loosedS 2ave our capacities been so diminished by the small efforts we are becoming incapable even to the small things5
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UNIT 5 Development

of World Literature

W!r+& W!r+& +iterature +iterature  is sometimes used to refer to the sum total of the world’s national literatures, but usually it refers to the circulation of works into the wider world beyond their country of origin.
#EDIE#EDIE-A AL LITERATURE LITERATURE #e&ieva+ +iterature is a broad sub(ect, encompassing essentially all written works available in +urope in +urope and  and beyond during the *iddle ;ges #that ;ges #that is, the one thousand years from the fall the fall of the :estern =oman +mpire ca. +mpire ca. ; 8 to the beginning beginning of the Florentine Florentine =enaissance  =enaissance in  in the late %8th century$. 9he literature of this time was composed of religious writings as well as secular  works.  works. Cust as in modern literature, it is a complex and rich field of study, from the utterly sacred to the exuberantly profane, touching all points in1between. :orks of literature are often grouped by place of origin, language, and genre. 0ince !atin was the language of the =oman -atholic -hurch, which dominated :estern and :estern and -entral +urope, +urope, and since the -hurch was virtually the only source of  education, education, !atin was a common common language language for medieval medieval writings, writings, even in some parts of +urope that were we re never never =o =oma maniz nized ed.. 2o 2owe weve ver, r, in +aster +asternn +urope +urope,, the the infl influe uenc ncee of the +aster +asternn =oman =oman +mpire and and the the +astern +astern
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olde olderr oral oral trad tradit itio ions ns.. -eltic trad raditions have ave surviv vived in the lais of lais of *arie de France, the #abinogion and the ;rthurian cycles. cycles. ;nother host of vernacular literature has survived in the oragine reached such popularity that, in its time, it was repo report rted edly ly read read more ore oft often than han the ible. ible. Fran Franci ciss of ;ssis ssisii was a pro prolific poet, and his Franciscan followers Franciscan followers fre4uently wrote poetry themselves as an expression of their piety. Dies   are two of the most powerful !atin poems on religious sub(ects. Boliardic  Irae and %tabat #ater  are  poetry #four1line  poetry #four1line stanzas of satiric verse$ was an art form used by some clerics to express dissent. 9he only widespread religious writing that was not produced by clerics were the mystery plays) plays) growing out of simple tableaux re1enactments tableaux re1enactments of a single iblical scene, each mystery play became its village s expression of the key events in the ible. ible. 9he text of these plays was often controlled by local guilds, guilds, and mystery plays would be performed regularly on set feast1days, often lasting all day long and into the night. uring the *iddle ;ges, the Cewish  Cewish  population of +urope also produced a number of  outstanding writers. *aimonides writers. *aimonides,, born in -ordoba, 0pain, 0pain, and =ashi, =ashi, born in 9royes, 9royes, France, France, are two of the best1known and most influential of these Cewish authors. 0ecular  literature  literature in this period was not produced in e4ual 4uantity as religious literature, but much has survived and we possess today a rich corpus. 9he sub(ect of ?courtly ?courtly love? love? became important in the %%th century, especially in the =o =oma manc ncee lang langua uage gess #in the French, French, 0panish, 0panish, Balician13ortuguese, Balician13ortuguese, -atalan, -atalan, 3roven\al languages,  3roven\al languages, most notably$ and Breek , where the traveling singers@ troubadours troubadours @made a living from their songs. 9he writings of the trou trouba badou dours rs are are often often assoc associa iate tedd with with unre4 unre4ui uite tedd longi longing, ng, but this this is no nott entir entirel elyy accu accurat ratee #see aubade, for aubade, for instance$. In Bermany, the *innes]nger  continued  continued the tradition of the troubadours. In addition to epic poems in the Bermanic tradition tradition #e.g. $eowulf  and  and .ibelungenlied $, $, epic  poems in the tradition of the chanson de geste #e.g. The %ong of oland  and   and  Digenis  Digenis Acritas which deal with the *atter the *atter of France and France and the ;critic songs respectively$ songs respectively$ and courtly romances in the tradition of the roman courtois, which deal with the *atter of ritain an ritain andd the *atter of =ome, =ome, achieved great and lasting popularity. 9he roman courtois is distinguished from the chanson de  geste not only by its sub(ect matter, but also by its emphasis on love and chivalry rather than acts of  war. 3oliti 3olitical cal poetry poetry wa wass writ writte tenn also also,, espe especi cial ally ly towa toward rdss the the end end of this this peri period od,, and and the goliardic form saw use by secular writers as well as clerics. 9ravel literature was highly popular  in the *iddle *iddle ;ges, as fantastic fantastic accounts of far1off far1off lands #fre4uently #fre4uently embellished embellished or entirely entirely false$ entertained a society that, in most cases, limited people to the area in which they were born. #ut note the importance of  pilgrimages,  pilgrimages, especially to 0antiago to 0antiago de -ompostela, -ompostela, in medieval times, also witnessed by the prominence of  Beoffrey  Beoffrey -haucer s -anterbury  -anterbur y 9ales$. 9ales$.

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9he most prominent authors of Cewish secular Cewish secular poetry in the *iddle ;ges were 0olomon ibn Babirol and Babirol and /ehuda 2alevi, 2alevi, both of whom were also renowned religious poets.

RENAISSANCE LITERATURE Reai$$a,e Reai$$a,e +iterature +iterature refe refers rs to +uropea +uropeann litera literatur turee wh whiich wa wass infl influe uenc nced ed by the inte intell llec ectu tual al and and cult cultur ural al tend tenden enci cies es asso associ ciat ated ed with with the the =ena =enais issa sanc nce. e. 9he 9he lite litera ratu ture re of  the Reai$$a,e was written by within the general movement of the =enaissance which =enaissance which arose in %6th1century Italy and continued until the %Eth century while being diffused into the western world. It is characterized by the adoption of a humanist philosophy and the recovery of the classical literature of ;nti4uity. It benefited from the spread of printing in the latter part of the %8th century. For the writers of the =enaissance, Breco1=oman inspiration was shown both in the themes of their  writing and in the literary forms they used. 9he world was considered from an anthropocentric  perspective. 3latonic ideas were revived and put to the service of  -hristianity.  -hristianity. 9he search for   pleasures of the senses and a critical c ritical and a nd rational spirit completed the ideological panorama of the  period. Gew literary genres such as the essay #*ontaigne$ *ontaigne$ and new metrical forms such as the sonnet #3etrarch #3etrarch$$ and 0penserian stanza made stanza made their appearance. 9he 9he impa impact ct of the the =ena =enais issa sanc ncee vari varied ed acro across ss the the cont contin inen ent7 t7 coun countr trie iess that that we were re  predominantly -atholic or -atholic or 3rotestant expe experi rien ence cedd the the =ena =enais issa sanc ncee diff differ eren entl tlyy. ;reas reas wh wher eree the
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EARLY #ODERN LITERATURE Ear+ Ear+)) #!&e #!&er r +itera teratu turre succeeds *edi *ediev eval al lite literat rature ure,, and in +urope in  particular =enaissance literature. literature. In +urope, the +arly *odern period lasts roughly from %88 to %8, spanning thearo4ue the aro4ue  period and  period and ending with the ;ge the ;ge of +nlightenment and +nlightenment and the wars of the French =evolution. 9he =evolution. 9he +arly *odern period in 3ersia corresponds 3ersia corresponds to the rule of the 0afavid dynasty. In dynasty. In Capan, Capan, the ?+arly *odern  period? #+do period$ period$ is taken to last down to %HEH #the beginning of Industrialization during the *ei(i period$, period$, in India in India,, the *ughal era lasts era lasts until the establishment of the ritish =a( in =a( in %H8. 9he
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; new spirit of science and investigation in +urope was part of a general upheaval in human understanding, which began with the discovery of the Gew world in %6J& and continues through the subse4uent centuries, even up to the present day. 9he form of writing now commonplace across the world@the novel @originated from the early modern period and grew in popularity in the next century. efore the modern novel became established as a form there first had to be a transitional stage when ?novelty? began to appear in the style of the epic poem. 3lays for entertainment #as opposed to religious enlightenment$ returned to +uropeAs stages in the early modern period. :illiam 0hakespeare is the most notable of the early modern  playwrighters, but numerous others made important contributions, including 3ierre -orneille, *oli^re, Cean =acine, 3edro -alder_n de la arca, !ope de >ega and -hristopher  *arlowe. From the %Eth to the %Hth century commedia dellAarte performers improvised in the streets of Italy and France. 0ome -ommedia dellAarte plays were written down. oth the written plays and the improvisation were influential upon literature of the time, particularly upon the work of *oli^re. 0hakespeare drew upon the arts of (esters and strolling players in creating new style comedies. ;ll the parts, even the female ones, were played by men #en travesti$ but that would change, first in France and then in +ngland too, by the end of the %th century. 9he earliest work considered an opera in the sense the work is usually understood dates from around %8J. It is Dafne, #now lost$ written by Cacopo 3eri for an elite circle of  literate Florentine humanists who gathered as the ?-amerata?. *iguel de -ervantesAs Don ?uioltaire, Cean1Cac4ues =ousseau or Botthold +phraim !essing. +uropean cultural influence begins to spread to other continents, notably +do  period Capan, with notable authors of the period including Leda ;kinari and 0ant Kyden. +arly ;merican literature appears towards the end of the century, e.g. with 9he 3ower of 0ympathy by :illiam 2ill rown #%HJ$. 9he late %Hth century in Bermany sees the beginning =omantic #Govalis$ and 0turm und rang #Boethe und 0chiller$ movements.

6t( CENTURY LITERATURE Literature ! t(e 6t( ,etur) refers to world literature produced during the %Jth century. 9he range of years is, for the purpose of this article, literature written from #roughly$ %JJ to %J. *any of the developments in literature in this period parallel changes in the visual arts and other  aspects of %Jth1century culture.

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!iterary realism is the trend, beginning with mid nineteenth1century French literature and extending to late1nineteenth1 and early1twentieth1century authors, toward depictions of  contemporary life and society as it was, or is. In the spirit of general ?realism,? realist authors opted for depictions of everyday and banal activities and experiences, instead of a romanticized or  similarly stylized presentation. Beorge +liotAs novel #iddlemarch stands as a great milestone in the realist tradition. It is a  primary example of nineteenth1century realismAs role in the naturalization of the burgeoning capitalist marketplace. :illiam ean 2owells was the first ;merican author to bring a realist aesthetic to the literature of the Lnited 0tates. 2is stories of %H8s oston upper1crust life are highly regarded among scholars of ;merican fiction. 2is most popular novel, The ise of %ilas !apham, depicts a man who, ironically, falls from materialistic fortune by his own mistakes. 0tephen -rane has also  been recognized as illustrating important aspects of realism to ;merican fiction in the stories #aggie2 A Girl of the %treets and The ;pen $oat 1 2onorZ de alzac is often credited with pioneering a systematic realism in French literature, through the inclusion of specific detail and recurring characters. Fyodor ostoyevsky, !eo 9olstoy, Bustave Flaubert, and Ivan 9urgenev  are regarded by many critics as representing the zenith of the realist style with their unadorned prose and attention to the details of everyday life. In Berman literature, %Jth1century realism developed under the name of ?3oetic =ealism? or  ?ourgeois =ealism,? and ma(or figures include 9heodor Fontane, Bustav Freytag, Bottfried Keller , :ilhelm =aabe, ;dalbert 0tifter , and 9heodor 0torm.MEN !ater ?realist? writers included enito 3Zrez Bald_s, Buy de *aupassant, ;nton -hekhov, CosZ *aria de +\a de Uueiroz, *achado de ;ssis, olesaw 3rus and, in a sense, mile Wola, whose naturalism is often regarded as an offshoot of realism.

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5t( CENTURY LITERATURE Literature ! t(e 5t( century refers to world literature produced during the &th century #%J% to &$. In terms of the +uro1;merican tradition, the main periods are captured in the bipartite division, *odernist literature and 3ostmodern literature, flowering from roughly %J to %J6 and %JE to %JJ respectively, divided, as a rule of thumb, by :orld :ar II. 9he somewhat malleable term of ,!te"'!rar) +iterature is usually applied with a post1%JE cutoff point. ;lthough these terms #modern, contemporary and postmodern$ are most applicable to :estern literary history, the rise of globalization has allowed +uropean literary ideas to spread into non1:estern cultures fairly rapidly, so that ;sian and ;frican literatures can be included into these divisions with only minor 4ualifications. ;nd in some ways, such as in 3ostcolonial literature, writers from non1:estern cultures were on the forefront of literary development. 9echnological advances during the &th century allowed cheaper production of books, resulting in a significant rise in production of popular literature and trivial literature, comparable to the similar developments in music. 9he division of ?popular literature? and ?high literature? in the &th century is by no means absolute, and various genres such as detectives or science fiction fluctuate between the two. !argely ignored by mainstream literary criticism for the most of  the century, these genres developed their own establishments and critical awards7 these include the .ebula Award #since %JE8$, the $ritish +antasy Award #since %J%$ or the #ythopoeic  Awards #since %J%$. 9owards the end of the &th century, electronic literature developed due to the development of hypertext and later the :orld :ide :eb.

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9he Gobel 3rize in !iterature was awarded annually throughout the century #with the exception of %J%6, %J%H, %J'8 and %J6"%J6'$, the first laureate #%J%$ being 0ully 3rudhomme. 9he Gew /ork 9imes est 0eller list has been published since %J6&. 9he best1selling literary works  of the &th century are estimated to be The !ord of the  ings #%J86D88, %8 million copies$, Harry 'otter and the 'hilosopherJs %tone #%JJ, %& million copies$ and And Then There 3ere .one #%J'J, %%8 million copies$. The !ord of the ings was also voted ?book of the century? in various surveys. 'erry hodan #%JE% to present$ proclaimed as the  best1selling book series, with an estimated total of % billion copies sold.

56$t CENTURY LITERATURE

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9he 56$t ,etur) i +iterature refers to world literature in prose produced during the &%st century. 9he range of years is, for the purpose of this article, literature written from #roughly$ the year &% to the present. 9he &s saw a steep increase in the acceptability of literature of all types, inspired by the coming1of1age of millions of people who en(oyed the works of writers such as-. 0. !ewis and C. =. =. 9olkien in their youths. Geil Baiman, for instance, one of the decadeAs most popular writers of  the speculative fiction genre, cites 9olkien, !ewis, and B. K. -hesterton as his three biggest influences growing up. C. K. =owling admits to being heavily influenced by !ewis as well. 3hilip 3ullmanAs gritty and controversial young adult His Dark #aterials trilogy, written and published in the late %JJs, increased in popularity and was more widely read during the &s. 9he popularity of !ewis, 9olkien, 3ullman, and =owling was spurred on by movies which proved to be some of the  biggest of the &s. 9he &s also saw the popularization of  manga, or Capanese comics, among international audiences, particularly in +nglish1speaking nations. *any famous book series such as the Harry  'otter   series were adapted into films. ooks on wars, guides for  exams, myths, etc. were fre4uent sellers in this decade. 0ome books were written in simple +nglish and works of old writers were translated into language that was easier to understand. *ythology was converted into graphic novel form to build interest among young readers.

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UNIT 6 21

 Century World Literature

SHORT STORY: $he Proble' of Susan *) Nei+ Gai"a %ide note6

De,!$tru,ti! is a literary techni4ue which involves identifying the contradictions within a text’s claim to have a single, stable meaning, and showing that a text can be taken to mean a variety of things that differ  significantly from what it purports to mean. 9he following story is the author’s spin after the events of -0 !ewis’ The )hronicles of .arnia  series involving one of the main characters, 0usan 3evensie.

A*!ut t(e Aut(!r: Nei+ Ri,(ar& #a,9i! Gai"a  #born Nei+ Ri,(ar& Gai"a , % Govember %JE$ is an +nglish author of short fiction, novels, comic books, graphic novels, audio theatre, and films. 2is notable works include the comic book series The %andman and novels %tardust , American Gods, )oraline, and The Graveyard $ook . 2e has won numerous awards, including the 2ugo, Gebula, and ram 0toker awards, as well as the Gewbery and -arnegie medals. 2e is the first author to win both the Gewbery and the -arnegie medals for the same work, The Graveyard   $ook   #&H$. In &%', The ;cean at the /nd of the !ane was voted ook of the /ear in the ritish Gational ook ;wards.

THE PRO2LE# OF SUSAN from +ragile Things  Geil Baiman %he has the dream again that night1

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 In the dream, she is standing, with her brothers and her sister, on the edge of the battlefield1  It is summer, and the grass is a peculiarly vivid shade of green2 a wholesome green, like a cricket   pitch or the welcoming slope of the %outh Downs a s you make your way north from the coast1 There are bodies on the grass1 .one of the bodies are human she can see a centaur, its throat slit, on the  grass near her1 The horse half of it is a vivid chestnut1 Its human skin is nut-brown from the sun1 %he finds herself staring at the horse5s penis, wondering about centaurs mating, imagines being kissed by that  bearded face1 Her eyes flick to the cut throat, and the sticky red-black pool that surrounds it, and   she shivers1  +lies bu about the corpses1 The wildflowers tangle in the grass1 They bloomed yesterday for the first time in7how long4  A hundred years4 A thousand4 A hundred thousand4 %he does not know1  All this was snow, she thinks, as she looks at the battlefield1 Kesterday, all this was snow1 Always winter, and never )hristmas1  Her sister tugs her hand, and points1 ;n the brow of the green hill they stand, deep in conversation1 The lion is golden, his arms folded behind his back1 The witch is dressed all in white1  ight now she is shouting at the lion, who is simply listening1 The children cannot make out any of  their words, not her cold anger, nor the lion5s thrum-deep replies1 The witch5s hair is black and   shiny, her lips are red1  In her dream she notices these things1 They will finish their conversation soon, the lion and the witch7

9here are things about herself that the professor despises. 2er smell, for example. 0he smells like her grandmother smelled, like old women smell, and for this she cannot forgive herself, so on waking she bathes in scented water and, naked and towel1dried, dabs several drops of -hanel toilet water beneath her arms and on her neck. It is, she believes, her sole extravagance. 9oday she dresses in her dark brown dress suit. 0he thinks of these as her interview clothes, as opposed to her lecture clothes or her knocking1about1he1house clothes. Gow she is in retirement, she wears her knocking1about1the1house clothes more and more. 0he puts on lipstick. ;fter breakfast, she washes a milk bottle, places it at her back door. 0he discovers that the nextdoor’s cat has deposited a mouse head and a paw, on the doormat. It looks as though the mouse is swimming through the coconut matting, as though most of it is submerged. 0he purses her lips, then she folds her copy of yesterday’s Daily Telegraph, and she folds and flips the mouse head and the paw into the newspaper, never touching them with her hands. 9oday’s Daily Telegraph is waiting for her in the hall, along with several letters, which she inspects, without opening any of them, then places on the desk in her tiny study. 0ince her  retirement she visits her study only to write. Gow she walks into the kitchen and seats herself at the old oak table. 2er reading glasses hang about her neck on a silver chain, and she perches them on her nose and begins with the obituaries. 0he does not actually expect to encounter anyone she knows there, but the world is small, and she observes that, perhaps with cruel humor, the obituarists have run a photograph of 3eter  urrell1Bunnas he was in the early %J8s, and not at all as he was the last time the professor had seen him, at a  !iterary #onthly -hristmas party several years before, all gouty and beaky and trembling, and reminding her of nothing so much as a caricature of an owl. In the photograph, he is very beautiful. 2e looks wild, and noble. 0he had spent an evening once kissing him in a summer house) she remembers that very clearly, although she cannot remember for the life of her in which garden the summer house had  belonged.

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It was, she decides, -harles and Gadia =eid’s house in the country. :hich meant that it was  before Gadia ran away with that 0cottish artist, and -harles took the professor with him to 0pain, although she was certainly not a professor then. 9his was many years before people commonly went to 0pain for their holidays7 it was an exotic and dangerous place in those days. 2e asked her to marry him, too, and she is no longer certain why she said no, or even if she had entirely said no. 2e was a pleasant1enough young man, and he took what was left of her virginity on a blanket on a 0panish beach, on a warm spring night. 0he was twenty years old, and had thought herself so oldS 9he doorbell chimes, and she puts down the paper, and makes her way to the front door, and opens it. 2er first thought is how young the girl looks. 2er first thought is how old the woman looks. “3rofessor 2astings5 she says. “I’m Breta -ampion. I’m doing the profile on you. For the !iterary )hronicle1 9he older woman stares at her for a moment, vulnerable and ancient, then she smiles. It’s a friendly smile, and Breta warms to her. “-ome in, dear, says the professor. “:e’ll be in the sitting room. “I brought you this, says Breta. “I baked it myself. 0he takes the cake tin from her bag, hoping its contents hadn’t disintegrated en route. “It’s a chocolate cake. I read on1line that you liked them. 9he old woman nods and blinks. “I do, she says. “2ow kind. 9his way. Breta follows her into a comfortable room, is shown to her armchair, and told, firmly, not to move. 9he professor bustles off and returns with a tray, on which are teacups and saucers, a teapot, a plate of chocolate biscuits, and Breta’s chocolate cake. 9ea is poured, and Breta exclaims over the professor’s brooch, and then she pulls out her  notebook and pen, and a copy of the professor’s last book, A ?uest for #eanings in )hildren5s  +iction, the copy bristling with 3ost1it notes and scraps of paper. 9hey talk about the early chapters, in which the hypothesis is set forth that there was originally no distinct branch of fiction that was only intended for children, until the >ictorian notions of the purity and sanctity of childhood demanded that fiction for children be madeS “:ell, pure, says the professor. “;nd sanctified5 asks Breta, with a smile. “;nd sanctimonious, corrects the old woman. “It is difficult to read The 3ater $abies without wincing. ;nd then she talks about ways that artists used to draw children@as adults, only smaller, without considering the child’s proportions@and how the Brimms’ stories were collected for adults and, when the Brimms realized the books were being read in the nursery, were bowdlerized to make them more appropriate. 0he talks of 3errault’s “0leeping eauty in the :ood, and of its original coda in which the 3rince’s cannibal ogre mother attempts to frame the 0leeping eauty for having eaten her own children, and all the while Breta nods and takes notes, and nervously tries to contribute enough to the conversation that the professor will feel that it is a conversation or at least an interview, not a lecture. “:here, asks Breta, “do you feel your interest in children’s fiction came from5 9he professor shakes her head. “:here do any of our interests come from5 :here does your  interest in children’s books come from5 Breta says, “9hey always seemed the books that were most important to me. 9he ones that mattered. :hen I was a kid, and when I grew. I was like ahl’s #atilda71 :ere your family great readers5 “Got reallyS. I say that, it was a long time ago that they died. :ere killed. I should say. “;ll your family died at the same time5 :as this in the war5

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“Go, dear. :e were evacuees, in the war. 9his was in a train crash, several years after. I was not there. “Cust like in !ewis’s .arnia  books, says Breta, and immediately feels like a fool, and an insensitive fool. “I’m sorry. 9hat was a terrible thing to say, wasn’t it5 “:as it, dear5 Breta can feel herself blushing, and she says, “It’s (ust I remember that se4uence so vividly. In The !ast $attle1 :here you learn there was a train crash on the way back to school, and everyone was killed. +xcept for 0usan, of course. 9he professor says, “*ore tea, dear5 and Breta knows that she should leave the sub(ect, but she says, “/ou know, that used to make me so angry. “:hat did, dear5 “0usan. ;ll the other kids go off to 3aradise, and 0usan can’t go. 0he’s no longer a friend of   Garnia because she’s too fond of lipsticks and nylons and invitations to parties. I even talked to my +nglish teacher about it, about the problem of 0usan, when I was twelve. 0he’ll leave the sub(ect now, talk about the role of children’s fiction in creating the belief  systems we adopt as adults, but the professor says, “;nd tell me, dear, what did your teacher say5 “0he said that even though 0usan had refused 3aradise then, she still had time while she lived to repent. “=epent what4 “Got believing, I suppose. ;nd the sin of +ve. 9he professor cuts herself a slice of chocolate cake. 0he seems to be remembering. ;nd then she says, “I doubt there was much opportunity for nylons and lipsticks after her family was killed. 9here certainly wasn’t for me. ; little money@less than one might imagine@from her parents’ estate, to lodge and feed her. Go luxuriesS “9here must have been something else wrong with 0usan, says the young (ournalist, “something they didn’t tell us.
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Breta nods and says of course, and knows in her heart, with a peculiar finality, that they will talk no more. 9hat night, the professor climbs the stairs of her house, slowly, painstakingly, floor by floor. 0he takes sheets and blankets from the airing cupboard, and makes up a bed in the spare bedroom, at the back. It is empty but for a wartime austerity dressing table, with a mirror and drawers, an oak   bed, and a dusty applewood wardrobe, which contains only coathangers and a cardboard box. 0he  places a vase on the dressing table, containing purple rhododendron flowers, sticky and vulgar. 0he takes from the box in the wardrobe a plastic shopping bag containing four old  photographic albums. 9hen she climbs into the bed that was hers as a child, and lies there between the sheets, looking at the black1and1white photographs, and the sepia photographs, and the handful of unconvincing color photographs. 0he looks at her brothers, and her sister, and her parents, and she wonders how they could have been that young, how anybody could have been that young. ;fter a while she notices that there are several children’s books beside the bed, which  puzzles her slightly, because she does not believe she keeps books on the bedside table in that room.  Gor, she decides, does she usually have a bedside table there.
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 $eing dead, the eyes in the head on the grass cannot look away1 $eing dead, they miss nothing1 And then does the lion amble over to the head on the grass and devour it in its huge mouth, crunching her skull in its powerful *aws, and it is then, only then, that she wakes1

2er heart is pounding. 0he tries to wake her boyfriend, but he snores and grunts and will not  be roused.  It5s true, Breta thinks, irrationally, in the darkness. %he grew up1 %he carried on1 %he didn5t  die1

0he imagines the professor, waking in the night and listening to the noises coming from the old applewood wardrobe in the corner) to the rustlings of all these gliding ghosts, which might be mistaken for the scurries of mice or rats, to the padding of enormous velvet paws, and the distant, dangerous music of a hunting horn. 0he knows she is being ridiculous, although she will not be surprised when she reads of the  professor’s demise. Death comes in the night, she thinks, before she returns to sleep. !ike a lion1

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The white witch rides naked on the lion5s golden back1 Its mule is spotted with fresh,  scarlet blood1 Then the vast pinkness of its tongue wipes around its face, and once more it is  perfectly clean1

POETRY: What Must Be Said  *) Gter Gra$$ A*!ut t(e Aut(!r: Gter Wi+(e+" Gra$$  #%E
WHAT #UST 2E SAID  #9ranslated by reon *itchell$

Bnter Brass :hy have I kept silent, held back so long, on something openly practised in war games, at the end of which those of us who survive will at best be footnotes5 ItAs the alleged right to a first strike that could destroy an Iranian people sub(ugated by a loudmouth

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and gathered in organized rallies,  because an atom bomb may be being developed within his arc of power. /et why do I hesitate to name that other land in which for years " although kept secret "  a growing nuclear power has existed  beyond supervision or verification, sub(ect to no inspection of any kind5

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9his general silence on the facts,  before which my own silence has bowed, seems to me a troubling, enforced lie, leading to a likely punishment the moment itAs broken) the verdict ?;nti1semitism? falls easily. ut now that my own country,  brought in time after time for 4uestioning about its own crimes,  profound and beyond compare, has delivered yet another submarine to Israel, #in what is purely a business transaction, though glibly declared an act of reparation$ whose speciality consists in its ability to direct nuclear warheads toward an area in which not a single atom bomb has yet been proved to exist, its feared existence proof enough, IAll say what must be said. ut why have I kept silent till now5 ecause I thought my own origins, tarnished by a stain that can never be removed, meant I could not expect Israel, a land to which I am, and always will be, attached, to accept this open declaration of the truth. :hy only now, grown old, and with what ink remains, do I say) IsraelAs atomic power endangers an already fragile world peace5 ecause what must be said may be too late tomorrow7 and because " burdened enough as Bermans "  we may be providing material for a crime that is foreseeable, so that our complicity will not be expunged by any of the usual excuses.

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;nd granted) IAve broken my silence  because IAm sick of the :estAs hypocrisy7 and I hope too that many may be freed from their silence, may demand that those responsible for the open danger  we face renounce the use of force, may insist that the governments of   both Iran and Israel allow an international authority free and open inspection of  the nuclear potential and capability of both.

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 Go other course offers help to Israelis and 3alestinians alike, to all those living side by side in enmity in this region occupied by illusions, and ultimately, to all of us.

NO-EL: $he "ife of Pi
T(e Y!ug A&u+t
A*!ut t(e Aut(!r: Ya #arte+  #born &8 Cune %JE'$ is a 0panish1born -anadian author best known for  the *an ooker 3rize1winning novel !ife of 'i , a X% international bestseller published in more than 8 territories. It has sold more than %& million copies worldwide and spent more than a year on the estseller !ists of the .ew Kork Times and The Globe and #ail , among many other bestseller  lists. It was adapted to the screen and directed by ;ng !ee, garnering four
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THE LIFE OF PI #an excerpt$ /ann *artel I was alone and orphaned, in the middle of the 3acific, hanging on to an oar, an adult tiger in front of me, sharks beneath me, a storm raging about me. 2ad I considered my prospects in the light of reason, I surely would have given up and let go of the oar, hoping that I might drown before  being eaten. ut I don’t recall that I had a single thought during those first minutes of relative safety. I didn’t even notice daybreak. I held on to the oar, I (ust held on, Bod only knows why. 9he elements allowed me to go on living. 9he lifeboat did not sink. =ichard 3arker kept out of sight. 9he sharks prowled but did not lunge. 9he waves splashed me but did not pull me off. I watched the ship as it disappeared with much burbling and belching. !ights flickered and went out. I looked about for my family, for survivors, for another lifeboat, for anything that might  bring me hope. 9here was nothing.
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!ook) -hrist on the -ross died of suffocation, but 2is only complaint was of thirst. If thirst can be so taxing that even Bod Incarnate complains about it, imagine the effect on a regular human. It was enough to make me go raving mad. I have never known a worse physical hell than this putrid taste and pasty feeling in the mouth, this unbearable pressure at the back of the throat, this sensation that my blood was turning to a thick syrup that barely flowed. 9ruly, by comparison, a tiger was nothing. ;nd so I pushed aside all thoughts of =ichard 3arker and fearlessly went exploring for fresh water. 9he divining rod in my mind dipped sharply and a spring gushed water when I remembered that I was on a genuine, regulation lifeboat and that such a lifeboat was surely outfitted with supplies. 9hat seemed like a perfectly reasonable proposition. :hat captain would fail in so elementary a way to ensure the safety of his crew5 :hat ship chandler would not think of making a little extra money under the noble guise of  saving lives5 It was settled. 9here was water aboard. ;ll I had to do was find it. :hich meant I had to move. I made it to the middle of the boat, to the edge of the tarpaulin. It was a hard crawl. I felt I was climbing the side of a volcano and I was about to look over the rim into a boiling cauldron of orange lava. I lay flat. I carefully brought my head over. I did not look  over any more than I had to. I did not see =ichard 3arker. 9he hyena was plainly visible, though. It was back behind what was left of the zebra. It was looking at me. I was no longer afraid of it. It wasn’t ten feet away, yet my heart didn’t skip a beat. =ichard 3arker’s presence had at least that useful aspect. 9o be afraid of this ridiculous dog when there was a tiger about was like being afraid of splinters when trees are falling down. I became very angry at the animal. “/ou ugly, foul creature, I muttered. 9he only reason I didn’t stand up and beat it off  the lifeboat with a stick was lack of strength and stick, not lack of heart. id the hyena sense something of my mastery5 id it say to itself, “0uper alpha is watching me@ I better not move5 I don’t know. ;t any rate, it didn’t move. In fact, in the way it ducked its head it seemed to want to hide from me. ut it was no use hiding. It would get its (ust deserts soon enough. =ichard 3arker also explained the animals’ strange behavior. Gow it was clear why the hyena had confined itself to such an absurdly small space behind the zebra and why it had waited so long before killing it. It was fear of the greater beast and fear of touching the greater beast’s food. 9he strained, temporary peace between
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It seems orange@ such a nice 2indu color@ is the color of survival because the whole inside of the boat and the tarpaulin and the life (ackets and the lifebuoy and the oars and most every other significant ob(ect aboard was orange. +ven the plastic, beadless whistles were orange. 9he words Tsimtsum  and  'anama were printed on each side of the bow in stark, black, roman capitals. I did not grasp all these details@ and many more@ right away. 9hey came to my notice with time and as a result of necessity. I would be in the direst of dire straits, facing a bleak future, when some small thing, some detail, would transform itself and appear in my mind in a new light. It would no longer be the small thing it was before, but the most important thing in the world, the thing that would save my life. 9his happened time and again. 2ow true it is that necessity is the mother of invention, how very true. ut that first time I had a good look at the lifeboat I did not see the detail I wanted. 9he surface of the stern and side benches was continuous and unbroken, as were the sides of the  buoyancy tanks. 9he floor lay flat against the hull7 there could be no cache beneath it. It was certain) there was no locker or box or any other sort of container anywhere.
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were the vintners. FEE ml  were the contents. 9here were stacks of these cans, too many to count at a glance. :ith a shaking hand I reached down and picked one up. It was cool to the touch and heavy. I shook it. 9he bubble of air inside made a dull glub glub glub sound. I was about to be delivered from my hellish thirst. *y pulse raced at the thought. I only had to open the can. I paused. 2ow would I do that5 I had a can@ surely I had a can opener5 I looked in the locker. 9here was a great 4uantity of  things. I rummaged about. I was losing patience. ;ching expectation had run its fruitful course. I had to drink now@or I would die. I could not find the desired instrument. ut there was no time for  useless distress. ;ction was needed. -ould I pry it open with my fingernails5 I tried. I couldn’t. *y teeth5 It wasn’t worth trying. I looked over the gunnel. 9he tarpaulin hooks. 0hort, blunt, solid. I kneeled on the bench and leaned over. 2olding the can with both my hands, I sharply brought it up against a hook. ; good dint. I did it again. ;nother dint next to the first. y dint of dinting, I managed the trick. ; pearl of water appeared. I licked it off. I turned the can and banged the opposite side of the top against the hook to make another hole. I worked like a fiend. I made a larger  hole. I sat back on the gunnel. I held the can up to my face. I opened my mouth. I tilted the can. *y feelings can perhaps be imagined, but they can hardly be described. 9o the gurgling beat of my greedy throat, pure, delicious, beautiful, crystalline water flowed into my system. !i4uid life, it was. I drained that golden cup to the very last drop, sucking at the hole to catch any remaining moisture. I went, “;hhhhhhQ tossed the can overboard and got another one. I opened it the way I had the first and its contents vanished (ust as 4uickly. 9hat can sailed overboard too, and I opened the next one. :hich, shortly, also ended up in the ocean. ;nother can was dispatched. I drank four  cans, two liters of that most ex4uisite of nectars, before I stopped. /ou might think such a rapid intake of water after prolonged thirst might upset my system. GonsenseQ I never felt better in my life. :hy, feel my browQ *y forehead was wet with fresh, clean, refreshing perspiration. +verything in me, right down to the pores of my skin, was expressing (oy. ; sense of well being 4uickly overcame me. *y mouth became moist and soft. I forgot about the back of my throat. *y skin relaxed. *y (oints moved with greater ease. *y heart began to  beat like a merry drum and blood started flowing through my veins like cars from a wedding party honking their way through town. 0trength and suppleness came back to my muscles. *y head  became clearer. 9ruly, I was coming back to life from the dead. It was glorious, it was glorious. I tell you, to be drunk on alcohol is disgraceful, but to be drunk on water is noble and ecstatic. I basked in  bliss and plenitude for several minutes. ; certain emptiness made itself felt. I touched my belly. It was a hard and hollow cavity. Food would be nice now. ; masala dosai with a coconut chutney@ hmmmmmQ +ven better) oothappamQ 2*****Q
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;t the top of the block were the words Tear here to open and a black arrow pointing to the edge of the plastic. 9he edge gave way under my fingers. Gine wax1paper1wrapped rectangular bars tumbled out. I unwrapped one. It naturally broke into two. 9wo nearly s4uare biscuits, pale in color  and fragrant in smell. I bit into one. !ord, who would have thought5 I never suspected. It was a secret held from me) Gorwegian cuisine was the best in the worldQ 9hese biscuits were amazingly good. 9hey were savory and delicate to the palate, neither too sweet nor too salty. 9hey broke up under the teeth with a delightful crunching sound. *ixed with saliva, they made a granular paste that was enchantment to the tongue and mouth. ;nd when I swallowed, my stomach had only one thing to say) 2allelu(ahQ 9he whole package disappeared in a few minutes, wrapping paper flying away in the wind. I considered opening another carton, but I thought better. Go harm in exercising a little restraint. ;ctually, with half a kilo of emergency ration in my stomach, I felt 4uite heavy. I decided I should find out what exactly was in the treasure chest before me. It was a large locker, larger than its opening. 9he space extended right down to the hull and ran some little ways into the side benches. I lowered my feet into the locker and sat on its edge, my back against the stem. I counted the cartons of 0even
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zookeeper’s son5 =eward5 :as there any reward greater than life5 ;ny punishment worse than death5 I looked at =ichard 3arker. *y panic was gone. *y fear was dominated. 0urvival was at hand. ;nd so it came to be) 3lan Gumber 0even) Keep 2im ;live.

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POETRY: Casa *) Rig!*ert! G!7+e7 A*!ut t(e Aut(!r: Rig!*ert! G!7+e7 was born in akersfield, -alifornia and raised in *ichoacn, *exico. 2e is the author of several poetry books, including %o ;ften the 'itcher Goes to 3ater until It   $reaks #%JJJ$ , a Gational 3oetry 0eries selection7 ;ther +ugitives and ;ther  %trangers #&E$7 $lack $lossoms #&%%$7 and npeopled /den #&%'$, winner of a !ambda !iterary ;ward. 2e has also written two bilingual children’s books, %oledad %igh-%ighs #&'$ and Antonio5s )ard #&8$7 the novel )rossing 0ines #&'$ , winner of Fore:ord *agazine’s Fiction ook of the /ear ;ward7 and a memoir, $utterfly $oy2 #emories of a )hicano  #ariposa #&E$7 and a book of stories #en without $liss #&H$.

CASA =igoberto Bonzlez I am not your mother, I will not be moved  by the grief or gratitude of men who weep like orphans at my door. I am not a church. I do not answer  prayers but I never turn them down. -ome in and kneel or sit or stand, the burden of your weight wonAt lessen no matter the length of your admission. 9ell me anything you want, I have to listen  but donAt expect me to respond when you tell me you have lost your (ob or that your wife has found another love or that your children took their laughter

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to another town. /ou feel alone and empty5 -olor me surprisedQ I didnAt notice they were gone. espite the row of faces pinned like medals to my walls, I didnAt earn them. 9he scratches on the wood are not my scars. If thereAs a smell of spices in the air  blame the trickery of kitchens or your sad addiction to the yesterdays that never keep no matter how much you believe they will. I am not a time capsule. I do not value pithy things like locks of hair and milk teeth and ticket stubs

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and promise rings@mere particles of dust IAd blow out to the street if I could sneeze. 9ake your high school (ersey and your womanAs wedding dress away from me. 0entimental hoarding bothers me. 0o off with you, old couch that cries in coins as it gets dragged out to the porch. Farewell, cold bed that breaks its bones in protest to eviction or foreclosure or whatever launched this grim parade of exits. I am not a pet. I do not feel abandonment. 0ometimes I donAt even see you come or go or stay behind. *y windows are your eyes not mine. If you should die inside me IAll leave it up to you to tell the neighbors. 0hut the heaters off I do not fear the cold. IAm not the one who shrinks into the corner of the floor   because whatever made you think this was a home with warmth isnAt here to sweet1talk anymore. onAt look at me that way, IAm not to blame. I granted nothing to the immigrant or exile that I didnAt give a bordercrosser or a native  born. I am not a prize or a wish come true. I am not a fairytale castle. 9hough I used to be, in some distant land inhabited  by dreamers now extinct. :ho knows what happened there5 In any case, good

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riddance, grotes4ue fantasy and mirth. 0o long, wall1to1wall disguise in vulgar suede and chintz. 9ake care, you fool, and donAt forget that I am (ust a house, a structure without soul for those whose  patron saints are longing and despair.

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WE2TOON: $he (od of &igh Shool
W(at are We*t!!$? We*t!! #2angul) 웹 툰 $ is a term used to describe 0outh Korean webcomics or manhwa  that are published online. 9he Korean web  portal aum created a webtoon service in &', as did Gaver in &6. M%N 9hese services regularly release webtoons that are available for free. ;ccording to avid :elsh of loomberg, comics account for a 4uarter of all  book sales in 0outh Korea, while more than ' million Korean users paid to access online manhwa and % million users read free webcomics..

A*!ut t(e Aut(!r: Par Y!g40e #박용제$ is a Korean webtoon artist, and the author of The God of High %chool . 2e graduated from Korean Gational Lniversity of ;rts, ept. of ;nimation.

THE GOD OF HIGH SCHOOL #an excerpt$ 3ark /ong1(e

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 2  1   st  C  e  n   tu   yr  L    it  e   ra   tu  r