21st-Century-Literature_MODULE (1).pdf

SENIOR HIGH SCHOOL 21st Century Literatures from the Philippines and the World Quarter 1 – Module 1 Understanding the Literary History and Appreciating the 21st Century Literatures of the Philippines This instructional mate...

SENIOR HIGH SCHOOL 21st Century Literatures from the Philippines and the World Quarter 1 – Module 1 Understanding the Literary History and Appreciating the 21st Century Literatures of the Philippines This instructional material was collaboratively developed and reviewed by educators from public and private schools, colleges, and/or universities. We encourage teachers and other education stakeholders to email their feedback, comments, and recommendations to the Department of Education at [email protected]. We value your feedback and recommendations. Department of Education Republic of the Philippines ii  WHAT I NEED TO KNOW This first learning module contains 21st Century Literatures from the regions in various genres and forms in consideration of the various dimensions of Philippine literary history from pre-colonial to contemporary; canonical authors and works of Philippine National Artists in Literature; names of authors and their works, and the backgrounds of the literature from the region where the high school is located. In this module, the students understand and appreciate the elements and contexts of 21st century Philippine literature from the regions through: a written close analysis and critical interpretation of a literary text in terms of form and theme, with a description of its context derived from research; and an adaptation of a text into other creative forms using multimedia. After studying this module, you will be able to: 1. define literature from various writers; 2. identify the geographic, linguistic, and ethnic dimensions of Philippine literary history from pre-colonial to the contemporary; 3. make graphical timeline on how literatures of literary periods proliferated; 4. identify representative texts and authors from each region (e.g. engage in oral history research with focus on key personalities from the students’ region, province, town; 5. appreciate and internalize the meaning of the texts; 6. value the contributions of local writers to the development of regional literary traditions; 7. compare and contrast the various 21st century literary genres and the ones from the earlier genres/periods citing their elements, structures and traditions; and 8. present a creative presentation through multimedia. THINGS TO REMEMBER TO GET THROUGH To learn and benefit from this module, follow the following steps: 1. Read the module title and the module introduction to get an idea of what the module covers. Specifically, read the first two sections of this module carefully. 1  The first section tells you what this module is all about while the second section tells you of what you are expected to learn. 2. Never move on to the next page unless you have done what you are expected to do in the previous page. Before you start each lesson, read first the INSTRUCTIONS. 3. Work on the activities. Take note of the skills that each activity is helping you to develop. 4. Take the Post-Test after you are done with all the lessons and activities in the module. 5. Meet with your teacher. Ask him/her about any difficulty or confusion you have encountered in this module. 6. Finally, prepare and gather all your outputs and submit them to your teacher. 7. Please write all your answers of the tests, activities, exercises, and others in your separate activity notebook. REMEMBER THIS The most basic skill that a good student in literatures has is a clear understanding of the development and the canonical authors’ contributions to the literatures of the Philippines. GOOD LUCK AS YOU BEGIN THIS MODULE! 2  GRAPHIC, LINGUISTIC, AND LESSON ETHNIC DIMENSIONS OF 1 PHILIPPINE LITERARY HISTORY Competency 1A: Identify the geographic, linguistic, and ethnic dimensions of Philippine literary history from pre-colonial to the contemporary, EN12Lit-Ia-21 (2 hours) WHAT I NEED TO KNOW At the end of this lesson, the learners are expected to: 1. define literature from various writers; and 2. understand literature from pre-colonial to contemporary periods. 3. make a graphical timeline focusing on how the literatures for each literary period proliferated. WHAT I KNOW Instructions: Recall what you learned about the literature of the past. Read and answer the following statements. Write the letter of your answer in your activity notebook. 1. The “putong” is a pre -colonial ornament which may signify that the wearer has killed someone. a. True b. False 2. The early Filipinos live in scattered barangay governed by a chieftain which they call rajah or datu. a. True b. False 3 3. It is a body of work, either written, oral, or visual, containing imaginative language that realistically portrays thought, emotions, and experiences of the human condition. a. Pre-colonial Literature b. Philippine Literature c. Literature d. World Literature 4. The period of time before colonization of a region or territory. a. Colonial b. Pre-Colonial c. Pre-history d. Post-Colonial 5. Identify the two classifications of folk literature: a. Local and Global b. Dynamic and Static c. Flat and Round d. Floating and Oral 6. Literatures during pre-colonial period were handed down to us through a. word of mouth b. paper and pen c. multimedia 7. Which of the following is true about Philippine pre-colonial texts? a. Most of the pre-colonial dramas were held in the sambahan or places of worship. b. They revolve around the illiteracy of early Filipinos. c. Only the concept of death is used as a subject for narratives. d. All of the above 8. It is a rhythmical type of literary composition that usually serves to excite the readers. a. Poetry b. Prose 9. Which of the following is a theme of pre-colonial texts? a. Karma b. Reincarnation c. Ideals d. War 10. It is the ordinary form of spoken or written language, without metrical structure a. Poetry b. Prose 11. It is a war song which evolved into a love song. a. Uyayi b. Talindaw c. Hele d. Kumintang 12. It is a song of revelry a. Epiko b. Uyayi c. Diyuna d. Sabi 13. These are sacred narrative explaining how the world and man came to be in their present form. a. Legends b. Myths c. Epics d. Fables 14. Philippine myths show that ancient Filipinos believed in one supreme god and in a number of lesser gods and goddesses a. True b. False 4 15. These are myths that seek to explain natural phenomenon like rainbows, thunder and lightning. a. Early concept of the universe b. The Sun, Moon and Stars c. Establishment of Natural Order V WHAT IS IT What is literature? The word literature is derived from the Latin term litera which means letter. It has been defined differently by various writers. These are the following: 1. Literature expresses the feelings of people to society, to the government, to his surroundings, to his fellowmen, and to his Divine Creator. (Brother Azurin) 2. Literature is anything that is printed as long as it is related to the ideas and feelings of the people, whether it is true, or just a product of one’s imagination. (Webster) 3. “True literature is a piece of written work which is undying. It expresses the feelings and emotions of people in response to his everyday efforts to live, to be happy in his environment and, after struggles, to reach his Creator” (PANITIKANG FILIPINO) Some loosely interpret literature as any printed matter written within a book, a magazine or a pamphlet. Others define literature as a faithful reproduction of man’s manifold experiences blended into one harmonious expression. Because literature deals with ideas, thoughts and emotions of man, literature can be said to be the story of man. Man’s loves, griefs, thoughts, dreams and aspirations coached in beautiful language is literature. In Panitikang Pilipino written by Atienza, Ramos, Salazar and Nazal, it says that “true literature is a piece of written work which is undying. It expresses the feelings and emotions of people in response to his everyday efforts to live, to be happy in his environment and, after struggles, to reach his Creator.” Philippine Literature is a diverse and rich group of works that has evolved side- by-side with the country’s history. Literature had started with fables and legends made by the ancient Filipinos long before the arrival of Spanish influence. The main themes of Philippine literature focus on the country’s pre-colonial cultural traditions and the socio-political histories of its colonial and contemporary traditions. 5 Literary History/Evolution of the Philippines 1. Pre-Colonial Period  The evolution of Philippine literature depended on the influences of colonization and the spirit of the age.  The first Filipino alphabet called ALIBATA was replaced by the Roman alphabet.  Indigenous Philippine literature was based on traditions and customs of a particular area of the country.  Philippines is an archipelago country, consisting several islands, (7,107 islands to be exact), and each of those islands has its specifications of cultures and traditions, bearing different set of native literature.  Ancient literatures were written on the perishable materials like dried leaves, bamboo cylinder, and bark of the trees.  Literatures were handed down to us through the word of mouth. There were two literary forms during the pre-colonial period: A. Written literatures Examples: a. Riddles or bugtong. These are effective ways to inculcate the ability of logical thinking of a child. b. Epigrams or salawikain. It reflects the hidden meaning through the good lines. It provides good values. c. Poems or tanaga – These are common forms of poetry which has a quatrine with 7 syllables each with the same rhyme at the end of each line. It also expresses insights and lessons in life. B. Oral literatures Examples: a. Chant. It is used in witchcraft and enchantment. While, ambahan is a traditional poetry of Hanunoo Mangyans of Oriental Mindoro which teaches lesson about life. It is recited by parents to educate their children by the youth expressing their love, by the old to impart experiences, or by the community in tribal ceremony. (slideshare.net/mobile/jessacerbito…) b. Balagtasan.This is a Filipino form of debate done in verse. The term is derived from the surname of Francisco Balagtas the author of Filipino epic Florante at Laura. 6 2. The Spanish Colonial Period (1565-1897) Sixteenth Century was the start of the deprivation of the indigenous Philippine literature. Spanish colonial government finally got in the scene. They were able to manipulate literature by monopolizing it under the religious orders. Literature evolves mainly on the themes of Spanish/ European culture and of course, the Roman Catholic religion. Literary Influences during Spanish colonization a. Christian Doctrine or Doctrina Christiana was the first book ever printed in the Philippines in 1593 by the Dominican press. b. Libro de la Lengua Tagala by Fernando Bagongbanta.Tagalog translations to the Spanish lines, still the superiority of the Spanish language. c. Pasyon influenced by the Spanish contexts of Christianity, at least they embodied several Filipino sentiments and values (the feeling of Filipino mother towards a suffering son). Filipino writers in Spanish became conscious for the search for freedom a. Pasyon Dapat Ipag-alab ng Puso by Marcelo H. del Pilar expressed his rebellious writing style was identified. b. Pascual Poblete’s Patnubay sa Binyagan associated Filipinos’ struggle for independence with Jesus’ life. c. Jose Rizal’s Noli Me Tangere and El Filibusterismo made very powerful contributions among the Filipinos the introduction of rejecting Spanish rule. He also influenced the succeeding writers. d. The narrative poems Awit and Corrido talked about world of royals, warriors and lovers (the basic concept in Florante at Laura). e. Komedya. Francisco Baltazar’s Florante at Laura embodied the concept of colonization and oppression which gave voice to their revolutionary action towards freedom. 3. The American Colonial Period (1898-1945)  Philippine literature in Spanish was starting to lose its track on the first decade.  The poems of Fernando Ma. Guerrero (Crisalidas), Balmori’s Se deshojo la Flor novel, and many others discussed revolution and sentiments for patriotism and reform proved that Philippine literature was used to claim freedom from the colonizers.  Even if Philippine literature was in English, the preservation of the content for Filipino experiences was achieved. 7   Short story writers in English like Manuel Arguilla in his “A Son is Born,” was one of the foundations of the Philippine literature, not in Tagalog or in Spanish, but during this time, in English. Poetry in English was also founded.  Sarzuela was overpowered by English drama. 4. The Contemporary Period (1946 to present) This period started during the rebirth of freedom in (1946-to present). The Americans returned in 1945. Filipinos rejoiced and guerrillas that fled to the mountain joined the liberating American Army. On July 4, 1946, the Philippines regained its freedom and the Filipino flag waved joyously alone. The chains were broken. The State of Literature during this Period The early post-liberation period was marked by a kind of “struggle of mind and spirit” posed by the sudden emancipation from the enemy, and the wild desire to see print. a. Heart of The Islands (1947) – a collection of poems by Manuel Viray b. Philippines Cross Section (1950) – a collection of prose and poetry by Maximo Ramos and Florentino Valeros c. Prose and Poems (1952) – by Nick Joaquin d. Philippine Writing (1953) – by T.D. Agcaoili e. Philippine Havest – by Amador Daguio f. Horizons Least (1967) – a collection of works by the professors of UE, mostly in English (short stories, essays, research papers, poem and drama) by Artemio Patacsil and Silverio Baltazar. The themes of most poems dealt with the usual love of nature, and of social and political problems. Toribia Maño’s poems showed deep emotional intensity. g. Who Spoke of Courage in His Sleep – by NVM Gonzales h. Speak Not, Speak Also – by Conrado V. Pedroche i. Other poets were Toribia Maño and Edith L. Tiempo, Jose Garcia Villa’s Have Come, Am Here has won acclaim both here and abroad The New Filipino Literature during this Period Philippine literature in Tagalog was revived during this period. Most themes in the writings dealt with Japanese brutalities, of the poverty of life under the Japanese government and the brave guerilla exploits. a. Period of Activism (1970-1972) Many young people became activists to ask for changes in the government. In the expression of this desire for change, keen were the writings of some youth who were fired with nationalism in order to emphasize the importance of their petitions. 8  The Literary Revolution The youth became completely rebellious during this period. This was proven not only in the bloody demonstrations and in the sidewalk expressions but also in literature. Campus newspapers showed rebellious emotions. The once aristocratic writers developed awareness for society. They held pens and wrote on placards in red paint the equivalent of the word MAKIBAKA (To dare!). Writing During the Period of Activism The irreverence for the poor reached its peak during this period of the mass revolution. It was also during this period that Bomba films that discredit our ways as Filipinos started to come out. b. Period of the New Society (1972-1980) The period of the New Society started on September 21, 1972. The Carlos Palanca Awards continued to give annual awards. Almost all themes in most writings dealt with the development or progress of the country –like the Green Revolution, family planning, proper nutrition, environment, drug addiction and pollution. The New Society tried to stop pornography or those writings giving bad influences on the morals of the people. All school newspapers were temporarily stopped and so with school organizations. Filipino Poetry during the Period of the New Society Themes of most poems dealt with patience, regard for native culture, customs and the beauties of nature and surroundings. The Play under the New Society The government led in reviving old plays and dramas, like the Tagalog Zarzuela, Cenaculo and the Embayoka of the Muslims which were presented in the rebuilt Metropolitan Theater, the Folk Arts Theater and the Cultural Center of the Philippines. Radio and Television Radio continued to be patronized during this period. The play series like Si Matar, Dahlia, Ito Ang Palad Ko, and Mr. Lonely were the forms of recreation of those without television Filipino Films A yearly Pista ng mga Pelikulang Pilipino (Yearly Filipino Film Festival) was held during this time. During the festival which lasted usually for a month, only Filipino films were shown in all theaters in Metro Manila. 9  1. Maynila…Sa Mga Kuko Ng Liwanag written by Edgardo Reyes and filmed under the direction of Lino Brocka. Bembol Roco was the lead role. 2. Minsa’y Isang Gamu-Gamo, Nora Aunor was the principal performer here. 3. Ganito Kami Noon…Paano Kayo Ngayon led by Christopher de Leon and Gloria Diaz. 4. Insiang: by Hilda Koronel 5. Aguila: led by Fernando Poe Jr., Jay Ilagan and Christopher de Leon Comics, Magazines and other Publications In this period of the New Society, newspapers donned new forms. News on economic progress, discipline, culture, tourism and the like were favored more than the sensationalized reporting of killings, rape and robberies. c. Period of the Third Republic (1981-1985) After ten years of military rule and some changes in the life of the Filipino which started under the New Society, Martial Rule was at last lifted on January 2, 1981. 1. Filipino Poetry Poems during this period of the Third Republic were romantic and revolutionary. Writers wrote openly of their criticism against the government. The supplications of the people were coached in fiery, colorful, violent, profane and insulting language. 2. Filipino Songs Many Filipino songs dealt with themes that were really true-to-life like those of grief, poverty, aspirations for freedom, love of God, of country and of fellowmen. Philippine Films during the Period The yearly Festival of Filipino Films continued to be held during this period. The people’s love for sex films also was unabated. Below is the table of the list of Philippine Films during the Third Republic. Film Director Cast Genre Kontrobersyal Lino Brocka Philip Salvador, Gina Alajar, Charo Drama (1981) Santos Relasyon Ishmael Vilma Santos, Christopher de Leon Drama (1982) Bernal Dugong Buhay CarloJ. Ramon Revilla, Bong Revilla, Imelda Action (1983) Caparas Ilanan Ang Panday Ronwaldo Fernando Poe, Jr, Marianne dela Action/F (1984) Reyes Riva, Max Alvarado antasy Tinik sa Dibdib Leroy Nora Aunor, Dina Bonnevie, Phillip Drama (1985) Salvador Salvador 10 d. Rebirth of Freedom (1986-present) History took another twist. Once more, the Filipino people regained their independence which they lost twenty years ago. In the span of four days from February 21-25, 1986, the so-called People Power (Lakas ng Bayan) prevailed. Together, the people barricaded the streets petitioning the government for changes and reforms. Newspapers and other Publications Newspapers which were once branded crony newspapers became instant opposition papers overnight. This was true of BULLETIN TODAY which became the opposition paper. Books The Philippine revolution of 1986 and the fire of its spirit that will carry the Filipinos through another epoch in Philippine history is still being documented just as they have been in the countless millions who participated in body and spirit in its realization. WHAT’S IN In your notebook, answer the following questions. 1.) Explain in three (3) sentences why literature is considered as the story of a man? 2.) How did Philippine Literatures develop from ancient time to present? Note to the teacher: Have your own assessment on the above What’s In activity. You Also decide the scoring of this activity. Thank you. 11  WHAT’S MORE ACTIVITY 1 Make a graphical timeline in your notebook focusing on how the literatures for each literary period (from Pre-colonial to Contemporary) proliferated. (Note: Limit 5 timelines only and you can have your own graphical design) Note to the teacher: You can vary the instructions such as: 1. Vary the number of timelines – events, genres, and their structures. 2. You can have your own graphical design. 3. Opt to have another activity as long as it has something to do with the tracing of the literary evolution of the Philippines. Thank you. Pre- Colonial Period Spanish Period American Period Contemporary Period 12  ASSESSMENT Instructions: Match each statement in Column A with what it describes in Column B. Write the letter of the answer in your notebook. Column A Column B 1. It is the first alphabet which was replaced by a. Letter Roman Alphabet. b. Alibata 2. It defines as anything that is printed as long c. Doctrina Christiana related to ideas etc. d. Webster 3. It is the first book written by Fr. Juan de e. Balagtasan Placencia. f. Riddles 4. A Filipino form of debate done in verse. g. New Society 5. It is a word derived from a Latin term litera h. word of mouth 6. Tagalog Zarzuela, Cenaculo and the i. Awit and Corrido Embayoka of the Muslims were presented in j. Palanca Memorial Award what period? k. Pasyon 7. Narrative poems talked about world of royals, l. Spanish Colonial Period warriors and lovers. m. Literature 8. A literature influenced by the Spanish contexts of Christianity, at least they embodied several Filipino sentiments and values. 9. Literatures were handed down to us through the ---. 10. An awarding organization continued to recognize the efforts of the Filipino writers. Now, Let’s Proceed to Lesson 2. 13  TEXTS AND AUTHORS FROM LESSON 2 EACH REGION Competency 1B: Identify representative texts and authors from each region (e.g. engage in oral history research with focus on key personalities from the students’ region, province, and town, EN12Lit-Ib-22 (2 hours). WHAT I NEED TO KNOW At the end of this lesson, you will be able to: 1. enumerate Filipino authors across the regions; and 2. appreciate their contributions on the development of Philippine literature. WHAT I KNOW Instruction: Write T if the statement is true and F if it is false. Write your answer in your notebook. 1. Due to diverse environment, our ancestors developed separate cultures and beliefs. 2. Good number of performances can be found in video-sharing site like YouTube. 3. Rich biodiversity of the Philippines has made through archipelagic nature. 4. Our study of literature can help us understanding different cultures across the country. 5. Ilocos Region belongs to Region 2. 6. CAR Region stands for Cordillera Administrative Region. 7. Jose Ayala is a writer who comes from Region 10. 8. CARAGA Region is the same as CAR Region. 9. Our topography allows us to enjoy endemic flora and fauna. 10. Western Visayas region is part of NCR region. 14  WHAT’S IN In the previous lesson, you have already identified the geographic, linguistic, and ethnic dimensions of Philippine literary history from pre-colonial to the contemporary. Now, you are ready to move forward and learn more. WHAT’S NEW During a 2014 conference in Cebu City, Senator Alan Peter Cayetano remarked that the national government should stop giving the bulk of its national budget to Metro Manila alone. He said “Let us remember that Metro Manila is not the Philippines, and the Philippines is not Metro Manila. We should not always build in Manila. Other provinces and regions should share in the resources such as Clark, Zamboanga, Peninsula, Caraga and etc.” Providing equal resources to all regions of the country has been a continuous problem in more than a century of our independence as nation. The archipelagic nature of the Republic of the Philippines has made the country enjoy a rich biodiversity. Our topography, which consists of mountainous terrains, dense forests, plains, and coastal areas, allow us to enjoy endemic flora and fauna. As a result of this diverse environment, our ancestors developed separate cultures and languages. Our country has a total of 182 living languages. With these languages our ancestors communicated, built their communities, and created unique cultural products. Separated by seas, cultures, and languages, the Filipinos of today must consciously choose to maintain a united front in order for all of us to be truly equal and free as a people in one nation. How can we do this? Perhaps our study of literature can help point us toward the direction of understanding different cultures across the country, and hopefully this would provide the opportunity for a true sense of pride to grow within us for being part of this nation. 21st century technology can help propel this goal into something obtainable. With the help of the Internet, many contemporary authors from the regions are publishing their work online. Whether they are using their regional language, Filipino, or English, these young authors are beginning to speak a national audience about their reality. Some 21st century literature of the Philippines can be found in blogs, online newspapers, online magazines, online journals, etc. Also, a good number of performances of songs, skits, and amateur films showcasing regional works can be found in video-sharing sites like YouTube. 15 Motivation questions. From the article that you have read, answer the following questions: 1. What are the 5 important points that Senator Alan Peter Cayetano emphasized? 2. How do you describe the geographical location of the Philippines? 3. How do these contribute to the development of our literature? V WHAT IS IT Texts and Authors from each Region This part shows you the various texts and authors from different regions in the country. 16  The table below presents the current regional division of the Philippines. Samples of 21st century Filipino authors associated with each region are listed. The writer’s association with that region is established in two ways: it is the writer’s birthplace or the writer settled in that region. Be reminded that the names of writers here are merely a fraction of 21st century Filipino writers. Many of our new writers are still waiting to have their works published. NCR-National Capital Region-Metro Manila is made up of the following cities: Manila, Caloocan, Las Pinas, Makati, Malabon, Mandaluyong, Marikina, Muntinlupa, Navotas, Quezon City, Pasay, Pasig, Paranaque, San Juan, Taguig, Valenzuela, and Pateros  Writers associated with this region: Michael M. Coroza, Jessica Zafra, Charlson Ong, Norman Wilwayco, Ana Maria Villanueva-Lykes, Janet B. Villa, Naya Valdellon, Rosmon Tuazon, Lourd de Veyra Region 1- Ilocos Region-Ilocos Norte, Ilocos Sur, La Union, Pangasinan and Dagupan City  Writers associated with this region: Paul B. Zafaralla, Santiago B. Villafania, Cles B. Rambaud, Jan Marc Austria, Ariel S. Tabag, Manuel Arguilla Region 2-Cagayan Valley Region - Batanes, Cagayan, Isabela, Nueva Viscaya, and Quirino  Writers associated with this region: Jun Lisondra, Lovella G. Velasco CAR (Cordillera Administrative Region) - Abra, Apayao, Benguet, Ifugao, Kalinga- Apayao, and Mountain Province  Writers associated with this region: Ma. Luisa Aguillar-Carino, Dion Michael Fernandez, Rachel Pitlogay, Chinee Sanchez Palatino, Charisse Acquisio Region 3 - Central Luzon Region Aurora, Bataan, Bulacan, Nueva Ecija, Pampanga, Tarlac, and Zambales  Writers associated with this region; Virgilio Almario, Rolando F. Santos, D.M. Reyes, Danton Remote, Marl Anthony Cayanan Region 4-A-CALABARZON - Cavite, Laguna, Batangas, Rizal, and Quezon  Writers associated with this region: Joel M. Toledo, Frank G. Rivera, Jimmuel C. Naval 17 Region 4-B - MIMAROPA (Occidental Mindoro and Oriental Mindoro), Marinduque, Romblon, and Palawan  Writer associated with this region: Jose Dalisay Jr. Region 5-Bicol Region - Camarines Norte, Camarines Sur, Albay, Catanduanes, Masbate, and Sorsogon  Writers associated with this region: Merlinda Bobis, Ricardo Lee, Victor Dennis Tino Nierva Region 6- Western Visayas Region - Aklan Antique, Capiz, Guimaras, and Iloilo  Writers associated with this region: Felino GarciaJr., John Iramil, Isidro Cruz NIR-Negros Island Region - Negros Occidental and Negros Oriental  Writers associated with this region: Isabel D. Sibullen, Marianne Villanueva Region 7- Central Visayas Region - Bohol, Cebu, Siquijor  Writers associated with this region: Michael Obenieta, Jeneen R. Garcia Region 8 - Eastern Visayas region - Samar, Leyte, and Biliran  Writers: Voltaire Oyzon, Timothy R. Montes Region 9 - Zamboanga Peninsula - Zamboanga del Norte, Zamboanga del Sur, Zamboanga Sibugay, Zamboanga City, and Isabela  Writers: Mig Alvarez Enriquez, Servando D. Halili Jr. Antonio R. Enriquez Region 10- Northern Mindanao Region- Bukidnon, Camiguin, Lanao del Norte, Misamis Oriental, Misamis Occidental  Writers: Ralph Semino Galan, Judith R. Dharmdas, Anthony Tan Region 11- Davao Region or Southern Mindanao Region-Compostela Valley, Daval del Norte, Davao del Sur, Davao Oriental, and Davao Occidental  Writers: Candy Gourlay, Salud M. Carrido 18 Region 12 - SOCCSKSARGEN or Central Mindanao Region- South Cotabato, Cotabato, Sultan Kudarat, Sarangani, and General Santos  Writers: Christine Godines-Ortega, Jaime An Lim Region 13 - CARAGA Region- Agusan del Sur, Agusan del Norte, Surigao del Norte, Surigao del Sur, and Dinagat Islands  Writers: Joey Ayala, Tita Lacambra-Ayala ARMM (Autonomous Region in Muslim Mindanao) - Asila (except Isabela City), Lanao del Sur, Maguindanao, Sulu, and Tawi-Tawi  Writers: Steven Prince Patrick C. Fernandez, Mehol K. Sadain Source: Beyond Borders (Reading Literature in the 21st century) by MARIA GABRIELA P MARTIN et.al. SOME NOTABLE WRITERS FROM DIFFERENT REGIONS AND THEIR CONTRIBUTIONS TO PHILIPPINE LITERATURES Michael M. Coroza writes poetry, fiction, critical essays and is engaged in literary translation. The writer's works have been published in national and international literary magazines: Kritika Kultura, Philippine Studies, Unitas, Tomas, Bulawan Journal of Arts and Culture, Daluyan, Loyola Schools Review, and the Malay Indonesian Studies. He is famous for promoting the traditional poetic genre of the Philippines "Balagtasan". He participated in international poetry readings "Kuala Lumpur-10" (2004) and the Second literary festival "Korea-ASEAN" in Jakarta (2011). Among his works are: ASEANO: An Anthology of Poems from Southeast Asia (1995), Dili’t Dilim (1997), Sounds of Asia (2011), Ang mga Lambing ni Lolo Ding Source: (2012), and Nawawala si Muningning (2015). panitikan.ph Source: panitikan.ph Retrieved: May 20, 2020 Retrieved: May 20, 2020 19  MANUEL E. ARGUILLA (1911-1944) was an Ilocano who wrote in English. He was best known for his short story, "How My Brother Leon Brought Home a Wife", which received first prize in the Commonwealth Literary Contest in 1940. Most of his stories depict life in Barrio Nagrebcan, Bauang, La Union, where he was born in 1911. Source: Source: http://pinoylit.hypermart.net http://pinoylit.hyperm Retrieved: May 20, 2020 art.net Retrieved: May 20, 2020 Anthony Tan was born on 26 August 1947, Siasi [Muddas], Sulu. His degrees AB English, 1968, MA Creative Writing, 1975, and Ph.D. English Lit., 1982 were all obtained from the Silliman University where he edited Sands and Coral, 1976. For more than a decade, he was a member of the English faculty at SU and regular member of the panel of critics in the Silliman Writers Workshop. He taught briefly at the DLSU and was Chair of the English Dept. at MSU- Iligan Institute of Technology where he continues to teach. A member of the Iligan Arts Council, he helps Jaime An Lim Source: and Christine Godinez-Ortega run the Iligan Writers https://www.xu.edu.p Workshop/Literature Teachers Conference. He also writes h/xavier-news fiction and children’s stories. He has won a number of awards, among them, the Focus Award for poetry, the Retrieved: Palanca 1st prize for Poems for Muddas in 1993; also, the May 25, 2020 Palanca for essay. Among his works are The Badjao Cemetery and Other Poems, 1985 and Poems for Muddas, Anvil, 1996. Source: https://www.xu.edu.ph/images/Kinaadman_Research_Center/doc Retrieved: May 25, 2020 20  José Iñigo Homer Lacambra Ayala or also known as Joey Ayala was born on June 1, 1956 in Bukidnon, Philippines. He was known for his folk and contemporary pop music artist in the Philippines, he is also known for his songs that are more on the improvement of the environment. He is a finalist of Philippine Popular Music Source: songhits.ph Festival 2013. Retrieved: May 28, 2020 Source: songhits.ph Retrieved: May 28, 2020 Merlie M. Alunan graduated from Silliman University with an MA in Creative Writing in 1974. She teaches at the Creative Writing Center, University of the Philippines Visayas Tacloban College. She lives in Tacloban City. She received various awards like Lillian Jerome Thornton Award for Nonfiction, Don Carlos Palanca Memorial Award for Literature, National Book Award, Sunthorn Phu Literary Awards, and Ani ng Dangal. Among her works are Heartstone, Sacred Tree, Amina among the angels, Selected poems, Kabilin: 100 Years of Negros Oriental, Source: philstar.com Retrieved: Fern Garden: An Anthology of Women Writing in the South, May 25, 2020 Songs of ourselves: writings by Filipino women in English, and many other Source: philstar.com Retrieved: May 25, 2020 Ivy Alvarez is a New Zealand-based Filipino Australian poet, editor, and reviewer. Alvarez has had her work featured in various publications in Australia, Canada, England, the Philippines, New Zealand, Ireland, Russia, Scotland, Wales, the US, South Africa, and online. Alvarez was born in the Philippines and grew up in Tasmania, Australia. While reading English at the University of Tasmania, she published in various literary journals and anthologies, and subsequently became the reviews editor of Cordite Poetry Review, an Australian online poetry Source: https://en.wikipedia. journal. org/wiki/Ivy_Alvarez Source: https://en.wikipedia.org/wiki/Ivy_Alvarez Retrieved: May 20, Retrieved: May 20, 2020 2020 21  Suzette Severo Doctolero (born December 16, 1968 Calabanga, Camarines Sur) is a Filipino screenwriter for film and television. She is best known for being the creator of Encantadia in 2005 and the succeeding related television series including the Encantadia 2016 reboot. She is mostly credited as screenwriter, series creator and creative consultant for GMA Network. Her other works include Amaya, Indio[ and My Source: Husband's Lover. She also wrote the story for the film Let the https://en.wikipedia.or Love Begin and became the creative consultant for the television g/wiki/Suzette_Doctol series Alyas Robin Hood[ and Destined to be Yours. ero Retrieved: Source: https://en.wikipedia.org/wiki/Suzette_Doctolero June 1, 2020 Retrieved: June 1, 2020 Aida Rivera-Ford was born in Jolo, Sulu. She became the editor of the first two issues of Sands and Coral, the literary magazine of Silliman University. In 1949, she graduated with an AB degree, major in English, Cum Laude. In 1954, she obtained an MA in English Language and Literature at the University of Michigan and won the prestigious Jules and Avery Hopwood for fiction. In 1980, she founded the first school of Fine Arts in Mindanao – the Learning Center Source: panitikan.ph of the Arts, now known as the Ford Academy of the Arts. Retrieved: May 24, 2020 Source: panitikan.ph Retrieved: May 24, 2020 SAMPLE OF THEIR WORKS: Sample 1 Midsummer By: Manuel Arguilla (American Colonial Literature) He pulled down his hat until the wide brim touched his shoulders. He crouched lower under the cover of his cart and peered ahead. The road seemed to writhe under the lash of the noon-day heat; it swum from side to side, humped and bent itself like a feeling serpent, and disappeared behind the spur of a low hill on which grew a scrawny thicket of bamboo. There was not a house in sight. Along the left side of the road ran the deep, dry gorge of a stream, the banks sparsely covered by sun-burned cogon grass. In places, the rocky, waterless bed showed aridly. Farther, beyond the shimmer of quivering heat waves rose ancient hills not less blue than the cloud-palisaded sky. On the right stretched a land waste of low rolling dunes. Scattered clumps of hardy ledda relieved 22 the otherwise barren monotony of the landscape. Far away he could discern a thin indigo line that was the sea. The grating of the cartwheels on the pebbles of the road and the almost soundless shuffle of the weary bull but emphasized the stillness. Now and then came the dry rustling of falling earth as lumps from the cracked sides of the gorge fell down to the bottom. He struck at the bull with the slack of the rope. The animal broke into a heavy trot. The dust stirred slumbrously. The bull slowed down, threw up his head, and a glistening thread of saliva spun out into the dry air. The dying rays of the sun were reflected in points of light on the wet, heaving flanks. The man in the cart did not notice the woman until she had rounded the spur of land and stood unmoving beside the road, watching the cart and its occupant come toward her. She was young, surprisingly sweet and fresh amidst her parched surroundings. A gaily stripped kerchief covered her head, the ends tied at the nape of her neck. She wore a homespun bodice of light red cloth with small white checks. Her skirt was also homespun and showed a pattern of white checks with narrow stripes of yellow and red. With both hands she held by the mouth a large, apparently empty, water jug, the cool red of which blended well with her dress. She was barefoot. She stood straight and still beside the road and regarded him with frank curiosity. Suddenly she turned and disappeared into the dry gorge. Coming to where she had stood a few moments before, he pulled up the bull and got out of the cart. He saw where a narrow path had been cut into the bank and stood a while lost in thought, absently wiping the perspiration from his face. Then he unhitched his bull and for a few moments, with strong brown fingers, kneaded the hot neck of the beast. Driving the animal before him, he followed the path. It led up the dry bed of the stream; the sharp fragments of sun-heated rocks were like burning coals under his feet. There was no sign of the young woman. He came upon her beyond a bed in the gorge, where a big mango tree, which had partly fallen from the side of the ravine, cast its cool shade over a well. She had filled her jar and was rolling the kerchief around her hand into a flat coil which she placed on her head. Without glancing at him, where he had stopped some distance off, she sat down of her heels, gathering the fold of her skirt between her wide-spread knees. She tilted the brimful jar to remove part of the water. One hand on the rim, the other supporting the bottom, she began to raise it to her head. She knelt on one knee resting, for a moment, the jar onto her head, getting to her feet at the same time. But she staggered a little and water splashed down on her breast. The single bodice instantly clung to her bosom molding the twin hillocks of her breasts warmly brown through the wet cloth. One arm remained uplifted, holding the jar, while the other shook the clinging cloth free of her drenched flesh. Then not once having raised her eyes, she passed by the young man, who stood mutely gazing beside his bull. The animal had found some grass along the path and was industriously grazing. 23  He turned to watch the graceful figure beneath the jar until it vanished around a bend in the path leading to the road. Then he led the bull to the well, and tethered it to a root of the mango tree. "The underpart of her arm is white and smooth," he said to his blurred image on the water of the well, as he leaned over before lowering the bucket made of half a petroleum can. "And her hair is thick and black." The bucket struck with a rattling impact. It filled with one long gurgle. He threw his hat on the grass and pulled the bucket up with both hands. The twisted bamboo rope bit into his hardened palms, and he thought how... the same rope must hurt her. He placed the dripping bucket on a flat stone, and the bull drank. "Son of lightning!" he said, thumping the side of the bull after it had drunk the third bucketful, "you drink like the great Kuantitao!" A low, rich rumbling rolled through the cavernous body of the beast. He tied it again to the root, and the animal idly rubbed its horns against the wood. The sun had fallen from the perpendicular, and noticing that the bull stood partly exposed to the sun, he pushed it farther into shade. He fanned himself with his hat. He whistled to entice the wind from the sea, but not a breeze stirred. After a while he put on his hat and hurriedly walked the short distance through the gorge up to the road where his cart stood. From inside he took a jute sack which he slung over one shoulder. With the other arm, he gathered part of the hay at the bottom of the cart. He returned to the well, slips of straw falling behind him as he picked his way from one tuft of grass to another, for the broken rocks of the path has grown exceedingly hot. He gave the hay to the bull, its rump was again in the sun, and he had to push it back. "Fool, do you want to broil yourself alive?" he said good-humoredly, slapping the thick haunches. It switched its long-haired tail and fell to eating. The dry, sweet- smelling hay made harsh gritting sounds in the mouth of the hungry animal. Saliva rolled out from the corners, clung to the stiff hairs that fringed the thick lower lip, fell and gleamed and evaporated in the heated air. He took out of the jute sack a polished coconut shell. The top had been sawed off and holes bored at opposite sides, through which a string tied to the lower part of the shell passed in a loop. The smaller piece could thus be slipped up and down as a cover. The coconut shell contained cooked rice still a little warm. Buried on the top was an egg now boiled hard. He next brought out a bamboo tube of salt, a cake of brown sugar wrapped in banana leaf, and some dried shrimps. Then he spread the sack in what remained of the shade, placed his simple meal thereon, and prepared to eat his dinner. But first he drew a bucketful of water from the well, setting the bucket on a rock. He seated himself on another rock and ate with his fingers. From time to time he drank from the bucket. He was half through with his meal when the girl came down the path once more. She had changed the wetted bodice. He watched her with lowered head as she 24 approached, and felt a difficulty in continuing to eat, but went through the motions of filling his mouth nevertheless. He strained his eyes looking at the girl from beneath his eyebrows. How graceful she was! Her hips tapered smoothly down to round thighs and supple legs, showing against her skirt and moving straight and free. Her shoulders, small but firm, bore her shapely neck and head with shy pride. When she was very near, he ate more hurriedly, so that he almost choked. He did not look at her. She placed the jar between three stones. When she picked up the rope of the bucket, he came to himself. He looked up--straight into her face. He saw her eyes. They were brown and were regarding him gravely, without embarrassment; he forgot his own timidity. "Won't you join me, Ading?" he said simply. He remained seated. Her lips parted in a half smile and a little dimple appeared high upon her right cheek. She shook her head and said: "God reward you, Manong." "Perhaps the poor food I have is not fit for you?" "No, no. It isn't that. How can you think of it? I should be ashamed. It is that I have must eaten myself. That is why I came to get water in the middle of the day--we ran out of it. I see you have eggs and shrimps and sugar. Why, he had nothing but rice and salt." "Salt? Surely you joke." "I would be ashamed..." "But what is the matter with salt?" "Salt...salt...Makes baby stout," he intoned. "My grandmother used to sing that to me when I complained of our food." They laughed and felt more at ease and regarded each other more openly. He took a long time fingering his rice before raising it to his mouth, the while he gazed up at her and smiled for no reason. She smiles back in turn and gave the rope which she held an absent-minded tug. The bucket came down from its perch of rock in a miniature flood. He leaped to his feet with a surprised yell, and the next instant the jute sack on which he lay his meal was drenched. Only the rice inside the coconut shell and the bamboo of tube of salt were saved from the water. She was distressed, but he only laughed. "It is nothing," he said. "It was time I stopped eating. I have filled up to my neck." "Forgive me, Manong," she insisted. "It was all my fault. Such a clumsy creature 25  I am." "It was not your fault," she assured him. "I am to blame for placing the bucket of water where I did." "I will draw you another bucketful," he said. "I am stronger than you." "No, you must let me do it." But when he caught hold of the bucket and stretched forth a brawny arm for the coil of rope in her hands, she surrendered both to him quickly and drew back a step as though shy of his touch. He lowered the bucket with his back to her, and she had time to take in the tallness of him, the breadth of his shoulders, the sinewy strength of his legs. Down below in the small of his back, two parallel ridges of rope-like muscle stuck out against the wet shirt. As he hauled up the bucket, muscles rippled all over his body. His hair, which was wavy, cut short behind but long in fronts fell in a cluster over his forehead. "Let me hold the bucket while you drink," she offered. He flashed her a smile over his shoulders as he poured the water into her jar, and again lowered the bucket. "No, no, you must not do that." She hurried to his side and held one of his arms "I couldn't let you, a stranger..." "Why not?" He smiled down at her, and noticed a slight film of moisture clinging to the down on her upper lip and experienced a sudden desire to wipe it away with his forefinger. He continued to lower the bucket while she had to stand by. "Hadn't you better move over to the shade?" he suggested, as the bucket struck the water. "What shall I do there?" she asked sharply, as though the idea of seeking protection from the heat were contemptible to her. "You will get roasted standing here in the sun," he said, and began to haul up the bucket. But she remained beside him, catching the rope as it fell from his hands, coiling it carefully. The jar was filled, with plenty to drink as she tilted the half-filled can until the water lapped the rim. He gulped a mouthful, gargled noisily, spewed it out, then commenced to drink in earnest. He took long, deep droughts of the sweetish water, for he was more thirsty than he had thought. A chuckling sound persisted in forming inside his throat at every swallow. It made him self-conscious. He was breathless when through, and red in the face. 26  "I don't know why it makes that sound," he said, fingering his throat and laughing shamefacedly. "Father also makes that sound when he drinks, and mother always laughs at him," she said. She untied the headkerchief over her hair and started to roll it. Then sun had descended considerably and there was now hardly any shade under the tree. The bull was gathering with its tongue stray slips of straw. He untied the animal to lead it to the other side of the girl who spoke; "Manong, why don't you come to our house and bring your animal with you? There is shade and you can sleep, though our house is very poor." She had already placed the jar on her head and stood, half-turned to him, waiting for his answer. "I would be troubling you, Ading." "No. You come. I have told mother about you." She turned and went down the path. He sent the bull after her with smart slap on its side. Then he quickly gathered the remains of his meal, put them inside the jute sack which had almost dried, and himself followed. Then seeing that the bull had stopped to nibble the tufts of grass that dotted the bottom of the gorge, he picked up the dragging rope and urged the animal on into a trot. They caught up with the girl near the cart. She stopped to wait. He did not volunteer a word. He walked a step behind, the bull lumbering in front. More than ever he was conscious of her person. She carried the jar on her head without holding it. Her hands swung to her even steps. He drew back his square shoulders, lifted his chin, and sniffed the motionless air. There was a flourish in the way he flicked the rump of the bull with the rope in his hand. He felt strong. He felt very strong. He felt that he could follow the slender, lithe figure to the end of the world. Sample 2 LOVE IN THE CORNHUSKS By: Aida Rivera-Ford Tinang stopped before the Señora’s gate and adjusted the baby’s cap. The dogs that came to bark at the gate were strange dogs, big-mouthed animals with a sense of superiority. They stuck their heads through the hogfence, lolling their tongues and straining. Suddenly, from the gumamela row, a little black mongrel emerged and slithered through the fence with ease. It came to her, head down and body quivering. “Bantay! Ay, Bantay!” she exclaimed as the little dog laid its paws upon her shirt to sniff the baby on her arm. The baby was afraid and cried. The big animals barked with displeasure. 27  Tito, the young master, had seen her and was calling to his mother. “Ma, it’s Tinang. Ma, Ma, it’s Tinang.” He came running down to open the gate. “Aba, you are so tall now, Tito.” He smiled his girl’s smile as he stood by, warding the dogs off. Tinang passed quickly up the veranda stairs lined with ferns and many-colored bougainvilla. On landing, she paused to wipe her shoes carefully. About her, the Señora’s white and lavender butterfly orchids fluttered delicately in the sunshine. She noticed though that the purple waling-waling that had once been her task to shade from the hot sun with banana leaves and to water with mixture of charcoal and eggs and water was not in bloom. “Is no one covering the waling-waling now?” Tinang asked. “It will die.” “Oh, the maid will come to cover the orchids later.” The Señora called from inside. “Tinang, let me see your baby. Is it a boy?” “Yes, Ma,” Tito shouted from downstairs. “And the ears are huge!” “What do you expect,” replied his mother; “the father is a Bagobo. Even Tinang looks like a Bagobo now.” Tinang laughed and felt warmness for her former mistress and the boy Tito. She sat self-consciously on the black narra sofa, for the first time a visitor. Her eyes clouded. The sight of the Señora’s flaccidly plump figure, swathed in a loose waist- less housedress that came down to her ankles, and the faint scent of agua de colonia blended with kitchen spice, seemed to her the essence of the comfortable world, and she sighed thinking of the long walk home through the mud, the baby’s legs straddled to her waist, and Inggo, her husband, waiting for her, his body stinking of tuba and sweat, squatting on the floor, clad only in his foul undergarments. “Ano, Tinang, is it not a good thing to be married?” the Señora asked, pitying Tinang because her dress gave way at the placket and pressed at her swollen breasts. It was, as a matter of fact, a dress she had given Tinang a long time ago. “It is hard, Señora, very hard. Better that I was working here again.” “There!” the Señora said. “Didn’t I tell you what it would be like, huh?... that you would be a slave to your husband and that you would work a baby eternally strapped to you. Are you not pregnant again?” Tinang squirmed at the Señora’s directness but admitted she was. “Hala! You will have a dozen before long.” The Señora got up. “Come, I will give you some dresses and an old blanket that you can cut into things for the baby.” They went into a cluttered room which looked like a huge closet and as the Señora sorted out some clothes, Tinang asked, “How is Señor? “Ay, he is always losing his temper over the tractor drivers. It is not the way it was when Amado was here. You remember what a good driver he was. The tractors 28 were always kept in working condition. But now... I wonder why he left all of a sudden. He said he would be gone for only two days....” “I don’t know,” Tinang said. The baby began to cry. Tinang shushed him with irritation. “Oy, Tinang, come to the kitchen; your Bagobito is hungry.” For the next hour, Tinang sat in the kitchen with an odd feeling; she watched the girl who was now in possession of the kitchen work around with a handkerchief clutched I one hand. She had lipstick on too, Tinang noted. the girl looked at her briefly but did not smile. She set down a can of evaporated milk for the baby and served her coffee and cake. The Señora drank coffee with her and lectured about keeping the baby’s stomach bound and training it to stay by itself so she could work. Finally, Tinang brought up, haltingly, with phrases like “if it will not offend you” and “if you are not too busy” the purpose of her visit–which was to ask Señora to be a madrina in baptism. The Señora readily assented and said she would provide the baptismal clothes and the fee for the priest. It was time to go. “When are you coming again, Tinang?” the Señora asked as Tinang got the baby ready. “Don’t forget the bundle of clothes and... oh, Tinang, you better stop by the drugstore. They asked me once whether you were still with us. You have a letter there and I was going to open it to see if there was bad news but I thought you would be coming.” A letter! Tinang’s heart beat violently. Somebody is dead; I know somebody is dead, she thought. She crossed herself and after thanking the Señora profusely, she hurried down. The dogs came forward and Tito had to restrain them. “Bring me some young corn next time, Tinang,” he called after her. Tinang waited a while at the drugstore which was also the post office of the barrio. Finally, the man turned to her: “Mrs., do you want medicine for your baby or for yourself?” “No, I came for my letter. I was told I have a letter.” “And what is your name, Mrs.?” He drawled. “Constantina Tirol.” The man pulled a box and slowly went through the pile of envelopes most of which were scribbled in pencil, “Tirol, Tirol, Tirol....” He finally pulled out a letter and handed it to her. She stared at the unfamiliar scrawl. It was not from her sister and she could think of no one else who could write to her. Santa Maria, she thought; maybe something has happened to my sister. “Do you want me to read it for you?” 29  “No, no.” She hurried from the drugstore, crushed that he should think her illiterate. With the baby on one arm and the bundle of clothes on the other and the letter clutched in her hand she found herself walking toward home. The rains had made a deep slough of the clay road and Tinang followed the prints left by the men and the carabaos that had gone before her to keep from sinking mud up to her knees. She was deep in the road before she became conscious of her shoes. In horror, she saw that they were coated with thick, black clay. Gingerly, she pulled off one shoe after the other with the hand still clutching to the letter. When she had tied the shoes together with the laces and had slung them on an arm, the baby, the bundle, and the letter were all smeared with mud. There must be a place to put the baby down, she thought, desperate now about the letter. She walked on until she spotted a corner of a field where cornhusks were scattered under a kamansi tree. She shoved together a pile of husks with her foot and laid the baby down upon it. With a sigh, she drew the letter from the envelope. She stared at the letter which was written in English. My dearest Tinay, Hello, how is life getting along? Are you still in good condition? As for myself, the same as usual. But you’re far from my side. It is not easy to be far from our lover. Tinay, do you still love me? I hope your kind and generous heart will never fade. Someday or somehow I’ll be there again to fulfill our promise. Many weeks and months have elapsed. Still I remember our bygone days. Especially when I was suffering with the heat of the tractor under the heat of the sun. I was always in despair until I imagine your personal appearance coming forward bearing the sweetest smile that enabled me to view the distant horizon. Tinay, I could not return because I found that my mother was very ill. That is why I was not able to take you as a partner of life. Please respond to my missive at once so that I know whether you still love me or not. I hope you did not love anybody except myself. I think I am going beyond the limit of your leisure hours, so I close with best wishes to you, my friends Gonding, Sefarin, Bondio, etc. Yours forever, Amado P.S. My mother died last month. Address your letter: Mr. Amado Galauran Binalunan, Cotabato 30  It was Tinang’s first love letter. A flush spread over her face and crept into her body. She re ad the letter again. “It is not easy to be far from our lover.... I imagine your personal appearance coming forward.... Someday, somehow I’ll be there to fulfill our promise....” Tinang was intoxicated. She pressed herself against the kamansi tree. My lover is true to me. He never meant to desert me. Amado, she thought. Amado. And she cried, remembering the young girl she was less than two years ago when she would take food to Señor in the field and the laborers would eye her furtively. She thought herself above them for she was always neat and clean in her hometown, before she went away to work, she had gone to school and had reached sixth grade. Her skin, too, was not as dark as those of the girls who worked in the fields weeding around the clumps of abaca. Her lower lip jutted out disdainfully when the farm hands spoke to her with many flattering words. She laughed when a Bagobo with two hectares of land asked her to marry him. It was only Amado, the tractor driver, who could look at her and make her lower her eyes. He was very dark and wore filthy and torn clothes on the farm but on Saturdays when he came up to the house for his week’s salary, his hair was slicked down and he would be dressed as well as Mr. Jacinto, the school teacher. Once he told her he would study in the city night-schools and take up mechanical engineering someday. He had not said much more to her but one afternoon when she was bidden to take some bolts and tools to him in the field, a great excitement came over her. The shadows moved fitfully in the bamboo groves she passed and the cool November air edged into her nostrils sharply. He stood unmoving beside the tractor with tools and parts scattered on the ground around him. His eyes were a black glow as he watched her draw near. When she held out the bolts, he seized her wrist and said: “Come,” pulling her to the screen of trees beyond. She resisted but his arms were strong. He embraced her roughly and awkwardly, and she trembled and gasped and clung to him.... A little green snake slithered languidly into the tall grass a few yards from the kamansi tree. Tinang started violently and remembered her child. It lay motionless on the mat of husk. With a shriek she grabbed it wildly and hugged it close. The baby awoke from its sleep and cries lustily. Ave Maria Santisima. Do not punish me, she prayed, searching the baby’s skin for marks. Among the cornhusks, the letter fell unnoticed. Sample 3 (poetry) Crossing the River Anthony Tan Came upon a river shrouded in mist. 31  Too early for bird call, or wing beat, Too early even for wind. A giant conch shell on a beaded string Hung on the branch of a leafless tree. It belonged to the boatman of the river. With little energy I blew it long and thin, Remembering what I had been taught, Cupping it between my delicate hands. On the edge of that feeble call An apparition darkened the thick mist. Slowly the bow emerged in the hush of dawn. Beckoned me to his boat. Didn't tell him Where to and he didn't ask, as if My destination were already foreknown. He didn't paddle. He hesitated. He waited as if he had forgotten something. Looked me straight in the eye. When I didn't respond immediately, He opened one bony hand, The white palm trembling with greed. The other hand gripped the head of a long pole. Then I remembered what I had been taught: I dropped a silver coin into his open palm. He gripped it, dropped it into a bulging purse That was tightly sewn to his leather belt. The drop of silver on silver Was the only sound in the soundless mist. Only then did a fugitive grin light up his face. Only then did he strike The murky water with the pole. There was no one to say goodbye to. No friends. No kinsmen. No lovers. The gurgle in the wake took the place of words. The boat moved toward the other bank, where He had unloaded his boat of so many strangers. Sample 4 Karaniwang Tao Joey Ayala 32  Ako po'y karaniwang tao lamang Kayod-kabayo, 'yan ang alam Karaniwang hanap-buhay Karaniwan ang problema Pagkain, damit at tirahan 'Di ko kabisado 'yang siyensya Ako'y nalilito sa maraming salita Alam ko lang na itong planeta'y Walang kapalit at dapat ingatan Kapag nasira, sino ang kawawa Chorus Karaniwang tao, saan ka tatakbo Kapag nawasak iisang mundo Karaniwang tao, anong magagawa Upang bantayan ang kalikasan Karaniwang bagay ay 'di pansin Kapag naipon ay nagiging suliranin Kaunting basura ngayo'y bundok Kotseng sira ay umuusok Sabong panlaba'y pumapatay sa ilog May lason na galing sa industriya Ibinubuga ng mga pabrika Ngunit 'di lamang higante Ang nagkakalat ng dumi May kinalaman din ang tulad natin [Repeat chorus twice] Karaniwang tao [4x] [Repeat chorus] Karaniwang tao [Repeat till fade] WHAT’S MORE Activity 1. In your notebook, enumerate atleast 3 contributions of literature of each of the following writers: 33  1. Michael M. Coroza 2. Ivy Alvarez 3. Suzette Severo Doctolero 4. Anthony Tan 5. Manuel Arguilla Activity 2. Appreciating literary pieces. A. Noting Details. In your notebook, write the letter of your answer. FROM THE STORY “MIDSUMMER” BY MANUEL ARGUILLA 1. The two contrasting images in the story are__ a. aridity and freshness b. love and hate c. hope and despair 2. Manong came upon Ading beyond a bend in the gorge where a big __tree cast a cool shade a. bamboo b. atis c. mango 3. Ading brought with her a __ when she met Manong. a. jug b. coconut shell c. pail 4. The story “Midsummer” effectively depicts the ___. a. rural setting b. urban setting c. city life 5. The presence of Ading amidst the parch sorrounding added the sense of____. a. beauty b. freshness c. hope 6. The man showed his machismo to the woman by ___. a. inviting her to eat b. helping her to draw water c. looking at her intently 7. Ading showed that she also liked Manong when she __ a. invited him to come to their house to rest b. went back to the gorge to fetch water again c. gave him water to drink 8. The author of the story was__. a. Aida Rivera-Ford b. Manel Arguilla c. Ivy Alvarez 9. "Son of lightning!" is referred to a. pig b. bull c. horse 10. The narrator of the story is____. a. writer himself b. Ading c. Manong FROM THE STORY “LOVE IN THE CORNHUSK” by Aida Rivera-Ford 1. Tinang was married to a __ a. Manobo b. Bagobo c. Muslim 2. The post office of the barrio was the __. a. school b. drugstore c. barangay hall 3. Amado left the seńora’s house because his __was sick. a. mother b. sister c. father 34 4. The purpose of Tinang’s visit was to ask the seńora to be the madrina in her son’s__ a. wedding b. confirmation c. baptism 5. “Love in the Cornhusks” was written by__. a. Aida Rivera-Ford b. Manuel Arguilla c. Joey Ayala 6. The story was entitled “Love in the Cornhusks” because___. a. Tinang received her first love letter b. Tinang remebered her lost love when she read the letter amidst the cornhusks c. Tinang and Amado fell in love in the cornhusks. 7. At what point in her life did Tinang make a serious mistake? a. When she married a Bagobo without waiting for Amado’s return. b. When she allowed herself to fall in love with Amado. c. When she left the seńora’s house. 8. The main theme of the story is__. a. Making impulsive decisions in life can cause misery. b. The consequences of one’s action is irreparable. c. In making life’s important decision, it is better to think twice. 9. What did Amado say in his letter that made Tinang intoxicated? a. “It is not easy to be far from our lover... b. I imagine your personal appearance coming forward... c. Someday, somehow I’ll be there to fulfill our promise… d. all of the above 10. What do these mean, “Ave Maria Santisima. Do not punish me”? a. Tinang realized that she should not have thought intensely about Amado. b. Tinang should not put her baby on the cornhusk to sleep c. both a and b B. Essay. Answer generously the following questions: 1. How did the man and the young lady cross each other’s path? 2. Describe the young girl. What makes her attractive to the man? 3. How did the man show his machismo to the young lady? 4. Did the meeting of the couple end well? Prove your answer. 5. Do you know of other typical rural stories like this? If so, share to the class. WHAT I HAVE LEARNED Reflect on the learning that you have gained after taking up this lesson by completing the given chart. What were your misconceptions about What new or additional learning have you literature prior to taking up this lesson? had after taking up this lesson in terms of contributions of the writers to literatures? 35 I thought...... I learned that… ASSESSMENT Instructions: What word in the box that corresponds to each of the following statements below. Write the letter of your choice in your notebook. a. Lourd de Veyra h. Anthony Tan b. Ralph Semino Galan i. Joey Ayala c. Internet j. Aida Rivera Ford d. blogs k. Ivy Alvarez e. Sen. Alan Peter Cayetano l. Manuel Arguilla f. magazines m. Merlie M. Alunan g. Suzette Severo Doctolero 1. Through its existence, many contemporary authorsTan h. Anthony are publishing their work online. i. Joey Ayala j. Aida 2. He is a writer associated in National Capital Rivera Ford Region. 3. An example of 21st Century Literature of k. the IvyPhilippines. Alvarez l. Manuel Arguilla 4. He remarked that government should stop giving the bulk of its national budget m. Merlie M. Alunan to Metro Manila alone. n. Lourd de Veyra 5. A writer who comes from Northern Mindanao. o. Ralph Semino Galan 6. She is a Filipino screenwriter for film and television. p. Internet 7. He is a writer and Chair of the English Dept. at MSU-Iligan Institute of Technology q. blogs where r. Sen.heAlan continues to teach. Peter Cayetano 8. He s. is a singer and composer of “Karaniwang Tao” song. magazines 9. The writer of t. Suzette “Midsummer” Severo Doctolero 10. The writer of “Love in the Cornhusks” WHAT I CAN DO 36  You are the editor of a literary section of a newspaper. You need to write a 500- word feature article on a Filipino contemporary (21st century) author from outside your region. Do a library or an online search on a noteworthy writer. Do not limit yourself to those cited in the table of authors above,but be on the lookout for a lesser-known author you believe to be promising. Make sure that your feature provides the following information: background of the author, a short overview of the author’s literary works (books, online or print publications, etc.), a short sampling of the author’s work/s together with your commentary. End the article by highlighting what are the author’s contributions to contemporary Philippine literatures. (Note: have this activity written in your notebook) RUBRIC FOR WRITING COMPOSITION Performance Very Good Good Needs Areas 10-8 7-5 Improvement 4-1 Content Article has specific Central idea is vague; Unable to find central idea that is clearly non-supportive to the specific supporting stated in the opening topic; lacks focus details paragraph, appropriate, concrete details. Organization Article is logically Writing somewhat Central point and organized and well- digresses from the flow of article is structured central idea lost; lacks organization and continuity Research Cited research Some research of the Did little or no information, introduced topic was done but gathering of personal ideas to was inconclusive to information on the enhance article support topic; cited topic, did not cite cohesiveness information was vague information Style Writing is smooth, Sentences are varied Lacks creativity and coherent and consistent and inconsistent with focus. Unrelated central idea word choice to central idea Mechanics Written work has no Written work is Written article has errors in word selection relatively free of errors several errors in and use sentence in word selection and word selection and structure, spelling, use, sentence use. punctuation, and structure, spelling, capitalization punctuation and capitalization (some have errors) ADDITIONAL ACTIVITIES 37 Other suggested activities for you to explore: 1. Go online and read Butch Dalisay’s essay “Building the National’’ (2010)