Contemporary, Popular, and Emergent Literature Learning Module PDF

C EED 323 ONTEMPORARY, P OPULAR AND E MERGENT L ITERATURE LEARNING MODULE  PREFACE Contemporary, Popular and Emergent Literature Learning Module for Bachelor of Secondary Education major in...

C EED 323 ONTEMPORARY, P OPULAR AND E MERGENT L ITERATURE LEARNING MODULE  PREFACE Contemporary, Popular and Emergent Literature Learning Module for Bachelor of Secondary Education major in English is a product of a concerted effort of the researchers who were tasked to come up with an instructional material specifically, a learning module to facilitate easy teaching and learning process. The need to come up with this learning module arises due to the lack of books and other references that can be used in teaching the said course. Education is said to be the birthright of every Filipino, each student deserves quality education well provided for by the state. With this in mind, the researchers brainstormed on different avenues and techniques in presenting the lesson to fill the knowledge craving mind of the 21st century learners. This module contains learning tasks in line with the syllabus taken from various sources and media. These tasks are geared towards the correct accumulation of concepts and ideas to prepare them to the next ladder of education. It is our fervent hope that fellow educators would take advantage of this effort by the researchers by using this module which was duly developed by the scholarly mind, book and online resources of the different identified personages. Hopefully, students and teachers would enjoy teaching and participate in discussion using this learning module. THE RESEARCHERS  TABLE OF CONTENTS Introduction……………………………………………………………..…… iii–iv Chapter I: Contemporary Literature…………………………………. 1 – 66 Lesson 1: Interpreting and Evaluating Fiction……………………. 2 – 15 Lesson 2: Types and Elements of Fiction……………………………. 16 – 29 Lesson 3: Introduction to Contemporary Literature…………….. 30 – 66 3.1 Stories………………………………… 31 – 43 3.2 Poetry………………………………… 43 – 57 3.3 Drama………………………………… 57 – 61 Lesson 4: Issues and Challenges in Contemporary Literature…62 – 64 Chapter Test…………………………………………………………………... 65 – 66 Chapter II: Popular Literature………………………………………… 67 – 102 Lesson 5: Introduction to Popular Literature……………………………………………………………………. 68 – 80 5.1 Nature…………………………………. 68 – 70 5.2 Appeal…………………………………. 70 5.3 Social Function……………………... 70 – 80 Lesson 6: Popular Literature Genres………………………………… 81 – 94 6.1 Romance………………………………. 81 – 84 6.2 Science Fiction………………………. 84 – 86 6.3 Detective Story………………………. 86 – 88 6.4 Comic Books………………………….. 89 – 90 6.5 Comic Strip…………………………… 91 – 94 Lesson 7: Issues and Challenges in Popular Literature……………………………………………………………………. 95 – 100 Chapter Test………………………………………………………………… 101 – 102 Chapter III: Emerging Literature…………………………………….. 103 – 163 i Lesson 8: Introduction to Emerging Literature……………………………………………………………………. 104 – 142 8.1 Creative Non-Fiction………………. 104 – 115 8.2 Hyper Poetry…………………………. 115 – 119 8.3 Chick lit/ Chick Literature………. 119 – 120 8.4 Illustrated Novel…………………….120 – 121 8.5 Graphic Novel……………………….. 121 – 123 8.6 Text-Talk Novels……………………. 123 8.7 Manga………………………………….. 124 – 125 8.8 Digi-Fiction…………………………... 125 – 126 8.9 Doodle Fiction………………………. 126 – 127 8.10 Flash Fiction……………………….. 127 – 129 8.11 Six-Word Flash Fiction………….. 129 – 131 8.12 Science Fiction……………………..131 – 135 8.13 Blog……………………………………. 135 – 142 Lesson 9: Issues and Challenges in Emerging Literature…………………………………………………………………… 143 – 153 Lesson 10: The interrelationship of Contemporary, Popular and Emergent Literature……………….………………………………………………….154 – 161 Chapter Test……………………………………………………………… 162 – 163 References………………………………………………………………….. 164 - 166 Module Description ii  The K to 12 Transition Program has brought about significant changes in the English Education courses of the Higher Education Institutions (HEI). This learning module entitled “Contemporary, Popular and Emergent Literature” is in accordance with the provision of Commission on Higher Education Memorandum Order (CMO) No. 75, series of 2017. This course provides pre-service English teachers with opportunities to acquire extensive reading backgrounds in literature and allied fields needed in the understanding and evaluation of critical issues in contemporary and popular literature and genres. This course allows them to demonstrate their research-based content knowledge and its relevance in the teaching learning process using various methods of literary analysis. Course Learning Outcomes At the end of the course, the pre-service teachers should be able to: A. discuss research-based content knowledge and critical issues on contemporary, popular, and emergent literature and its relevance in the teaching-learning process; B. explain the development of a given genre of popular literature from its beginning to its contemporary practice through a historical timeline; and C. use various methods of literary analysis, such as formal, psychological, and /or feminist analysis in writing a response paper. TEACHING, LEARNING AND ASSESSMENT STRATEGIES The teaching – learning strategies enumerated below (but not limited to) shall be used to achieve the learning outcomes of the course:  Lecture – Discussion on Fiction  Literary Analysis  Inductive and Deductive Method  Interpreting and evaluating a story  Paper and Pencil Test/Google docs  Performance-based Assessment  Collaborative works Assessment Strategies Students will be assessed using a combination of rubrics and guide questions, written iii examination, recitation, group activities, assignments and exercises. Disclaimer: This learning module is a compilation of works written by other writers. The researchers of this module do not claim originality of all the works presented. iv  CHAPTER I: CONTEMPORARY LITERATURE Introduction Contemporary literature reflects existing developments in society and culture. This chapter will tackle about fiction and how it can be interpreted and evaluated. It will also discuss the different types and elements of fiction. The students will develop a sense of comprehension about the issues and challenges in contemporary literature. LESSON 1: Interpreting and Evaluating Fiction 1 At the end of the lesson, the students should be able to: a. Explain the characteristics, types and elements of fiction; and b. Interpret and evaluate fiction. Fiction: The Story and the Moral Fiction is subjective and evocative. It is "made up," and indirect in its communication. A work of fiction may evoke: the thrill of imagining impossible or unavailable experiences intrigue with playing out "what if" or" if only" scenarios feelings and perceptions of another historical period, or simply observations on the human condition We thus read fiction not to gain new information so much as to experience the ideas and feelings a story inspires within us. Readers have different expectations from fiction and nonfiction. Proof is a major issue with nonfiction; emotional involvement is a major issue with fiction. We expect a story (fiction) to grab us, an essay (nonfiction) to convince us. We will suspend belief when reading a romance novel or science fiction, but demand reason and evidence from nonfiction. For passing time or sheer enjoyment, of course, simply reading the story can be satisfaction and reward enough. We do not have to analyze everything we read. The point is to be able to interpret when we want to—or have to. Both fiction and nonfiction can be subjected to analysis and interpretation. These two forms of expression are, however, examined somewhat differently. One analyzes a nonfiction text to discover underlying themes and perspectives, as well as to realize how choices of content and language shape the reader's perception and encourage the reader's acceptance. Analyzing Lincoln's Gettysburg Address, for instance, we can recognize not only remarks on the dedication of a cemetery, but comparisons between images of the living and dead, between what has been done and what must be done. We analyze fictional works for recurring themes that reflect on the broader human experience. People do not really tell nursery rhymes so that children will know about a girl named Cinderella or about pigs who built houses. The stories have deeper, unstated meanings: virtue rewarded (Cinderella) or the folly of a lack of industry (The Three Little Pigs). We respond to 2 both the story and an underlying message. On the surface, Melville's Moby Dick, for instance, might be seen as an adventure story about a man hunting a whale. On closer analysis and interpretation, the novel might be seen as a depiction of man's battle to subdue nature or of a battle between good and evil. Since fiction is indirect, fiction can require a significant degree of analysis and interpretation if one is to get beyond simply following the story. Fiction is Subjective Fiction is, by definition, subjective. A novel, story, drama, or poem is the expression of an author's imagination. The characters and situations are "made up." Readers expect fiction to reflect the real world; they do not expect it to portray the real world. And yet fiction can seem very real without being factual. Poems can capture feelings or images to perfection. Events depicted in movies such as Schindler's List , Amistad , or Titanic can appear just as they might have in real life. Fiction can be true, however, only in the sense that the actions or behaviors "ring true" with what we know of the world. The sentiment may be real, but the characters and incidents are the fruits of the author's imagination. And author and directors—as in the movies referred to above —often use "dramatic license" to distort history for dramatic effect. Fiction is Evocative: Images and Symbols Fiction conveys meaning indirectly (other than, of course, through morals at the ends of fables). The specifics are not significant. We draw meaning from the types of actions. This principle lies behind the fact that television crime series follow essentially the same plot line, week after week. It does not matter whether a crime victim is a socialite, a prostitute, a drug dealer, or politician, whether the crime is murder, extortion, or robbery. The message that the police always catch the criminal remains the same. Fiction evokes ideas and feelings indirectly by triggering emotional responses and mental pictures. Fiction commonly communicates through images and symbols. Color is often symbolic, as with the red passion of the Scarlet Letter in the novel of that title. Sunlight often conveys truth or reason. In Willa Cather's short story "Death Comes to the Archbishop" the development of the Bishop's garden is a metaphor for the expansion of Catholicism in the New World. And then there is the politically incorrect use of white and black for good and bad, as in old Western movies. 3 Readers must be open to associations and reflection, creative in their understanding and interpretation. They must recognize a richness of figurative language and concomitant element of ambiguity. The more evocative a text, the more the reader must do the work of finding meaning within the text. Interpretation: A Personal Understanding The meaning of fictional works is more personal than that of nonfiction texts. With nonfiction texts, we assume any two readers will come away with pretty much the same understanding of what the text states. While we may not agree with someone else's interpretation, we should be able to follow their analysis. With fiction, the meaning is dependent on the perceptions, imagination, and feelings of the reader. In both cases, however, we demand that an interpretation be based on evidence on the page. And in both cases, part of understanding is understanding one's own interests, values, and desires and how they affect what one looks for and how one thinks about what one finds. Analyzing and Interpreting Fiction: Perspectives The discussion of nonfiction texts focused on the analysis of choices of content, language, and structure. The same focus is useful for the analysis of fiction--with some adjustments. The discussion examines: the general perspective on each of the three major genres: novels (stories), drama, and poetry the application of the notions of content, language, and structure for each genre Fiction, we saw above, is mostly about telling stories and expressing feelings. The content of fiction may take the form of the events of a story, especially in novels and short stories, spoken remarks, especially in drama, or images and symbols, especially in poetry. All three elements appear to varying degrees in all forms of fiction. Commercial Fiction  Intended solely to entertain  Legal thrillers, romance novels  Escapist  Formulaic 4 Literary Fiction  Written with serious artistic intentions by someone who hopes to enable readers to broaden understanding of life and to empathize with others  Literary writers are more like explorers who take us out into the midst of life, show us the props and mirrors and seek to dispel the illusions.  Provides keener awareness of our humanity in a friendly and hostile world.  Usually need to read twice.  Plot: the sequence of events through which an author constructs a story. Structure: usually chronological or cause/effect, however, a complex structure is often required to convey complex meanings, so it may be more experimental and unpredictable. …. EXERCISES! 5 Direction: Read the story below and answer the following questions in order to critically analyze the story. “The Necklace” Guy de Maupassant She was one of those pretty and charming girls born, as if by an error of fate, into a family of clerks. She had no dowry, no expectations, no means of becoming known, understood, loved or wedded by a man of wealth and distinction; and so she let herself be married to a minor official at the Ministry of Education. She dressed plainly because she had never been able to afford anything better, but she was as unhappy as if she had once been wealthy. Women don't belong to a caste or class; their beauty, grace, and natural charm take the place of birth and family. Natural delicacy, instinctive elegance and a quick wit determine their place in society, and make the daughters of commoners the equals of the very finest ladies. She suffered endlessly, feeling she was entitled to all the delicacies and luxuries of life. She suffered because of the poorness of her house as she looked at the dirty walls, the worn-out chairs and the ugly curtains. All these things that another woman of her class would not even have noticed, tormented her and made her resentful. The sight of the little Brenton girl who did her housework filled her with terrible regrets and hopeless fantasies. She dreamed of silent antechambers hung with Oriental tapestries, lit from above by torches in bronze holders, while two tall footmen in knee-length breeches napped in huge armchairs, sleepy from the stove's oppressive warmth. She dreamed of vast living rooms furnished in rare old silks, elegant furniture loaded with priceless ornaments, and inviting smaller rooms, perfumed, made for afternoon chats with close friends - famous, sought after men, who all women envy and desire. When she sat down to dinner at a round table covered with a three-day-old cloth opposite her husband who, lifting the lid off the soup, shouted excitedly, "Ah! Beef stew! What could be better," she dreamed of fine dinners, of shining silverware, of tapestries which peopled the walls with figures from another time and strange birds in fairy forests; she dreamed of delicious dishes served on wonderful plates, of whispered gallantries listened to with an inscrutable smile as one ate the pink flesh of a trout or the wings of a quail. 6 She had no dresses, no jewels, nothing; and these were the only things she loved. She felt she was made for them alone. She wanted so much to charm, to be envied, to be desired and sought after. She had a rich friend, a former schoolmate at the convent, whom she no longer wanted to visit because she suffered so much when she came home. For whole days afterwards she would weep with sorrow, regret, despair and misery. One evening her husband came home with an air of triumph, holding a large envelope in his hand. "Look," he said, "here's something for you." She tore open the paper and drew out a card, on which was printed the words: "The Minister of Education and Mme. Georges Rampouneau request the pleasure of M. and Mme. Loisel's company at the Ministry, on the evening of Monday January 18th."  Instead of being delighted, as her husband had hoped, she threw the invitation on the table resentfully, and muttered: "What do you want me to do with that?" "But, my dear, I thought you would be pleased. You never go out, and it will be such a lovely occasion! I had awful trouble getting it. Every one wants to go; it is very exclusive, and they're not giving many invitations to clerks. The whole ministry will be there." She stared at him angrily, and said, impatiently: "And what do you expect me to wear if I go?" He hadn't thought of that. He stammered: "Why, the dress you go to the theatre in. It seems very nice to me..." He stopped, stunned, distressed to see his wife crying. Two large tears ran slowly from the corners of her eyes towards the corners of her mouth. He stuttered: "What's the matter? What's the matter?" With great effort she overcame her grief and replied in a calm voice, as she wiped her wet cheeks: 7 "Nothing. Only I have no dress and so I can't go to this party. Give your invitation to a friend whose wife has better clothes than I do." He was distraught, but tried again: "Let's see, Mathilde. How much would a suitable dress cost, one which you could use again on other occasions, something very simple?" She thought for a moment, computing the cost, and also wondering what amount she could ask for without an immediate refusal and an alarmed exclamation from the thrifty clerk. At last she answered hesitantly: "I don't know exactly, but I think I could do it with four hundred francs." He turned a little pale, because he had been saving that exact amount to buy a gun and treat himself to a hunting trip the following summer, in the country near Nanterre, with a few friends who went lark-shooting there on Sundays. However, he said: "Very well, I can give you four hundred francs. But try and get a really beautiful dress." The day of the party drew near, and Madame Loisel seemed sad, restless, anxious. Her dress was ready, however. One evening her husband said to her: "What's the matter? You've been acting strange these last three days."  She replied: "I'm upset that I have no jewels, not a single stone to wear. I will look cheap. I would almost rather not go to the party." "You could wear flowers, " he said, "They are very fashionable at this time of year. For ten francs you could get two or three magnificent roses." She was not convinced. "No; there is nothing more humiliating than looking poor in the middle of a lot of rich women." "How stupid you are!" her husband cried. "Go and see your friend Madame Forestier and ask her to lend you some jewels. You know her well enough for that." She uttered a cry of joy. "Of course. I had not thought of that." The next day she went to her friend's house and told her of her distress. 8 Madame Forestier went to her mirrored wardrobe, took out a large box, brought it back, opened it, and said to Madame Loisel: "Choose, my dear." First, she saw some bracelets, then a pearl necklace, then a gold Venetian cross set with precious stones, of exquisite craftsmanship. She tried on the jewelry in the mirror, hesitated, could not bear to part with them, to give them back. She kept asking: "You have nothing else?" "Why, yes. But I don't know what you like." Suddenly she discovered, in a black satin box, a superb diamond necklace, and her heart began to beat with uncontrolled desire. Her hands trembled as she took it. She fastened it around her neck, over her high-necked dress, and stood lost in ecstasy as she looked at herself. Then she asked anxiously, hesitating: "Would you lend me this, just this?" "Why, yes, of course." She threw her arms around her friend's neck, embraced her rapturously, then fled with her treasure. The day of the party arrived. Madame Loisel was a success. She was prettier than all the other women, elegant, gracious, smiling, and full of joy. All the men stared at her, asked her name, tried to be introduced. All the cabinet officials wanted to waltz with her. The minister noticed her.  She danced wildly, with passion, drunk on pleasure, forgetting everything in the triumph of her beauty, in the glory of her success, in a sort of cloud of happiness, made up of all this respect, all this admiration, all these awakened desires, of that sense of triumph that is so sweet to a woman's heart. She left at about four o'clock in the morning. Her husband had been dozing since midnight in a little deserted anteroom with three other gentlemen whose wives were having a good time. He threw over her shoulders the clothes he had brought for her to go outside in, the modest clothes of an ordinary life, whose poverty contrasted sharply with the elegance of the ball dress. She felt this and wanted to run away, so she wouldn't be noticed by the other women who were wrapping themselves in expensive furs. Loisel held her back. 9 "Wait a moment, you'll catch a cold outside. I'll go and find a cab." But she would not listen to him, and ran down the stairs. When they were finally in the street, they could not find a cab, and began to look for one, shouting at the cabmen they saw passing in the distance. They walked down toward the Seine in despair, shivering with cold. At last they found on the quay one of those old night cabs that one sees in Paris only after dark, as if they were ashamed to show their shabbiness during the day. They were dropped off at their door in the Rue des Martyrs, and sadly walked up the steps to their apartment. It was all over, for her. And he was remembering that he had to be back at his office at ten o'clock. In front of the mirror, she took off the clothes around her shoulders, taking a final look at herself in all her glory. But suddenly she uttered a cry. She no longer had the necklace round her neck! "What is the matter?" asked her husband, already half undressed. She turned towards him, panic-stricken. "I have... I have... I no longer have Madame Forestier's necklace." He stood up, distraught. "What!... how!... That's impossible!" They looked in the folds of her dress, in the folds of her cloak, in her pockets, everywhere. But they could not find it. "Are you sure you still had it on when you left the ball?" he asked. "Yes. I touched it in the hall at the Ministry." "But if you had lost it in the street we would have heard it fall. It must be in the cab."  "Yes. That's probably it. Did you take his number?" "No. And you, didn't you notice it?" "No." They stared at each other, stunned. At last Loisel put his clothes on again. "I'm going back," he said, "over the whole route we walked, see if I can find it." He left. She remained in her ball dress all evening, without the strength to go to bed, sitting 10 on a chair, with no fire, her mind blank. Her husband returned at about seven o'clock. He had found nothing. He went to the police, to the newspapers to offer a reward, to the cab companies, everywhere the tiniest glimmer of hope led him. She waited all day, in the same state of blank despair from before this frightful disaster. Loisel returned in the evening, a hollow, pale figure; he had found nothing. "You must write to your friend," he said, "tell her you have broken the clasp of her necklace and that you are having it mended. It will give us time to look some more." She wrote as he dictated. At the end of one week they had lost all hope. And Loisel, who had aged five years, declared: "We must consider how to replace the jewel." The next day they took the box which had held it, and went to the jeweler whose name they found inside. He consulted his books. "It was not I, madame, who sold the necklace; I must simply have supplied the case." And so they went from jeweler to jeweler, looking for an necklace like the other one, consulting their memories, both sick with grief and anguish. In a shop at the Palais Royal, they found a string of diamonds which seemed to be exactly what they were looking for. It was worth forty thousand francs. They could have it for thirty-six thousand. So they begged the jeweler not to sell it for three days. And they made an arrangement that he would take it back for thirty-four thousand francs if the other necklace was found before the end of February. Loisel had eighteen thousand francs which his father had left him. He would borrow the rest.  And he did borrow, asking for a thousand francs from one man, five hundred from another, five louis here, three louis there. He gave notes, made ruinous agreements, dealt with usurers, with every type of money-lender. He compromised the rest of his life, risked signing notes without knowing if he could ever honor them, and, terrified by the anguish still to come, by the black misery about to fall on him, by the prospect of every physical privation and every moral torture he was about to suffer, he went to get the new necklace, and laid down on the jeweler's 11 counter thirty-six thousand francs. When Madame Loisel took the necklace back, Madame Forestier said coldly: "You should have returned it sooner, I might have needed it." To the relief of her friend, she did not open the case. If she had detected the substitution, what would she have thought? What would she have said? Would she have taken her friend for a thief? From then on, Madame Loisel knew the horrible life of the very poor. But she played her part heroically. The dreadful debt must be paid. She would pay it. They dismissed their maid; they changed their lodgings; they rented a garret under the roof. She came to know the drudgery of housework, the odious labors of the kitchen. She washed the dishes, staining her rosy nails on greasy pots and the bottoms of pans. She washed the dirty linen, the shirts and the dishcloths, which she hung to dry on a line; she carried the garbage down to the street every morning, and carried up the water, stopping at each landing to catch her breath. And, dressed like a commoner, she went to the fruiterer's, the grocer's, the butcher's, her basket on her arm, bargaining, insulted, fighting over every miserable sou. Each month they had to pay some notes, renew others, get more time. Her husband worked every evening, doing accounts for a tradesman, and often, late into the night, he sat copying a manuscript at five sous a page. And this life lasted ten years. At the end of ten years they had paid off everything, everything, at usurer's rates and with the accumulations of compound interest. Madame Loisel looked old now. She had become strong, hard and rough like all women of impoverished households. With hair half combed, with skirts awry, and reddened hands, she talked loudly as she washed the floor with great swishes of water. But sometimes, when her husband was at the office, she sat down near the window and thought of that evening at the ball so long ago, when she had been so beautiful and so admired. What would have happened if she had not lost that necklace? Who knows, who knows? How strange life is, how fickle! How little is needed for one to be ruined or saved! 12 One Sunday, as she was walking in the Champs Élysées to refresh herself after the week's work, suddenly she saw a woman walking with a child. It was Madame Forestier, still young, still beautiful, still charming. Madame Loisel felt emotional. Should she speak to her? Yes, of course. And now that she had paid, she would tell her all. Why not? She went up to her. "Good morning, Jeanne." The other, astonished to be addressed so familiarly by this common woman, did not recognize her. She stammered: "But - madame - I don't know. You must have made a mistake." "No, I am Mathilde Loisel." Her friend uttered a cry. "Oh!... my poor Mathilde, how you've changed!..." "Yes, I have had some hard times since I last saw you, and many miseries... and all because of you!..." "Me? How can that be?" "You remember that diamond necklace that you lent me to wear to the Ministry party?" "Yes. Well?" "Well, I lost it." "What do you mean? You brought it back." "I brought you back another exactly like it. And it has taken us ten years to pay for it. It wasn't easy for us, we had very little. But at last it is over, and I am very glad." Madame Forestier was stunned. "You say that you bought a diamond necklace to replace mine?" "Yes; you didn't notice then? They were very similar." And she smiled with proud and innocent pleasure. Madame Forestier, deeply moved, took both her hands. "Oh, my poor Mathilde! Mine was an imitation! It was worth five hundred francs at most!..." Reference: 13  http://www.eastoftheweb.com/short-stories/UBooks/Neck.shtml ….. ACTIVITY 1.1: ESSAY Direction: Answer the given questions. 14 1. Is the story fiction or non-fiction? Why do you say so? _____________________________________________________________________________ _____________________________________________________________________________ _____________________________________________________________________________ _____________________________________________________________________________ _____________________________________________________________________________ _____ 2. What type and elements of fiction are used in the story? _____________________________________________________________________________ _____________________________________________________________________________ _____________________________________________________________________________ _____________________________________________________________________________ _____________________________________________________________________________ _____ ACTIVITY 1.2 Direction: Make a summary and write interpretation and analysis of the story “The Necklace” by Guy de Maupassant. A minimum of 300 words is required for the summary. For the review/analysis, 400-500 words. Summary__________________________________________________________________ _________________________________________________________________________ _________________________________________________________________________ _________________________________________________________________________ _______________________________________________________________________Int erpretation_________________________________________________________________ _________________________________________________________________________ _________________________________________________________________________ _________________________________________________________________________ _________________________________________________________________________ ____________________________________________________________________Analys is________________________________________________________________________ _________________________________________________________________________ _________________________________________________________________________ _________________________________________________________________________ _________________________________________________________________________ _________________________________________________________________________ 15 LESSON 2: Types and Elements of Fiction At the end of the lesson, the students should be able to: a. Explain the characteristics, types and elements of fiction; and b. Interpret and evaluate fiction. ELEMENTS OF FICTION Conflict: a clash of actions, ideas, desires, or will.  Man vs. Himself  Man vs. Man  Man vs. External Force (physical nature, society, or “fate”)  Man vs. Nature (environment)  Protagonist: central character in a conflict, sympathetic or unsympathetic  Antagonist: any force against protagonist\ Suspense  Mystery: an unusual set of circumstances for which the reader craves an explanation  Dilemma: a position in which he or she must choose between two courses of action, both undesirable Ending Is it logical within the story’s own terms and does it afford a full, believable revelation?  Surprise Ending: a sudden, unexpected turn or twist, and furnishes meaningful illumination, not just a reversal of expectation  Happy Ending: more common in commercial fiction.  Unhappy Ending: more common in literary fiction because it more closely mirrors real life and forces readers to contemplate the complexities of life.  Indeterminate Ending: no definitive conclusion is reached, but need not be in terms of a resolved conflict. Artistic Unity  There must be nothing in the story that is irrelevant. 16  Nothing that does not advance the central intention of the story. Plot Manipulation: unjustified turn in the plot by the situation or the characters. Deus ex machina: Latin for “god from a machine”—the protagonist is rescued at the last moment from some impossible situation by a god descending from heaven. Chance: the occurrence of an event that has no apparent cause in previous events or in predisposition of character. Coincidence: the chance occurrence of two events that may have a peculiar correspondence. Consider the function of plot in trying to understand the relationship of each incident to the larger meaning of the story. Example: focus on its central conflict or examine the way incidents and scenes are connected as a way of testing the story’s plausibility and unity. Characterization Direct Presentation: readers are told straight out what the characters are like, or they have another character in the story describe them. Little emotional impact Indirect Presentation: the author shows us the characters through their actions; we determine what they are like by what they say or do. In good fiction, characters are dramatized. Principles of Characterization 1. Characters are consistent in their behavior unless there is a clear reason for the change 17 2. Character’s words and actions spring from motivations the reader can understand and believe 3. Characters must be plausible or lifelike, not perfectly virtuous or monsters of evil; nor can they have some impossible combination of contradictory traits. The character could have existed, so we have the illusion the person is real.  Flat Characters: usually have only one or two predominant traits; they can be summed up in a sentence or two.  Round Characters: complex and many sided; they have the three-dimensional quality of real people.  Stock Characters: type of flat character; stereotyped figures who have recurred so often in fiction that we recognize them at once: silent sheriff, mad scientist, brilliant detective.  Static Character: does not change during the story.  Dynamic Character: (developing) undergoes distinct change of character, personality, or outlook. Usually experiences an epiphany which is a moment of spiritual insight into life or into the character’s own circumstance. This epiphany usually defines the moment of the dynamic character’s change. Theme  The controlling idea or central insight  The unifying generalization about life stated or implied by the story  Gives the story its unity  What view of life does the author want readers to support?  The theme should be expressible in the form of a statement with a subject and a predicate.  NOT JUST “motherhood” or “loyalty”  Theme must be a statement about the subject.  The theme should be stated as a generalization about life.  It is the central and unifying concept of a story.  There is not one way of stating the theme of a story. Avoid reducing the theme to some familiar saying that we have heard all our lives: “You can’t judge a book by its cover.” 18 Example: Motherhood sometimes has more frustrations than rewards. Loyalty to country often inspires heroic self-sacrifice. This is a great thesis written by one of my students: Frankenstein is a prime example of English Romanticism because of the way that Shelley portrays the importance of good parenting through traits of romantic literature. Shelley emphasizes the individual, portrays man’s love of nature, and values emotion over reason to contribute to the theme’s idea that the role of parents is vital to raising responsible offspring. This is a “not so great” thesis... Frankenstein is an example of English Romanticist fiction because Mary Shelley uses Nature, Individualism, and Freedom to contribute to the Romantics view of Nature. Point of View  Who tells the story and how much do they know about the thoughts of the characters?  Omniscient: the story is told in first person by a narrator whose knowledge and prerogatives are unlimited.  Third Person Limited: from the viewpoint of one character in the story. No knowledge of what other characters are thinking or feeling.  First Person: the author disappears into one of the characters, who tells the story in the first person. This may be either a minor or major character, protagonist, or observer, and it will make a considerable difference whether the protagonist tells the story or someone else tells it. Shares the limitations of the third-person limited point of view.  Objective Point of View: (dramatic POV) the narrator disappears into a kind of roving sound camera. This camera can go anywhere but can record only what is seen and heard. It cannot comment, interpret, or enter a character’s mind. Symbol: something that means more than what it suggests on the surface. It may be an object, person, situation, action or other elements. Name Symbolism: Adam, Phoenix Object Symbolism: flag, wedding ring, red, quilts Action Symbolism: journey 19 Setting Symbolism: landscape, railway station Clues for identifying symbols:  The story itself must furnish a clue that a detail is to be taken symbolically usually by emphasis, repetition, or position.  The meaning of the literary symbol must be established and supported by the entire context of the story.  A symbol may have more than one meaning—a cluster of meanings. 1. Allegory: a story that has a second meaning beneath the surface adding significance. 2. Fantasy: nonrealistic story and transcends the bounds of known reality. 3. Humor: appears in the many serious works, usually conveyed through irony 4. Irony: a technique used to convey a truth about human experience by exposing some incongruity of a character’s behavior or a society’s traditions. Irony helps to critique the world in which we live by laughing at the many varieties of human eccentricity and folly. Both evoke responses that are intellectual and emotional at once. Verbal Irony: simplest kind, sarcasm, word play Dramatic Irony: the contrast between what a character says or thinks and what the reader knows to be true. Situational Irony: the discrepancy is between appearance and reality, expectation and fulfillment, or what is and what would seem appropriate “Miss Caroline told me to tell my father not to teach me anymore, it would interfere with my reading.” –To Kill a Mockingbird Sentimentality: contrived or excessive emotion Uncle Tom’s Cabin vs. Beloved Editorialize: Sentimental writers often try to make words do what the situation faithfully presented by itself will not do. They comment on the story and, in a manner, instruct us how to feel. Or they overwrite and poeticize–use an immoderately heightened and distended language to accomplish their effects. Also, they excessively use detail which all point one way, toward producing emotion rather than conveying truth. Dying child always happy, never moody or crying. 20 5. Style – The author’s type of diction (choice of words), syntax (arrangement of words), and other linguistic features of a work. 6. Theme(s) – The central and dominating idea (or ideas) in a literary work. The term also indicates a message or moral implicit in any work of art. Exploring the Different Types of Fiction By Sarah Parsons Zackheim, Adrian Zackheim Fiction is a general term used to describe an imaginative work of prose, either a novel, short story, or novella. Recently, this definition has been modified to include both nonfiction works that contain imaginative elements, like Midnight in the Garden Of Good and Evil by John Berendt (Random House, 1994) and Dutch by Edmund Morris (Random House, 1999), and novels consisting largely of factual reporting with a patina of fictionalization, such as Memoirs of a Geisha by Arthur Golden (Knopf, 1997). However, in the truest sense, a work of fiction is a creation of the writer’s imagination. The two main types of fiction are literary and commercial. Commercial fiction attracts a broad audience and may also fall into any subgenre, like mystery, romance, legal thriller, western, science fiction, and so on. For example, The Bridges of Madison County by Robert James Waller (Warner, 1992) was a hugely successful commercial novel because the book described the fulfillment of a romantic fantasy that is dear to the heart of millions of readers. Written in a short, easy-to-read style, the book was as mesmerizing to 15-year-olds as it was to 100-year-olds. Other blockbuster commercial fiction authors include John Grisham, Sidney Sheldon, Danielle Steele, and Jackie Collins. Literary fiction tends to appeal to a smaller, more intellectually adventurous audience. A work of literary fiction can fall into any of the subgenres described in the following sections. What sets literary fiction apart, however, is the notable qualities it contains — excellent writing, originality of thought, and style — that raise it above the level of ordinary written works. A recent work of literary fiction that enjoyed wide popularity was Cold Mountain by Charles Frazier (Atlantic Monthly Press, 1997). Other popular authors of literary fiction include Toni Morrision, Barbara Kingsolver, John LeCarre, and Saul Bellow. Mainstream fiction is a general term publishers and booksellers use to describe both commercial and literary works that depict a daily reality familiar to most people. These books, usually set in the 20th or present-day 21st century, have at their core a universal theme that attracts a broad audience. Mainstream books deal with such myriad topics as family issues, coming of age initiations, courtroom dramas, career matters, physical and mental disabilities, 21 social pressures, political intrigue, and more. Regardless of original genre or category, most of the novels that appear on the bestseller list are considered mainstream, whether the author is Sue Grafton, Arundhati Roy, Michael Crichton, or David Guterson. Mystery Mystery is a popular genre, boasting a huge established audience. All mysteries focus on a crime, usually murder. The action tends to center on the attempts of a wily detective-type to solve the crime. And the climax usually occurs near the end, in a leisurely setting where all the elements of the mystery are neatly assembled for the reader’s convenience. The solution, complete with surprises, is then delivered to the characters and the reader alike. Mystery subgenres include spy, detective, and crime stories. You can find a vast network of mystery writers associations, conventions, and conferences, as well as publications to help mystery writers pursue their craft. For information, contact Mystery Writers of America.  Great practitioners in this genre include Arthur Conan Doyle, Raymond Chandler, Dashiell Hammett, and Earle Stanley Gardner, creator of Perry Mason. Present day giants include Carl Hiaason, James Ellroy, Robert Parker, James Lee Burke, and Elmore Leonard. Romance Romance is a huge category aimed at diverting and entertaining women. In romance novels, you have elements of fantasy, love, naïveté, extravagance, adventure, and always the heroic lover overcoming impossible odds to be with his true love. Many romances, especially the gothic romance, have an easy-to-follow formula — a young, inexperienced girl living a somewhat remote existence is courted or threatened by an evil man and then rescued by a valiant one. Other subgenres include historical, contemporary, fantasy romance, and romantic suspense. If historical detail and settings interest you, try writing a regency or historical romance. If you enjoy a dash of mystery or intrigue, then romantic suspense novels are for you. However, if you’re interested in more modern stories with sexual candor, then consider writing a contemporary romance. Certainly, you have lots of opportunity in the field of romance writing, which is the largest, most diverse, and most popular of the commercial genres. And romance writers’ 22 organizations can provide exact writing guidelines. To receive a set of guidelines, contact Romance Writers of America. First-class romance writers include Jude Deveraux, Victoria Holt, Judith McNaught, Daphne Du Maurier, Jennifer Greene, and Nora Roberts. Women’s fiction It’s common knowledge in the publishing industry that women constitute the biggest book-buying segment. So, it’s certainly no accident that most mainstream as well as genre fiction is popular among women. For that reason, publishers and booksellers have identified a category within the mainstream that they classify as Women’s Fiction. And its no surprise that virtually all the selections of Oprah’s Book Club are in this genre. From a writer’s perspective, some key characteristics of these books include a focus on relationships, one or more strong female protagonists, women triumphing over unbearable circumstances, and the experiences of women unified in some way. The field includes such diverse writers as Barbara Taylor Bradford, Anne Rivers Siddons, Alice McDermott, Judith Krantz, Anne Tyler, Rebecca Wells, and Alice Hoffman. Science fiction/fantasy  Science fiction/fantasy novels depict distant worlds and futuristic technologies that whirl readers far away from the here and now and yet provoke contemplation of contemporary issues. Imaginative, thoughtful, and other-worldly, this robust category is made even more popular by the Star Wars and Star Trek series. Leading science fiction and fantasy writers include Ray Bradbury, Arthur Clarke, Isaac Asimov, C.S. Lewis, and J.R.R. Tolkien, as well as the current, multi-best-selling, young adult author J.K. Rowling. To obtain professional assistance in this genre, contact the Science Fiction and Fantasy Writers of America. Suspense/thriller Suspense novels and thrillers are tense, exciting, often sensational works with ingenious plotting, swift action, and continuous suspense. In this genre, a writer’s objective is to deliver a story with sustained tension, surprise, and a constant sense of impending doom that propels the reader forward. Unlike mysteries, thrillers are dominated by action in which physical threat is a constant companion, and a hero (James Bond, for example) is pitted against a nefarious villain. 23 This genre includes the great espionage writers, including John Le Carre, Len Deighton, Ian Fleming, Clive Cussler, and Frederick Forsythe. It also includes the police procedurals of Patricia Cornwell, Tony Hillerman, and Lawrence Sanders, as well as the courtroom bestsellers of Scott Turow, Richard North Patterson, Steve Martini, and John Grisham, and the military thrillers of Tom Clancy and Stephen Koontz. Western Known simply as westerns, these novels about life on America’s post-Civil War western frontier usually involve conflicts between cowboys and outlaws, cowboys and Native Americans, or Easterners and Westerners. While this category still has a mass-market audience and a thriving regional market, it’s not the popular genre it was 25 years ago. If you’re interested in writing a western, contact the Western Writers of America Zane Grey and Louis Lamour, both deceased, are still among the popular western writers. Horror Filled with gut-wrenching fear, this popular genre keeps readers turning the blood-filled pages. From a writer’s perspective, the defining characteristic is the intention to frighten readers by exploiting their fears, both conscious and subconscious: fears of supernatural forces, alien visitations, madness, death, dismemberment, and other terrifying notions. Tracing its roots back to the classic tales of Edgar Allan Poe, the horror genre today is dominated by Stephen King, whose vast output of bestsellers under his name as well as his alter-ego Richard Bachman has dominated the bestseller lists for nearly 25 years. Other major horror writers include Mary Shelley, Roald Dahl, Clive Barker, Peter Straub, Dean Koontz, and Anne Rice. While horror isn’t science fiction, the SFWA provides a great deal of information and community services aimed at horror writers. To obtain its professional assistance, contact the Science Fiction and Fantasy Writers of America. Young adult This genre includes any type of novel with a protagonist in the 12 to 16 age range that 24 speaks to the concerns of teenagers. Currently, J.K. Rowling and her amazing Harry Potter (Scholastic Press) books are dominating the field. Rowling’s accomplishment — a truly universal story, brimming with magic and fantasy as well as likable characters that readers identify with — is an amazing feat. Watch out for all the Harry Potter wannabes in the coming year. Success stories in this genre share many of the qualities evident in the Harry Potter books: a memorable voice (J.D. Salinger’s Catcher in the Rye, Little Brown, 1951), believable characters (Golding’s Lord of the Flies, Perigee, 1959), and a willingness to write about the disturbing subjects that preoccupy teens and preteens (Are You There God, It’s Me, Margaret by Judy Blume, Dell Yearling, 1972, or Holes by Louis Sachar, FSG, 1998). …..  EXERCISES! ACTIVITY 2.1 25 Direction: Divide the class into five (5) groups and discuss within the group the story of “Silence - A Fable” by Edgar Allan Poe (published 1838). Interpret and evaluate the story and present it. Ours is a world of words: Quiet we call Silence -- which is the merest word of all" -Al Aaraaf. "Listen to me," said the Demon, as he placed his hand upon my head. "There is a spot upon this accursed earth which thou hast never yet beheld And if by any chance thou hast beheld it, it must have been in one of those vigorous dreams which come like the Simoon upon the brain of the sleeper who hath lain down to sleep among the forbidden sunbeams --among the sunbeams, I say, which slide from off the solemn columns of the melancholy temples in the wilderness. The region of which I speak is a dreary region in Libya, by the borders of the river Zaire. And there is no quiet there, nor silence. "The waters of the river have a saffron and sickly hue --and they flow not onwards to the sea, but palpitate forever and forever beneath the red eye of the sun with a tumultuous and convulsive motion. For many miles on either side of the river's oozy bed is a pale desert of gigantic water-lilies. They sigh one unto the other in that solitude, and stretch towards the heaven their long ghastly necks, and nod to and fro their everlasting heads. And there is an indistinct murmur which cometh out from among them like the rushing of subterrene water. And they sigh one unto the other.  "But there is a boundary to their realm --the boundary of the dark, horrible, lofty forest. There, like the waves about the Hebrides, the low underwood is agitated continually. But there is no wind throughout the heaven. And the tall primeval trees rock eternally hither and thither with a crashing and mighty sound. And from their high summits, one by one, drop everlasting dews. And at the roots strange poisonous flowers lie writhing in perturbed slumber. And overhead, with a rustling and loud noise, the grey clouds rush westwardly forever, until they roll, a cataract, over 26 the fiery wall of the horizon. But there is no wind throughout the heaven. And by the shores of the river Zaire there is neither quiet nor silence. "It was night, and the rain fell; and, falling, it was rain, but, having fallen, it was blood. And I stood in the morass among the tall lilies, and the rain fell upon my head --and the lilies sighed one unto the other in the solemnity of their desolation. "And, all at once, the moon arose through the thin ghastly mist, and was crimson in color. And mine eyes fell upon a huge grey rock which stood by the shore of the river, and was litten by the light of the moon. And the rock was grey, and ghastly, and tall, --and the rock was grey. Upon its front were characters engraven in the stone; and I walked through the morass of water- lilies, until I came close unto the shore, that I might read the characters upon the stone. But I could not decypher the characters. And I was going back into the morass, when the moon shone with a fuller red, and I turned and looked again upon the rock, and upon the characters --and the characters were DESOLATION. "And I looked upwards, and there stood a man upon the summit of the rock, and I hid myself among the water-lilies that I might discover the actions of the man. And the man was tall and stately in form, and was wrapped up from his shoulders to his feet in the toga of old Rome. And the outlines of his figure were indistinct --but his features were the features of a Deity; for the mantle of the night, and of the mist, and of the moon, and of the dew, had left uncovered the features of his face. And his brow was lofty with thought, and his eye wild with care; and, in the few furrows upon his cheek I read the fables of sorrow, and weariness, and disgust with mankind, and a longing after solitude. And the moon shone upon his face, and upon the features of his face, and oh! they were more beautiful than the airy dreams which hovered about the souls of the daughters of Delos! "And the man sat down upon the rock, and leaned his head upon his hand, and looked out upon the desolation. He looked down into the low unquiet shrubbery, and up into the tall primeval trees, and up higher at the rustling heaven, and into the crimson moon. And I lay close within shelter of the lilies, and observed the actions of the man. And the man trembled in the solitude --but the night waned and he sat upon the rock. 27  "And the man turned his attention from the heaven, and looked out upon the dreary river Zaire, and upon the yellow ghastly waters, and upon the pale legions of the water-lilies. And the man listened to the sighs of the water-lilies, and of the murmur that came up from among them. And I lay close within my covert and observed the actions of the man. And the man trembled in the solitude --but the night waned and he sat upon the rock. "Then I went down into the recesses of the morass, and waded afar in among the wilderness of the lilies, and called unto the hippopotami which dwelt among the fens in the recesses of the morass. And the hippopotami heard my call, and came, with the behemoth, unto the foot of the rock, and roared loudly and fearfully beneath the moon. And I lay close within my covert and observed the actions of the man. And the man trembled in the solitude --but the night waned and he sat upon the rock. "Then I cursed the elements with the curse of tumult; and a frightful tempest gathered in the heaven where before there had been no wind. And the heaven became livid with the violence of the tempest --and the rain beat upon the head of the man --and the floods of the river came down --and the river was tormented into foam --and the water-lilies shrieked within their beds --and the forest crumbled before the wind --and the thunder rolled, --and the lightning fell --and the rock rocked to its foundation. And I lay close within my covert and observed the actions of the man. And the man trembled in the solitude -- but the night waned and he sat upon the rock. "Then I grew angry and cursed, with the curse of silence, the river, and the lilies, and the wind, and the forest, and the heaven, and the thunder, and the sighs of the water-lilies. And they became accursed and were still. And the moon ceased to totter in its pathway up the heaven --and the thunder died away --and the lightning did not flash --and the clouds hung motionless --and the waters sunk to their level and remained --and the trees ceased to rock --and the water- lilies sighed no more --and the murmur was heard no longer from among them, nor any shadow of sound throughout the vast illimitable desert. And I looked upon the characters of the rock, and they were changed --and the characters were SILENCE. "And mine eyes fell upon the countenance of the man, and his countenance was wan with terror. And, hurriedly, he raised his head from his hand, and stood forth upon the rock, and listened. But there was no voice throughout the vast illimitable desert, and the characters upon the rock were SILENCE. And the man shuddered, and turned his face away, and fled afar off, and I beheld him no more." Now there are fine tales in the volumes of the Magi --in the iron-bound, melancholy volumes of the Magi. Therein, I say, are glorious histories of the Heaven, and of the Earth, and of the 28 mighty Sea --and of the Genii that over-ruled the sea, and the earth, and the lofty heaven. There was much lore too in the sayings which were said by the sybils; and holy, holy things were heard of old by the dim leaves that trembled around Dodona --but, as Allah liveth, that fable which the Demon told me as he sat by my side in the shadow of the tomb, I hold to be the most wonderful of all! And as the Demon made an end of his story, he fell back within the cavity of the tomb and laughed. And I could not laugh with the Demon, and he cursed me because I could not laugh. And the lynx which dwelleth forever in the tomb, came out therefrom, and lay down at the feet of the Demon, and looked at him steadily in the face. NOTES: This story was originally published in 1838 as "Siope - A Fable". Reference: https://poestories.com/read/silence ….. LESSON 3: Introduction to Contemporary Literature 29 1950- PRESENT “This literary era defines a time period but it also describes particular style and quality of writing.” What is Contemporary Literature? The literature of the contemporary period not only refers to a quality/style of writing but also to poetry and prose, which includes works of fiction such as: novels, novellas, essays, and dramatic works. Characteristics of the Contemporary Style  Reality-based stories  Believable story-line, sometimes portraying a harsher reality or degradation of society  Current, modern setting  “Well-defined, realistic, highly developed” and strong character (s).  Well-structured  Writing is “more character driven than plot driven” Historical Events during this period January 1, 1953- The national Library is established in Ottawa. September 3, 1962- The Trans-Canada Highway opens. February 15, 1965- Canada gets a new red-and-white maple leaf flag. April 2, 1975- The CN Tower in Toronto becomes the world’s tallest free-standing structure. July 17, 1976- The Olympic Games are held in Montreal. June 27, 1980- O Canada is officially adopted as Canada’s national anthem. April 12, 1980- Terry Fox begins his “Marathon of Hope”, cross country run. 1989- One dollar bills stop being produced and are fully replaced by the loonie. June 25, 1993- Kim Campbell becomes the first female prime minister of Canada. January 4-9, 1998- The most destructive and disruptive ice storm in Canadian history occurs. Genres of the period, and topics that were written about in literature were largely influenced by the historical events which were taking place at the current time. A notable genre of the 30 contemporary period, which is still popular today is Young Adult or YA. GENRES OF CONTEMPORARY LITERATURE Genres of this time included novels and poetry. Flash fiction, short stories, slam poetry, plays, memoirs, and autobiographies were also popular. Authors found inspiration in the events of the time period. They often wrote about the realities and experiences that had occurred, no matter how brutal they may have been. “The literary innovations of this period were largely influenced by the surroundings and the changes that were occurring in it…” I. STORY At the end of the lesson, the students should be able to: a. Acquaint themselves with styles and concerns of contemporary stories. WHAT IS A STORY? A story or narrative is a connected series of events told through words (written or spoken), imagery (still and moving), body language, performance, music, or any other form of communication. You can tell a story about anything, and the events described can be real or imaginary; covering both fiction and nonfiction; and leaving no topic, genre, or style untouched. There are stories about all things and all times; past, present and future. Whenever you’re telling somebody about a series of events, you are telling a story, no matter what the subject nor when they occurred. As such, stories are of great value to human culture, and are some of the oldest, most important parts of life. Aside from being a part of every single type of literature, stories are at the foundation of creativity and part of just about everything we do, particularly when it comes to entertainment, recording, and reporting of any form. So, they are shared in all different ways—from oral and written storytelling or journalism; to TV, film, and radio; to fine arts, stage performance and music; and so on. In one form or another, stories have been a part of human culture and society for thousands of years—likely since man has existed! They’re found in the past and present of people from every culture, religion, and ethnicity; in every region and language. So, all of that considered, 31 the concept of a story is actually a bit difficult to fully cover or describe. Some would say that life is made up of a series of never-ending stories. From a simple commute to school or work, to all the events of our lives, everything has a story.  EXAMPLES OF STORY Here are a few examples of the same story told different ways. You can sometimes tell a story in just one line: The girl met the love of her life and lived happily until the day she died. Or, it could be more detailed: When the girl was 22, she met the love of her life. It was her last day of college, and when she saw him, she knew he was the one she was going to be with forever—and the boy knew the same. After graduation, the boy and the girl ran away together to elope. They lived together happily for the rest of their days. Now really, even the second example is just a tiny story. We can tell it in all kinds of ways and of all different lengths, from one line to a series of novels. After all, if the couple lived an entire lifetime together, there would be countless events that together make up the story of their life.  TYPES OF STORIES The range of types of stories is pretty much endless. For that reason, this article will divide stories into two very broad categories—fiction and nonfiction. Within each there are a huge number of possibilities in terms of subject matter, genre, type of delivery (oral, written, performance), narrative style, and so on. Fiction stories Fiction stories are based on made-up or imaginary events. There are dozens upon dozens of types of fiction stories and genres, including but not at all limited to:  Fairy tales  Historical fiction  Folklore  Fantasy  Mythology  Science-fiction  Legends  Love stories  Epics  Horror stories 32  Dramas  Ghost stories  Adventure stories  Bedtime stories Non-fiction stories Non-fiction stories can cover any kind of real-life event or experience. But, they often fall into these kinds of categories:  Historical events  Memories and experiences  News and current events  Cultural history  Biographies and autobiographies  Crime and justice  Science  Travel stories  Love  Survivor stories  Family  War stories  IMPORTANCE OF STORY Stories are, have been, and always will be an absolutely essential part of human culture. Stories are how we learn about each other, our past, and our cultures. Whether they are created for entertainment or to recount a real-life event—new stories are literally being lived, told, and created every second of every day. So, even if there was only one story for every person who ever lived, that would still be billions of stories in the world; it would be impossible to measure how many have existed.  EXAMPLES OF STORY IN LITERATURE As literature is, first and foremost, written storytelling, there are limitless examples of stories in literature; across every style and genre of writing. We’ve been writing down stories for thousands of years—truth be told, written stories have taught us most of what we know about mankind’s history and culture! That said, here are a few examples: Example 1 Author Shel Silverstein is known for the quirky and memorable stories he tells through 33 poetry. Here is “Masks” from his collection of poems Everything On It: She had blue skin. And so did he. He kept it hid And so did she. They searched for blue Their whole life through, Then passed right by— And never knew. As you’ve just read, Silverstein tells a whole story in just eight short lines of poetry. Tons of poems do the same in even fewer lines. Either way, you can see that a story definitely doesn’t have to be lengthy. Example 2 A fairy tale is a classic type of story about imaginary events. When we want to tell a fairy tale, we often start with the famous words “Once upon a time,” which adds a more whimsical feel to what we are about to share. Here’s an example from Rapunzel of Grimm’s Fairy Tales: Once upon a time there was a man and a woman who had long, but to no avail, wished for a child. Finally, the woman came to believe that the good Lord would fulfill her wish. Through the small rear window of these people’s house they could see into a splendid garden that was filled with the most beautiful flowers and herbs. The garden was surrounded by a high wall, and no one dared enter, because it belonged to a sorceress who possessed great power and was feared by everyone. The fairy tale’s intro is just a small part of the story, telling us about the beginning and a bit about the characters who will be the focus. Example 3 Of course, newspapers and magazines are filled with stories. As you know, a news story reports on real events that have happened. Here’s a passage from a CNN Tech article: There’s no other shopping bonanza quite like Alibaba’s Singles Day, which has once again smashed records. The tech giant reported $17.8 billion in sales during this year’s frenzy, breaking the record of $14.3 billion set in 2015. That’s more than Black Friday and Cyber Monday combined. Reading a news story gives you an update on events that are happening throughout the 34 world. Here, Tech Crunch writes about China’s 11.11 Singles’ Day, the world’s biggest shopping event. The story specifically reports on the money that Alibaba made in their latest Singles’ Day event.  EXAMPLES OF STORY IN POPULAR CULTURE Stories are a part of every type of today’s media, from TV, film, and radio; to what gets shared on social media platforms; music; stage performance; art exhibitions, celebrity magazines—you name it, and you’ll find stories. But here are a few examples of stories in popular film and TV culture, told through performance, music, and animation. Example 1 Cult-classic fantasy film The Never-ending Story is about a story that goes on as long as time exists. It unfolds in real time as the reader is reading it, who in this case is a boy named Bastian. But it’s soon revealed that he has more of a stake in the story than he ever imagined… The Never-ending Story (9/10) Movie CLIP – Call My Name (1984) HD Bastian finally realizes that he’s a part of the story he’s been reading, so in a way, it’s actually about him. So long as he keeps reading, the story will continue. Example 2 Everybody knows Will Smith’s retro anthem “Prince of Bel Air,” the theme song to the hit ’90s sitcom Fresh Prince of Bel Air. In the show’s intro, Smith uses this rap to fill the audience in on his backstory: The fresh prince of Bel Air theme song [short version] The song quickly reviews the story of his past, which serves as an intro to what the show is about. He recounts the events that led to his life being turned “upside down”; the story of how he became the Prince of Bel Air. Example 3 In Harry Potter and the Deathly Hallows, Hermione reads the story of the Three Brothers, which is part of the wizarding world. The Story of the Three Brothers is actually a story within a story—Harry Potter’s story. Rowling tries to make the wizarding world seem as real as possible, and adding background is a 35 big part of that. By sharing stories that her characters read, she is giving evidence of the wizarding world’s storytelling and literary culture…and perhaps even some history.  CONCLUSION Stories are a major part of every aspect of our lives, from what we read to what we do to what we talk and think about. They’re also crucial to our understanding of history and culture, and have been recorded and passed on since man’s earliest days. Stories have always been and will always be at the core of not only literature, but life! …..  ACTIVITY 3.1 36 Direction: Read and analyze the story of “All Summer in a Day” by Ray Bradbury. Write your interpretation and analysis about the story, use the rubric to be guided for making the given task. __________________________________________________________________________________ __________________________________________________________________________________ __________________________________________________________________________________ __________________________________________________________________________________ __________________________________________________________________________________ __________________________________________________________________________________ __________________________________________________________________________________ __________________________________________________________________________________ __________________________________________________________________________________ ________________________________________________________________________ RUBRICS 4 3 Criteria 2 1 Exceeding Meeting Somewhat Organized. organized. Poorly organized. Cohesive and well- Can easily The flow of the Ideas are scattered Organization organized order understand the content sometimes and confusion take structured flow of content. cut in or place. interrupted.  Portrays Present poor appropriate Indicates Present the understanding of the Content information to the information information that is content relating to relation and related accurately. easy to follow. the other concepts. concepts. Used peculiar Show some Shows minimal Used materials for materials for materials for materials for Creativity enhancement of enhancement of enhancement of enhancement of ideas. ideas. ideas. ideas. Create multiple Create some Create minimal Ideas are not connections of connections of connection of Ideas connected from the ideas and well ideas from the ideas about the other concept. establish. topic. topic. All Summer in a Day by Ray Bradbury "Ready?" "Ready." "Now?" "Soon." "Do the scientists really know? Will it happen today, will it?" "Look, look; see for yourself!" The children pressed to each other like so many roses, so many weeds, intermixed, peering out for a look at the hidden sun. It rained. It had been raining for seven years; thousands upon thousands of days compounded and filled from one end to the other with rain, with the drum and gush of water, with the sweet crystal fall of showers and the concussion of storms so heavy they were tidal waves come over the islands. A thousand forests had been crushed under the rain and grown up a thousand times to be crushed again. And this was the way life was forever on the planet Venus, and this was the schoolroom of the children of the rocket men and women who had come to a raining world to set up civilization and live out their lives. "It's stopping, it's stopping!" "Yes, yes!" Margot stood apart from them, from these children who could never remember a time when there wasn't rain and rain and rain. They were all nine years old, and if there had been a day, seven years ago, when the sun came out for an hour and showed its face to the stunned world, they could not recall. Sometimes, at night, she heard them stir, in remembrance, and she knew they were dreaming and remembering gold or a yellow crayon or a coin large enough to buy the world with. She knew they thought they remembered a warmness, like a blushing in the face, in the body, in the arms and legs and trembling hands. But then they always awoke to the tatting drum, the endless shaking down of clear bead necklaces upon the roof, the walk, the gardens, the forests, and their dreams were gone. All day yesterday they had read in class about the sun. About how like a lemon it was, and how hot. And they had written small stories or essays or poems about it: I think the sun is a flower that blooms for just one hour. That was Margot's poem, read in a quiet voice in the still classroom while the rain was falling 38 outside. "Aw, you didn't write that!" protested one of the boys. "I did," said Margot. "I did." "William!" said the teacher. But that was yesterday. Now the rain was slackening, and the children were crushed in the great thick windows. Where's teacher?" "She'll be back." "She'd better hurry, we'll miss it!" They turned on themselves, like a feverish wheel, all tumbling spokes. Margot stood alone. She was a very frail girl who looked as if she had been lost in the rain for years and the rain had washed out the blue from her eyes and the red from her mouth and the yellow from her hair. She was an old photograph dusted from an album, whitened away, and if she spoke at all her voice would be a ghost. Now she stood, separate, staring at the rain and the loud wet world beyond the huge glass. "What're you looking at?" said William. Margot said nothing. "Speak when you're spoken to." He gave her a shove. But she did not move; rather she let herself be moved only by him and nothing else. They edged away from her, they would not look at her. She felt them go away. And this was because she would play no games with them in the echoing tunnels of the underground city. If they tagged her and ran, she stood blinking after them and did not follow. When the class sang songs about happiness and life and games her lips barely moved. Only when they sang about the sun and the summer did her lips move as she watched the drenched windows. And then, of course, the biggest crime of all was that she had come here only five years ago from Earth, and she remembered the sun and the way the sun was and the sky was when she was four in Ohio. And they, they had been on Venus all their lives, and they had been only two years old when last the sun came out and had long since forgotten the color and heat 39 of it and the way it really was. But Margot remembered. "It's like a penny," she said once, eyes closed. "No it's not!" the children cried. "It's like a fire," she said, "in the stove." "You're lying, you don't remember!" cried the children. But she remembered and stood quietly apart from all of them and watched the patterning windows. And once, a month ago, she had refused to shower in the school shower rooms, had clutched her hands to her ears and over her head, screaming the water mustn't touch her head. So after that, dimly, dimly, she sensed it, she was different and they knew her difference and kept away. There was talk that her father and mother were taking her back to Earth next year; it seemed vital to her that they do so, though it would mean the loss of thousands of dollars to her family. And so, the children hated her for all these reasons of big and little consequence. They hated her pale snow face, her waiting silence, her thinness, and her possible future. "Get away!" The boy gave her another push. "What're you waiting for?" Then, for the first time, she turned and looked at him. And what she was waiting for was in her eyes. "Well, don't wait around here!" cried the boy savagely. "You won't see nothing!" Her lips moved. "Nothing!" he cried. "It was all a joke, wasn't it?" He turned to the other children. "Nothing's happening today. Is it?" They all blinked at him and then, understanding, laughed and shook their heads. "Nothing, nothing!" "Oh, but," Margot whispered, her eyes helpless. "But this is the day, the scientists predict, they say, they know, the sun..." "All a joke!" said the boy, and seized her roughly. "Hey, everyone, let's put her in a closet before the teacher comes!" "No," said Margot, falling back. They surged about her, caught her up and bore her, protesting, and then pleading, and then crying, back into a tunnel, a room, a closet, where they slammed and locked the door. They stood looking at the door and saw it tremble from her beating and throwing herself against it. 40 They heard her muffled cries. Then, smiling, the turned and went out and back down the tunnel, just as the teacher arrived. "Ready, children?" She glanced at her watch. "Yes!" said everyone. "Are we all here?" "Yes!" The rain slacked still more. They crowded to the huge door. The rain stopped. It was as if, in the midst of a film concerning an avalanche, a tornado, a hurricane, a volcanic eruption, something had, first, gone wrong with the sound apparatus, thus muffling and finally cutting off all noise, all of the blasts and repercussions and thunders, and then, second, ripped the film from the projector and inserted in its place a beautiful tropical slide which did not move or tremor. The world ground to a standstill. The silence was so immense and unbelievable that you felt your ears had been stuffed or you had lost your hearing altogether. The children put their hands to their ears. They stood apart. The door slid back and the smell of the silent, waiting world came in to them. The sun came out. It was the color of flaming bronze and it was very large. And the sky around it was a blazing blue tile color. And the jungle burned with sunlight as the children, released from their spell, rushed out, yelling into the springtime. "Now, don't go too far," called the teacher after them. "You've only two hours, you know. You wouldn't want to get caught out!" But they were running and turning their faces up to the sky and feeling the sun on their cheeks like a warm iron; they were taking off their jackets and letting the sun burn their arms. "Oh, it's better than the sun lamps, isn't it?" "Much, much better!" They stopped running and stood in the great jungle that covered Venus that grew and never stopped growing, tumultuously, even as you watched it. It was a nest of octopi, clustering up great arms of flesh like weed, wavering, flowering in this brief spring. It was the color of rubber and ash, this jungle, from the many years without sun. It was the color of stones and white cheeses and ink, and it was the color of the moon. The children lay out, laughing, on the jungle mattress, and heard it sigh and squeak under them resilient and alive. They ran among the trees, they slipped and fell, they pushed each other, they 41 played hide-and-seek and tag, but most of all they squinted at the sun until the tears ran down their faces; they put their hands up to that yellowness and that amazing blueness and they breathed of the fresh, fresh air and listened to the silence which suspended them in a blessed sea of no sound and no motion. They looked at everything and savored everything. Then, wildly, like animals escaped from their caves, they ran and ran in shouting circles. They ran for an hour and did not stop running. And then -in the midst of their running one of the girls wailed. Everyone stopped. The girl, standing in the open, held out her hand. "Oh, look, look," she said, trembling. They came slowly to look at her opened palm. In the center of it, cupped and huge, was a single raindrop. She began to cry, looking at it. They glanced quietly at the sun. "Oh. Oh." A few cold drops fell on their noses and their cheeks and their mouths. The sun faded behind a stir of mist. A wind blew cold around them. They turned and started to walk back toward the underground house, their hands at their sides, their smiles vanishing away. A boom of thunder startled them and like leaves before a new hurricane, they tumbled upon each other and ran. Lightning struck ten miles away, five miles away, a mile, a half mile. The sky darkened into midnight in a flash. They stood in the doorway of the underground for a moment until it was raining hard. Then they closed the door and heard the gigantic sound of the rain falling in tons and avalanches, everywhere and forever. "Will it be seven more years?" "Yes. Seven." Then one of them gave a little cry. "Margot." "What?" "She's still in the closet where we locked her." "Margot." They stood as if someone had driven them, like so many stakes, into the floor. They looked at each other and then looked away. They glanced out at the world that was raining now and 42 raining and raining steadily. They could not meet each other's glances. Their faces were solemn and pale. They looked at their hands and feet, their faces down. "Margot." One of the girls said, "Well...?" No one moved. "Go on," whispered the girl. They walked slowly down the hall in the sound of cold rain. They turned through the doorway to the room in the sound of the storm and thunder, lightning on their faces, blue and terrible. They walked over to the closet door slowly and stood by it. Behind the closet door was only silence. They unlocked the door, even more slowly, and let Margot out. II. POETRY Objectives: At the end of the lesson, the students should be able to: a. Analyze elements of contemporary poetry; and b. Trace the history, characteristics, and famous personality in contemporary poetry. WHAT IS A POETRY? Poetry is a type of literature based on the interplay of words and rhythm. It often employs rhyme and meter (a set of rules governing the number and arrangement of syllables in each line). In poetry, words are strung together to form sounds, images, and ideas that might be too complex or abstract to describe directly. Poetry was once written according to fairly strict rules of meter and rhyme, and each culture had its own rules. For example, Anglo-Saxon poets had their own rhyme schemes and meters, while Greek poets and Arabic poets had others. Although these classical forms are still widely used today, modern poets frequently do away with rules altogether – their poems 43 generally do not rhyme, and do not fit any particular meter. These poems, however, still have a rhythmic quality and seek to create beauty through their words. The opposite of poetry is “prose” – that is, normal text that runs without line breaks or rhythm. This article, for example, is written in prose. ELEMENTS OF POETRY (Structure, Sound, Imagery, Figurative Language, Elements of Fiction, Poetic Forms) STRUCTURE 1-. Poetic Line – the words that form a single line of poetry. Example: “‘Twas the night before Christmas, when all through the house” is the wellknown first poetic line of “A Visit from Saint Nicholas” by Clement Clarke Moore. 2. Stanza – a section of a poem named for the number of lines it contains. Example: A couplet is a stanza of two lines. The first stanza from “Barbara Frietchie” by John Greenleaf Wittier is a couplet: Up from the meadows rich with corn, Clear in the cool September morn, 3. Enjambment – when there is no written or natural pause at the end of a poetic line, so that the word-flow carries over to the next line. Example: the following lines from “Knoxville, Tennessee” by Nikki Giovanni contain enjambment: and listen to gospel music outside at the church 4. Placement – the way words and poetic lines are placed on the page of a poem. Example: The following are creatively-placed lines from a poem by E.E. Cummings: in Justspring when the world is mudluscious the little lame ballonman whistles far and wee. 5. Verse – a line in traditional poetry that is written in meter. 44 Example: In “When I do count the clock that tells the time” from Shakespeare’s “Sonnet Number Twelve,” the underlined syllables are accented, giving the line a metric pattern known as an iambic pentameter (see Meter). 6. Capitalization and Punctuation – In poetry, rules of capitalization and punctuation are not always followed; instead, they are at the service of the poet’s artistic vision. Example: in our backyard we plant Tomatoes is the first stanza from “Laughing Tomatoes” by Francisco X. Alarcón. Notice the lack of capitalization and punctuation. SOUNDS 1. Rhythm – the basic beat in a line of a poem. Example: “Whose woods these are, I think I know” is the first line from “Stopping by Woods on a Snowy Evening” by Robert Frost. Notice that the accented words (underlined) give the line a distinctive beat. 2. Meter – a pattern of stressed and unstressed (accented and unaccented) syllables (known as a foot) in a line of poetry. Example: In an iambic pentameter, the pattern is five iambic (unaccented + accented) feet in each line (see Verse). 3. End Rhyme – same or similar sounds at the end of words that finish different lines. Example: The following are the first two rhyming lines from “The King of Cats Sends a Postcard to His Wife” by Nancy Willard: Keep your whiskers crisp and clean, Do not let the mice grow lean, 4. Internal Rhyme – same or similar sounds at the end of words within a line. Example: A line showing internal rhyme (underlined) from “The Rabbit” by Elizabeth Maddox Roberts: When they said the time to hide was mine, 5. Rhyme Scheme – a pattern of rhyme in a poem. 45 Example: A quatrain – a stanza of four lines in which the second and fourth-lines rhyme – has the following rhyme scheme: abcb (see Quatrain). 6. Assonance – the repetition of vowel sounds within words in a line. Example: A line showing assonance (underlined) from “A Visit from Saint Nicholas” by Clement Clarke Moore: The children were nestled all snug in their beds 7. Consonance – the repetition of consonant sounds within words in a line. Example: A line showing consonance (underlined) from “A Visit from Saint Nicholas” by Clement Clarke Moore: Not a creature was stirring, not even a mouse 8. Alliteration – the repetition of consonant sounds at the beginning of words. Example: Notice the alliteration (underlined) in “Sarah Cynthia Sylvia Stout Would Not Take the Garbage Out” by Shel Silverstein. 9. Onomatopoeia – words that sound like their meaning. Example: buzz, swish, hiss, gulp. 10. Repetition – sounds, words, or phrases that are repeated to add emphasis or create rhythm. Parallelism is a form of repetition. Examples: Two lines from “Jabberwocky” by Lewis Carroll showing parallelism: Beware the Jabberwock, my son! The jaws that bite, the claws that catch! Read the poem “The Bells” by Edgar Allan Poe and listen to the way the repetition of the word “bells” adds rhythm and creates an increasingly ominous and morbid mood. 11. Refrain – a line or stanza repeated over and over in a poem or song. Example: In “Jingle Bells,” the following refrain is repeated after every stanza: Jingle Bells, jingle bells, 46 Jingle all the way! Oh, what fun it is to ride In a one-horse open sleigh! 12. Word Play – to play with the sounds and meanings of real or invented words. Example: Two lines from the poem “Synonyms” by Susan Moger: Claptrap, bombast, rodomontade, Hogwash, jargon, and rant Two lines from the poem “Antonio” by Laura E. Richards: Antonio, Antonio, Was tired of living alonio. IMAGERY (see also Imagist Poetry) 1. Precise Language – the use of specific words to describe a person, place, thing, or action. Example: Notice how Paul B. Janeczko uses proper nouns in his poem “Reverend Mona”: When the elders said she was too old, Reverend Mona surrendered her tabernacle next to Fast Frankie’s Pawn Shop 2. Sensory Details – the use of descriptive details that appeal to one or more of the five senses. Example: Notice the sensory details in the following lines from “The Sea” by James Reeves: The giant sea dog moans, Licking his greasy paws. FIGURATIVE LANGUAGE 1. Simile – a comparison of two unlike things, using the words like or as. 47 Example: “I read the shoreline like an open volume.” 2. Metaphor – a comparison of two unlike things, not using the words like or as. Example: “Ribbons of sea foam / wrap the emerald island.” 3. Personification – to ascribe human traits to non-human or non-living things. Example: “The unfurled sailboat glides on / urged by wind and will and brilliant bliss.” 4. Symbolism – a person, place, thing, or action that stands for something else. Example: In “From Mother to Son” by Langston Hu