UNIT 1 Introduction to Literature

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

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

FACTORS THAT INFLUENCE LITERARY PROGRESS:

%. geograph
geographicic nature
nature of the coun
country
try
&. exper
experie
ienc
nces
es of
of the
the peo
peopl
plee
'. aesthet
aesthetic
ic idea
ideals
ls of a parti
particul
cular
ar group
group

WHY DO WE NEED TO STUDY LITERATURE?

%. plea
pleasu
sure
ress of rea
readi
ding
ng
&. ente
enteri
ring
ng a new
new wor
world
ld
'. to know
know man as one one impo
importan
rtantt ob(ect
ob(ect))
a. *an
*an hashas a dua
duall natu
nature)
re) he is not only
only a doe
doerr of deeds
deeds but
but also
also a dream
dreamer
er of
of drea
dreams
ms..
 2  2
 1  1
 b. !iterature records not only what man has accomplished but also what he has h as thought   t  s   st
and felt, how he looks on life and death, and what he loves and fears.  C
 e
 C
 e
 n  n
  t  u   tu
 y  r   yr
 L  L
   it    it
 e  e
   a r   ra
  t  u   tu
 r  r
  m  m
  h  t    ht
 e  e
 P  P
 h  h
  li    il
THE LITERARY TECHNIQUES   p   i    p i
 p  p
  i  n   in
 e  e
I. Figurative Laguage
 s  s
 a  a
%. gives
gives new
new meani
meanings
ngs to
to ordina
ordinaryry word
wordss
 n  n
 d  d
&. writer
writerss do not have
have a special
special langua
language
ge all their
their own, they
they take everyd
everyday
ay words and   h  t    ht
combine them in new ways to create vivid sensory images for their readers to see, hear,  e
touch, feel and taste
'. cannot be interpreted
interpreted in the literal
literal sense to get at the
the meaning
meaning

+xample) P!e" by avid *c-ord

ooks fall open,

/ou fall in,
elighted where
/ou’ve
/ou’ve never been.

#!$t C!""! Figurative Laguage$

%. 0imi
0imile
le 1 is a stat
stated
ed comp
compar
aris
ison
on betw
betwee
eenn two
two thin
things
gs that
that are
are actu
actual
ally
ly un
unli
like
ke,, but have
have
something in common.
1 they are introduced by the word like or as.

+xamples) dead as a dodo

sweet like chocolate
sure as day

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

+xamples) -hun is the star that shines in my darkest night.

2er tears are pearls glistening as they fell from her eyes.
*emory is but a shadow of what was once.

'. 3ersonification " gives human 4ualities

4ualities to non1human ob(ects
1 helps readers see ordinary things in a new and interesting way

+xam
+xampl
ples
es)) !uck
uck sm
smiled
led at the happ
happyy cou
coupl
ple.
e.
o you hear the wind sigh through your hair5
 2  2
 1  1
6. 0ymbolism
0ymbolism " uses
uses ob(ects
ob(ects to represent
represent another
another person,
person, place
place or idea.
idea.   t  s   st
- $)"*!+ " an ob(ect or idea that has its own meaning7 in literature, it is used  C  C
to suggest another meaning.  e
 n
 e
 n
- is a way of explaining something using another ob(ect that is more familiar    t  u   tu
and more readily understandable  y  r   yr
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  li    il
THE LITERARY TECHNIQUES   p   i    p i
 p  p
  i  n   in
 e  e
I. Figurative Laguage
 s  s
 a  a
%. gives
gives new
new meani
meanings
ngs to
to ordina
ordinaryry word
wordss
 n  n
 d  d
&. writer
writerss do not have
have a special
special langua
language
ge all their
their own, they
they take everyd
everyday
ay words and   h  t    ht
combine them in new ways to create vivid sensory images for their readers to see, hear,  e
touch, feel and taste
'. cannot be interpreted
interpreted in the literal
literal sense to get at the
the meaning
meaning

+xample) P!e" by avid *c-ord

ooks fall open,

/ou fall in,
elighted where
/ou’ve
/ou’ve never been.

#!$t C!""! Figurative Laguage$

%. 0imi
0imile
le 1 is a stat
stated
ed comp
compar
aris
ison
on betw
betwee
eenn two
two thin
things
gs that
that are
are actu
actual
ally
ly un
unli
like
ke,, but have
have
something in common.
1 they are introduced by the word like or as.

+xamples) dead as a dodo

sweet like chocolate
sure as day

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

+xamples) -hun is the star that shines in my darkest night.

2er tears are pearls glistening as they fell from her eyes.
*emory is but a shadow of what was once.

'. 3ersonification " gives human 4ualities

4ualities to non1human ob(ects
1 helps readers see ordinary things in a new and interesting way

+xam
+xampl
ples
es)) !uck
uck sm
smiled
led at the happ
happyy cou
coupl
ple.
e.
o you hear the wind sigh through your hair5
 2  2
 1  1
6. 0ymbolism
0ymbolism " uses
uses ob(ects
ob(ects to represent
represent another
another person,
person, place
place or idea.
idea.   t  s   st
- $)"*!+ " an ob(ect or idea that has its own meaning7 in literature, it is used  C  C
to suggest another meaning.  e
 n
 e
 n
- is a way of explaining something using another ob(ect that is more familiar    t  u   tu
and more readily understandable  y  r   yr
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+xam
+xampl
ple)
e) a bir
birdd in
in a cag
cagee can
can stan
standd for
for som
someone
eone with
withou
outt fre
freed
edom
om   p   i    p i
 p  p
  i  n   in
8. 2yperbole
2yperbole " exaggerates
exaggerates an idea
idea so vividly
vividly that the reader
reader develops
develops an instant
instant mental
mental picture
picture  e  e
 s  s
of it  a  a
- it is used to emphasize a poetic idea
 n  n
 d  d
- more often than not, it produces a humorous effect   h  t    ht
 e
+xam
+xampl
ple)
e) 9he
9he only
only thin
thingg deep
deep abou
aboutt him
him is the
the bo
bott
ttom
omle
less
ss pit
pit he call
callss his
his stom
stomac
ach.
h.
3apa’s voice is so loud that when he whispers, some six or seven houses
could still hear him.

II.I"ager)
:hen words are used in speech and writing, their most obvious purpose is to point at
something " an idea or property. 9his is the word’s meaning. :ords stimulate in the reader different
meanings and associations depending on how they are used alone, or in combination with others.
9hey create mental pictures and allow the readers to participate in a variety of experiences.

%. enotation
enotation " the
the direct
direct and explicit
explicit meaning
meaning as defined
defined in the
the dictionary
dictionary..
1 the &e!tative "eaig " the ob(ective
ob(ective meeting that does not go beyond the
re4uirements of exact scientific definition.

+xam
+xampl
ple)
e) ; dog
dog is
is a four
four1l
1leg
egge
gedd ani
anima
mall coat
coated
ed by fur
fur.

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

+xam
+xampl
ple)
e) :hen
:hen a man
man is call
called
ed a dog,
dog, it coul
couldd mea
meann tha
thatt he
he is
is roug
rough.
h.

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

  +xample) Thick, overgrown  bushes

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

6. <nomatopoei
<nomatopoeiaa " is a techni4ue
techni4ue that uses words
words to imitat
imitatee sounds. :rit
:riters
ers use onomatopoei
onomatopoeiaa
to give double emphasis to their work.
- a readereaderr gets
gets mean
meaniningg from
from the
the print
printed
ed wo
word
rd and
and recei
receive
vess addi
additi
tion
onal
al
meaning from the sound of that word.
 2  2
 1  1
- ideas are also better remembered through this techni4ue.   t  s   st
 C  C
+xam
+xampl
ple)
e) bang
bang,, gro
growl
wl,, scre
screec
ech,
h, ring,
ring, swis
swish,
h, rumb
rumble
le,, pop
pop,, wham
wham,, ka1b
ka1bla
lam
m
 e  e
 n  n
  t  u   tu
 y  r   yr
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   it    it
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III. Re,a++  p
 p
  in
- readers need to remember what they have read.
 e
 s
- writers use certain techni4ues to help readers remember the points they  a
 n
want to emphasize.  d
   ht
%. =epetition " of letters, words and sounds create a certain pattern in writing.
 e
 W
1 words that are repeated are important  o
   rld
1       
+xample) irt and
-lean them clean them clean them

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

a. ;ssonance " is the repetition of vowel sounds in the beginning of a series of words.

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

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

+xample) >erni vivaciously vacates >oltaire’s >olkswagen.

I-. #ai'u+ati! ! Evet$

%. Foreshadowing " a techni4ue where the writer gives hints or clues to
indicate action that will
occur later in the narrative.
- it allows the reader to guess the ending of the story.

&. Flashback " an interruption of the progress of the story.

- normally a plot progresses chronologically7 however, a flashback interrupts the
order to tell the readers something that happened before the story began

'. 0uspense " is the excitement the reader feels about the outcome or solution to the problem
of the story.
1 a techni4ue that encourages the reader to finish the story.

6. Irony " of situations entails events developing into the opposite of what would naturally be
expected.  2
 1
5. In medias res 1 !atin for ?into the middle of things.? It usually   st
describes a narrative that
 C
 e
 begins, not at the beginning of a story, but somewhere in the middle @  n
  tu
usually at some crucial point in the action.
  yr
 L
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  tu
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    ili
1 refers to a literary techni4ue in which a story begins after the action has  p
already begun and the explanation of plot, character roles, the importance of 
 p
  in
setting, and so on are left to be revealed via flashback, a characterAs thoughts  e
 s
or dialogue, or a ?reverse chronology? in which the story is told backwards  a
 n
 d
6. econstruction 1 a theory used in the study of literature or philosophy    ht
which says that a  e
 piece of writing does not have (ust one meaning and that the meaning
 W
depends on the reader.
 o
   rld
-  suggests that all interpretation of a text simply constitutes further texts, 1       

which means there is no “outside the text at all. 9herefore, it is impossible

for a text to have stable meaning. 9he practice of deconstruction involves
identifying the contradictions within a text’s claim to have a single, stable
meaning, and showing that a text can be taken to mean a variety of things
that differ significantly from what it purports to mean.

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

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

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

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

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

'. 2istorical allusion " a reference to a famous person or event in local,

national or world history.

+xample) 9hat mean old curmudgeon *iss *inchin is 2itler incarnate.

6. iblical allusion " a reference to character, place or event in the 2oly

ible.

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

-I. Hu"!r  2
 1
%. -omical 2umor " makes use of (okes and situations that are funny   st
- the writer makes a conscious effort to make his readers laugh.
 C
 e
 n
  tu
&. ;musing 2umor " is not obvious and is very discreet
  yr
- its humor can stem from the author’s choice of words.  L
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 p
'. 0atirical 2umor " is biting because it comments on the ills of society and pokes fun at
 p
  in
 people and things that are products of that failure.  e
 s
 a
6. ;bsurd Cokes " derive its humor from things and people that are incongruous or out of place
 n
 d
- if it were a painting, it could be known as surrealistic.    ht
 e
THE LITERARY GENRES
 W
 o
   rld
1       
PROSE
3rose is divided into six general types namely) e$$a)/ 'r!$e &ra"a/ 'r!$e i,ti!/
*i!gra'() and aut!*i!gra'()/ +etter$/ &iarie$/ 0!ura+$ and !t(er 'r!$e !r"$.

ESSAY
- is a prose composition which discusses a particular sub(ect

T1! Geera+ C+a$$e$:

%. Formal essay " reflects the attitude and opinion of its author but written in a more ob(ective
manner.
&. Informal essay " suggests confidential talk, relaxation, and entertainment and the laughter 
that comes of taking life not too seriously. 9his essay uses the pronoun “I freely.

C+a$$e$:
%. -haracter 0ketch " a study of the appearance, character, and personality of a real or 
imaginary person.
&. escriptive +ssay " a picture of a place, building, ob(ect, etc. as seen through the author’s
eyes and mind.
'. FamiliarD3ersonal +ssay " an intimate or informal revelation of the author’s own personality,
whims, tastes, and habits.
6. =eflectiveD3hilosophic +ssay " a more serious discussion of deeper problems in life.
8. +ditorial +ssay " a discussion #often argumentative$ of current issues, such as what we find
in the magazines, giving not (ust the news but also a point of view toward it.
E. -ritical +ssay " a review which passes (udgment on a play, a movie, a book, a musical
composition or concert, a picture, or other works of art.
. Garrative +ssay " an essay largely narrative in form but written for the idea, not the story.
H. iographical +ssay " an analysis of the life of some important persons, not (ust narrating the
events but also explaining them and weighing their significance and influence.

T)'e$ ! E$$a)$
%. +xpository " attempts to explain or clarify something. It provides new or additional
information about a topic.  2
&. ;nalytical " attempts to study certain topics or issues through investigation of its pros and
 1
  st
cons. It ends in a conclusion.  C
'. 0peculative " is more concerned with stimulating discussions through 4uestioning about an  e
issue. It does not attempt to explain, answer or defend a topic.
 n
  tu
6. Interpretative " simplifies an article, a line or a statement previously made using a certain   yr
yardstick or set of rules.  L
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 p
PROSE DRA#A
 p
  in
- has the same types as the poetic plays except that these are in prose form.  e
 s
PROSE FICTION  a
 n
- is a prose composition in which character, setting or events are imaginatively created. 3rose  d
fiction is of various types, namely)    ht
 e
 W
%. 3rose allegory " a narrative in prose form in which abstract ideas are personified.  o
&. 3rose romance " a prose narrative treating imaginary characters involved in events remote in    rld
1       
time or place and usually heroic, adventurous or mysterious.
'. 9ale of adventure " prose fiction dealing with something involving danger and unknown
risks or man’s encounter with nature.
6. Govel " a fictitious prose narrative of considerable length portraying characters, actions, and
scenes representative of real life in a more or less intricate plot.
8. Govelette " a prose composition shorter than a novel, longer than a short story containing
the elements of plot, setting and character with its plot more complicated and the characters
more in number than a short story.
E. 0hort story " a prose narrative of about %,  words intended to be read in one sitting with
 plot, setting and character contributing to achieve a unified or single effect.
. Fable " a prose narrative with animals or inanimate ob(ects as characters and devised to
teach a moral lesson.
H. 3arable " a short prose narrative that teaches a spiritual truth or moral lesson. It differs from
a fable as it uses persons as characters. It has setting, characters and events.
J. *yth " a prose narrative embodying the convictions of a people as to their gods and other 
diving personages, their own origin and early history and the heroes connected with it or the
origin of the world or to explain a natural phenomenon.
%. !egend " a prose narrative coming down from the past especially one regarded as historical
although not verifiable.
%%. Folk tale " a characteristically anonymous, timeless and placeless tale circulated orally
among a people.
%&. Fairy tale " a narrative of adventures involving fantastic forces and beings too good to be
true and almost always has a happy ending.

C(ara,teri$ti,$ ! Fi,ti!
%. Fiction is ramatic " it is an imitation of life
&. Fiction is concrete and specific " embodied by dramatic symbols
'. Fiction is generally representative
6. Fiction instructs and entertains " it broadens and extends our sympathies7 it helps us
understand life and humanize ourselves
8. Fiction is related to life " dependent upon its relationship to life
E. Fiction is creative and imaginative.

E+e"et$ ! Fi,ti!
 2
 1
%. ;ction and plot 8. 9heme   st
&. -haracter  E. Garrator and point of view  C
'. 0etting . !anguage
 e
 n
6. ;tmosphere and tone H. ;llegory and 0ymbolism   tu
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2IOGRAPHY  p
 p
- is an account of a person’s life written by another.   in
 e
 s
AUTO2IOGRAPHY  a
 n
- is an account of a person’s life written by himself.  d
   ht
LETTER
 e
 W
- is a direct or personally written or printed message addressed to a person or organization.  o
   rld
1       
3OURNAL
- is a prose composition published periodically for an exclusive readership.

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

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

Narrative '!etr) is of three kinds)

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

L)ri, '!etr) is of six types namely)

%. <de " a lyric poem about a sub(ect written when the poet is at the height of his emotion.
&. +legy " a poetic lament for the dead.
'. 0onnet " a lyric poem of fourteen iambic pentameter lines rhymed according to a traditional
rhyme scheme. 0onnets are of two kinds)
a. +nglish or 0hakespearean sonnet " the fourteen iambic pentameter lines are divided
into ' 4uatrains plus a concluding couplet with the rhyme scheme abab, cdcd, efef,
 gg .
 b. Italian or 3etrarchean sonnet " the fourteen iambic pentameter lines are divided into  2
 1
octave rhyming abbaabba and sestet rhyming cdecde or cdccdc.   st
6. 0ong " a lyric poem set to music.  C
8. Idyll " a descriptive poem of rural or pastoral character which expresses the poet’s feeling  e
 n
for his immediate landscape.   tu
E. 0imple lyric   yr
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Dra"ati, '!etr) is classified into)
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%. 3oetic plays, which in turn are of five types namely)  a
a. -omedy " a dramatic play of light and humorous character, typically with a cheerful or 
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happy ending.    ht
 b. 9ragedy " a dramatic play portraying the struggle of a strong1willed protagonist  e
against fate, as predestined by mysterious, divine, social or psychological forces
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culminating in disaster and usually death caused by a flaw in the protagonist’s
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character. 1       

c. ramatic history " dramatic play dealing with a past historical event.
d. Farce " a light dramatic composition marked by broadly satirical comedy and
improbable plot.
e. *elodrama " a dramatic composition characterized by extravagant theatricality and by
the predominance of plot and physical action over characterization.
&. *as4ue " a short allegorical dramatic entertainment popular with courtly audiences in %Eth
century and %th century +ngland originally consisting of pantomime and dancing, but later 
characterized by elaborate staging and costuming, the use of dance and song and very little
dialogue.
'. ramatic monologue " a dramatic composition is verse form having one speaker only.

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

E+e"et$ ! P!etr)
%. art " beauty
&. emotion " core, meat, sub(ect
'. rhythm " succession of the stressed and unstressed syllables

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UNIT 2 Development of Philippine
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Literature    ht
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9he diversity and richness of 3hilippine literature evolved side by side with the countryAs    rld
history. 9his can best be appreciated in the context of the countryAs pre1colonial cultural traditions 1       

and the socio1political histories of its colonial and contemporary traditions.

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

PRE4COLONIAL TI#ES
<wing to the works of our own archaeologists, ethnologists and anthropologists, we are able
to know more and better (udge information about our pre1colonial times set against a bulk of 
material about early Filipinos as recorded by 0panish, -hinese, ;rabic and other chroniclers of the
 past.
3re1colonial inhabitants of our islands showcase a rich past through their folk speeches, folk 
songs, folk narratives and indigenous rituals and mimetic dances that affirm our ties with our 
0outheast ;sian neighbors.
9he most seminal of these folk speeches is the riddle which is tigmo in -ebuano, bugtong  in
9agalog, paktakon in Ilongo and patototdon  in icol. -entral to the riddle is the talinghaga or 
metaphor because it ?reveals subtle resemblances between two unlike ob(ects? and oneAs power of 
observation and wit are put to the test.
9he proverbs or aphorisms express norms or codes of behavior, community beliefs or they
instill values by offering nuggets of wisdom in short, rhyming verse.
9he extended form, tanaga, a mono1riming heptasyllabic 4uatrain expressing insights and
lessons on life is ?more emotionally charged than the terse proverb and thus has affinities with the
folk lyric.? 0ome examples are the basahanon or extended didactic sayings from ukidnon and
the daraida and daragilon from 3anay.
9he folk song, a form of folk lyric which expresses the hopes and aspirations, the peopleAs
lifestyles as well as their loves. 9hese are often repetitive and sonorous, didactic and naive as in the
childrenAs songs or Ida-ida #*aguindanao$, tulang pambata #9agalog$ or cansiones para
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abbing  #Ibanag$.   st
; f ew examples are the lullabyes or Ili-ili #Ilongo$7 love songs like  C
the panawagon and balitao #Ilongo$7 harana or serenade #-ebuano$7 the bayok #*aranao$7 the
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seven1syllable per line poem, ambahanof the *angyans that are about human relationships, social
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entertainment and also serve as a tool for teaching the young7 work songs that depict the livelihood   yr
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of the people often sung to go with the movement of workers such as  p
the kalusan #Ivatan$, soliranin #9agalog rowing song$ or the mambayu, a Kalinga rice1pounding
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song7 the verbal (oustsDgames like the duplo popular during wakes.  e
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<ther folk songs are the drinking songs sung during carousals like the tagay #-ebuano and  a
:aray$7 dirges and lamentations extolling the deeds of the dead like the kanogon #-ebuano$ or 
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the Annako #ontoc$.    ht
; type of narrative song or kissa among the 9ausug of *indanao, the parang sabil , uses for   e
its sub(ect matter the exploits of historical and legendary heroes. It tells of a *uslim hero who seeks
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death at the hands of non1*uslims.
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9he folk narratives, i.e. epics and folk tales are varied, exotic and magical. 9hey explain 1       

how the world was created, how certain animals possess certain characteristics, why some places
have waterfalls, volcanoes, mountains, flora or fauna and, in the case of legends, an explanation of 
the origins of things. Fables are about animals and these teach moral lessons.
<ur countryAs epics are considered ethno1epics because unlike, say, BermanyAs
 Giebelunginlied, our epics are not national for they are ?histories? of varied groups that consider 
themselves ?nations.?
9he epics come in various
names) Guman #0ubanon$7 Darangen #*aranao$7 Hudhud #Ifugao$7 and lahingan #*anobo$.
9hese epics revolve around supernatural events or heroic deeds and they embody or validate the
 beliefs and customs and ideals of a community. 9hese are sung or chanted to the accompaniment of 
indigenous musical instruments and dancing performed during harvests, weddings or funerals by
chanters. 9he chanters who were taught by their ancestors are considered ?treasures? andDor 
repositories of wisdom in their communities.
+xamples of these epics are the !am-
ang  #Ilocano$7 Hinilawod  #0ulod$7 "udaman #3alawan$7 Darangen #*aranao$7 lahingan #!ivunga
nen1;rumanen *anobo$7 #angovayt $uhong na !angit   #9he *aiden of the uhong 0ky from
9uwaang11*anobo$7 Ag Tobig neg "eboklagan #0ubanon$7 and Tudbulol  #9Aboli$.

THE SPANISH COLONIAL TRADITION

:hile it is true that 0pain sub(ugated the 3hilippines for more mundane reasons, this former 
+uropean power contributed much in the shaping and recording of our literature. =eligion and
institutions that represented +uropean civilization enriched the languages in the lowlands,
introduced theater which we would come to know as komedya, the sinakulo, the sarswela, the
 playlets and the drama. 0pain also brought to the country, though at a much later time, liberal ideas
and an internationalism that influenced our own Filipino intellectuals and writers for them to
understand the meanings of ?liberty and freedom.?
!iterature in this period may be classified as religious prose and poetry and secular prose
and poetry.
=eligious lyrics written by ladino poets or those versed in both 0panish and 9agalog were
included in early catechism and were used to teach Filipinos the 0panish language. Fernando
agonbantaAs ?%alamat nang walang hanga&gracias de sin sempiternas? #Lnending thanks$ is a fine
example that is found in the #emorial de la vida cristiana en lengua tagala #Buidelines for the
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-hristian life in the 9agalog language$ published in %E8.   st
;nother form of religious lyrics are the meditative verses like the dalit  appended  C
to novenas and catechisms. It has no fixed meter nor rime scheme although a number are written in  e
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octosyllabic 4uatrains and have a solemn tone and spiritual sub(ect matter.   tu
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ut among the religious poetry of the day, it is the pasyon in octosyllabic 4uintillas that  p
 became entrenched in the FilipinoAs commemoration of -hristAs agony and resurrection at -alvary.
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Baspar ;4uino de elenAs ? Ang #ahal na 'assion ni (esu )hristong 'anginoon natin na tola?  e
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#2oly 3assion of <ur !ord Cesus -hrist in >erse$ put out in %6 is the countryAs earliest  a
known pasyon.
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<ther known pasyons chanted during the !enten season are in Ilocano, 3angasinan, Ibanag,    ht
-ebuano, icol, Ilongo and :aray.  e
;side from religious poetry, there were various kinds of prose narratives written to prescribe
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 proper decorum. !ike the pasyon, these prose narratives were also used for proselitization. 0ome
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forms are) dialogo #dialogue$, #anual de rbanidad #conduct book$7 e*emplo #exemplum$ 1       

and tratado #tratado$. 9he most well1known are *odesto de -astroAs ? 'agsusulatan ng Dalawang 
 $inibini na si rbana at si +elia? #-orrespondence between the 9wo *aidens Lrbana and Feliza$
in %HE6 and Coa4uin 9uasonAs ? Ang $agong obinson? #9he Gew =obinson$ in %HJ, an adaptation
of aniel efoeAs novel.
0ecular works appeared alongside historical and economic changes, the emergence of an
opulent class and the middle class who could avail of a +uropean education. 9his Filipino elite
could now read printed works that used to be the exclusive domain of the missionaries.
9he most notable of the secular lyrics followed the conventions of a romantic tradition) the
languishing but loyal lover, the elusive, often heartless beloved, the rival. 9he leading poets were
Cose -orazon de Cesus # Huseng %isiw$ and Francisco alagtas. 0ome secular poets who wrote in
this same tradition were !eona Florentino, Cacinto Kawili, Isabelo de los =eyes and =afael
Bandioco.
;nother popular secular poetry is the metrical romance, the awit   and korido in 9agalog.
9he awit   is set in dodecasyllabic 4uatrains while the korido is in octosyllabic 4uatrains. 9hese are
colorful tales of chivalry from +uropean sources made for singing and chanting such as Bonzalo de
-ordoba #Bonzalo of -ordoba$ and Ibong Adarna #;darna ird$. 9here are numerous metrical
romances in 9agalog, icol, Ilongo, 3ampango, Ilocano and in 3angasinan. 9he awit   as a popular 
 poetic genre reached new heights in alagtasA ?Florante at !aura? #ca. %H'H1%HE%$, the most famous
of the countryAs metrical romances.
;gain, the winds of change began to blow in %Jth century 3hilippines. Filipino intellectuals
educated in +urope called ilustrados began to write about the downside of colonization. 9his,
coupled with the simmering calls for reforms by the masses gathered a formidable force of writers
like Cose =izal, *arcelo 2. del 3ilar, *ariano 3once, +milio Cacinto and ;ndres onifacio.
9his led to the formation of the 3ropaganda *ovement where prose works such as the
 political essays and =izalAs two political novels, .oli #e Tangere and the /l filibusterismo helped
usher in the 3hilippine revolution resulting in the downfall of the 0panish regime, and, at the same
time planted the seeds of a national consciousness among Filipinos.
ut if =izalAs novels are political, the novel .inay  #%HH8$ by 3edro 3aterno is largely
cultural and is considered the first Filipino novel. ;lthough 3aternoAs .inay gave impetus to other 
novelists like Cesus almori and ;ntonio *. ;bad to continue writing in 0panish, this did not
flourish.
<ther Filipino writers published the essay and short fiction in 0panish in !a 0anguardia, /l 
 Debate, enacimiento +ilipino, and .ueva /ra. 9he more notable essayists and fictionists were  2
-laro *. =ecto, 9eodoro *. Kalaw, +pifanio de los =eyes, >icente 0otto, 9rinidad 3ardo de 9avera,
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=afael 3alma, +nri4ue !aygo #-aretas or *asks, %J&8$ and almori who mastered the prosa
romantica  or romantic prose.
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demise of 0panish so that by the %J's, +nglish writing had overtaken 0panish writing. uring the   yr
languageAs death throes, however, writing in the romantic tradition, from the awit and korido, would  L
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continue in the novels of *agdalena Calandoni. ut patriotic writing continued under the new  p
colonialists. 9hese appeared in the vernacular poems and modern adaptations of works during the
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0panish period and which further maintained the 0panish tradition.  e
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 THE A#ERICAN COLONIAL PERIOD  a
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; new set of colonizers brought about new changes in 3hilippine literature. Gew literary    ht
forms such as free verse Min poetryN, the modern short story and the critical essay were introduced.
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;merican influence was deeply entrenched with the firm establishment of +nglish as the medium of   o
instruction in all schools and with literary modernism that highlighted the writerAs individuality and    rld
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cultivated consciousness of craft, sometimes at the expense of social consciousness.
9he poet, and later, Gational ;rtist for !iterature, Cose Barcia >illa used free verse and
espoused the dictum, ?;rt for artAs sake? to the chagrin of other writers more concerned with the
utilitarian aspect of literature. ;nother maverick in poetry who used free verse and talked about
illicit love in her poetry was ;ngela *analang Bloria, a woman poet described as ahead of her time.
espite the threat of censorship by the new dispensation, more writers turned up ?seditious works?
and popular writing in the native languages bloomed through the weekly outlets like !iwayway and
isaya.
9he alagtas tradition persisted until the poet ;le(andro B. ;badilla advocated modernism
in poetry. ;badilla later influenced young poets who wrote modern verses in the %JEs such as
>irgilio 0. ;lmario, 3edro I. =icarte and =olando 0. 9inio.
:hile the early Filipino poets grappled with the verities of the new language, Filipinos
seemed to have taken easily to the modern short story as published in the 'hilippines +ree 'ress,
the )ollege +olioand 'hilippines Herald . 3az *ar4uez enitezAs ?ead 0tars? published in %J&8
was the first successful short story in +nglish written by a Filipino. !ater on, ;rturo . =otor and
*anuel +. ;rguilla showed exceptional skills with the short story.
;longside this development, writers in the vernaculars continued to write in the provinces.
<thers like !ope K. 0antos, >aleriano 2ernandez 3eOa and 3atricio *ariano were writing minimal
narratives similar to the early 9agalog short fiction called dali or pasingaw #sketch$.
9he romantic tradition was fused with ;merican pop culture or +uropean influences in the
adaptations of +dgar =ice urroughsA Taran by F. 3. o4uecosa who also penned Ang 'alad ni
 'epe after -harles ickenAs David )opperfield   even as the realist tradition was kept alive in the
novels by !ope K. 0antos and Faustino ;guilar, among others.
It should be noted that if there was a dearth of the Filipino novel in +nglish, the novel in the
vernaculars continued to be written and serialized in weekly magazines like !iwayway, $isaya,
 Hiligaynon and $annawag1
9he essay in +nglish became a potent medium from the %J&As to the present. 0ome leading
essayists were (ournalists like -arlos 3. =omulo, Corge ocobo, 3ura 0antillan -astrence, etc. who
wrote formal to humorous to informal essays for the delectation by Filipinos.
;mong those who wrote criticism developed during the ;merican period were Ignacio
*anlapaz, !eopoldo /abes and I.>. *allari. ut it was 0alvador 3. !opezAs criticism that grabbed
attention when he won the -ommonwealth !iteray ;ward for the essay in %J6 with his ?!iterature
and 0ociety.? 9his essay posited that art must have substance and that >illaAs adherence to ?;rt for 
;rtAs 0ake? is decadent.
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9he last throes of ;merican colonialism saw the flourishing of 3hilippine literature in   st
+nglish at the same time, with the introduction of the Gew -ritical aesthetics, made writers pay  C
close attention to craft and ?indirectly engendered a disparaging attitude? towards vernacular   e
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writings 11 a tension that would recur in the contemporary period.   tu
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THE CONTE#PORARY PERIOD  a
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9he flowering of 3hilippine literature in the various languages continue especially with the    ht
appearance of new publications after the *artial !aw years and the resurgence of committed
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literature in the %JEs and the %Js.  o
Filipino writers continue to write poetry, short stories, novellas, novels and essays whether     rld
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these are socially committed, genderDethnic related or are personal in intention or not.
<f course the Filipino writer has become more conscious of his art with the proliferation of 
writers workshops here and abroad and the bulk of literature available to him via the mass media
including the internet. 9he various literary awards such as the on -arlos 3alanca *emorial
;wards for !iterature, the 3hilippines Free 3ress, 3hilippine Braphic, 2ome !ife and 3anorama
literary awards encourage him to compete with his peers and hope that his creative efforts will be
rewarded in the long run.

56ST CENTURY PHILIPPINE WRITING

3hilippine writing in the &%st century has taken a new turn. 9he works are seen as sensitive
to gender, alludes to technology, show culture as plural rather than singular, and 4uestions
conventions and supposedly absolute norms.
:riting by women continues to flourish. 9hey have a feminist stance that 4uestions the
centrality of the patriarchy #male1centered viewpoints$. +orbidden +ruit2 3omen 3rite the /rotic
edited by 9ina -uyugan and "ung Ibig #o, love poems edited by Coi arrios show that a woman’s
map of dreams and desires is better drawn by a woman writer herself. Bone were the days when
female characters only came from the imagination " or fantasy " of men.
9echnology is also an important part of this literature, centered on the rise of the city and
anchored on globalization. 9he economic boom, albeit benefiting only the elite, has led to the
opening of the 3hilippines to diverse economic interests. :ritings on Filipinos abroad and of 
Filipinos abroad also add to this more cosmopolitan, if not more consumerist, attitude of the &%st1
century Filipino.
*oreover, writings from the regions have served notice that “imperial *anila is no longer 
the only fountain of ideas. :e have to thank ;teneo de Gaga 3ublishing 2ouse, Gational
-ommission on -ulture and the ;rts, L3 3ress, and Lniversity of 0an ;gustin 3ublishing 2ouse,
among others. 9he on -arlos 3alanca *emorial ;wards in !iterature has opened its magisterial
doors to writing from the regions. ;teneo de *anila Lniversity 3ress and L09 3ublishing 2ouse
are both in fine form, publishing important works from Katipunan and +spana.
 Gowadays, writers are no longer made to feel guilty if they write in +nglish. In true
subversive fashion, they now write not (ust in +nglish or Filipino but in both languages. 0ome
 books show poems printed enface) one side in +nglish, the other in Filipino. 9he twains have met,
and you can no longer detect which is written first, and which is the translation, for there is e4ual  2
facility and fluency in both. 9his recalls the verbal legerdemain of our ladino poets in the %th  1
century.   st
*oreover, *ar(orie +vasco has been translating her poems in +nglish into -ebuano, C.  C
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Iremil 9eodoro writes lyrical stories in Kinaray1a and translates them into +nglish, 3eter Gery slides  n
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from +nglish to 2iligaynon in his erotic poems, Kristian -ordero and >ictor Gierva write works in
icolano and in the next breath, translate them into elegant +nglish. 0urely, the vessels that contain   yr
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3hilippine literature are no longer one, or two, or even three, but as many as the different languages  p
in our archipelago.
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:hat about the +nglish being written5 9rinidad 9arrosa 0ubido coined the phrase “language  e
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if MourN blood. r. Bemino 2. ;bad has used it as framework in his three anthologies on 3hilippine  a
 poetry in +nglish. 2e said that we have colonized +nglish and have made it our own, and the poems
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are now “wrought from +nglish.    ht
It is no longer the very proper +nglish from the old textbooks, or the ;mericanese in books  e
copyrighted in Gew /ork. It is now a language filtered by our regional languages and by mass
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media " printed, seen, broadcast " as well as shaped by social media, by the fragmentation of text
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language, by sound bites, anime, graphic novels, and cosplays #costume plays$. 1       

9hus, we no longer find a poem about  a poem7 or a poem with Breek or =oman allusions7 or 
a story set in Breenwich >illage. 9here is now a certain historicity7 allusions to 3hilippine myth and
fable, lore and legend7 astringent satires of popular culture and political foibles. ;nglo1;merican
writers are still being read, but now they are hyphenated and seem like dispatches from the global
village. :orks, in translation, of ;frican, ;sian, and !atin ;merican writers are being devoured.
9here is the shock of recognition in reading about postcolonial experiences similar to ours, and
fears and dreams coming from the same socio1political conditions.
9he internet has also made the Filipino writer less insular or old1fashioned. ob <ng started
a blog, “obong 3inoy and parlayed it into bestselling books. <ther blogs have become popular 
 books and even box1office1hit movies, i.e., Ang Diary ng  'anget . -elebrities are now supposedly
writing, while radio anchors are turning their zany scripts into books. 0enator *iriam efensor 
0antiago’s book, %tupid is+orever, is the doyenne of them all) it has been the bestselling book since
ecember.
3imply teenagers can upload their stories in :attpad, watch them viewed %8 million times,
and now get contracts for a 9> series or a romance film. Bhost stories are selling, and so do
children’s books and graphic novels. /oung1adult novels are being written, for a generation on the
run #or eyes glued to their gadgets$.
9he Filipino public has begun to read " and we are all the better for it.

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UNIT 3 21  Century Literature from
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Western isayas
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POETRY: Ang Ulod sa Mansanas *) A+i,e Ta G!7a+e$    ht
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A*!ut t(e Aut(!r:  o
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1       
A+i,e Ta G!7a+e$ was born on Cune &6, %J86 in acolod -ity. 0he finished ; +nglish at
Lniversity of 0t. !a 0alle1acolod, *; in !iterature at ;teneo de *anila Lniversity, and 3h.. in
+nglish 0tudies at Lniversity of the 3hilippines1iliman. -urrently, she is a full 3rofessor in
+nglish and !iterature in L3 >isayas, Iloilo.
0he has received the -ultural -enter of the 3hilippines !iterature Brants four times) 0hort
0tory #%JJ$, Govel #%JJ%$, 3lay #%JJ6$, and -hildren’s 3lay #%JJ8$. 0he has won the 3alanca
;wards for 0hort 0tory in 2iligaynon several times) “Isa Ka 3ungpong nga =osas #; unch of 
=oses, %JJ$7 “*ga !uha para kay 9atay Cose #9ears for 9atay Cose, %JJ$7 “;ng !ikum sang Isla
0an *iguel #9he 0ecret of Isla 0an *iguel, %JJJ$7 “0a 9aguangkan sang uta #In the :omb of 
the +arth, &&$7 at “awata ;nak #=eceive, *y -hild, &H$. 0ome of the plays she had written
which were performed onstage were the sarswela “3inustahan nga Bugma #etted !ove$ and the
musical “Cuanita -ruz. In &J her collection of 2iligaynon short stories %a Taguangkan sang 
 Duta kag iban pa nga %ugilanon #In the :omb of the +arth and <ther 0tories$ was published, and
in &%8 her binalaybay #poetry$ collection Ilongga) *adamo nga Buya #Ilongga) 2er *any Faces$
was published.

ANG ULOD SA #ANSANAS

;lice 9an Bonzales

;ng ikaduha nga angkab kag indi ang una  2

;ng nagpukan sa tawo sa paghigugma  1
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;ng angkab ni ;dan amo ang nagbaylo
0ang dalan nga pagaagyan sang tanan nga tawo.
 C
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;ng daku nga ulod nga nagakabod sa sanga   yr
 Gaibog sa kalipay nanday ;dan kag +va  L
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 Gagtuyo magwasak sang ila paghigugma  p
Bani ang anak nga diutay ginsulod sa bunga.
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;ng ulod sa mansanas natulon ni ;dan  a
Kag nagkamang paulo halin sa iya tiyan
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 Gag1ut1ot sang utok tubtob nangunod    ht
Kag ang utok ni ;dan nangin daku nga ulod.  e
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 Gag1uriod ang ulod sa iya bagol
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Kag ang una nga angkab iya ginbasol 1       

 Galimtan sing dayon nga ang dason nga angkab

9anang nga bunga sang iya kaasab.

3agtambok sang ulod nanginwala si ;dan

 Gga sila ni +va gintuga sang dungan.
0i +va gintuga sang iwa sa kamatuoran
;pang si ;dan sa mansanas nagikan.

ugalon nga ulod nga sia nagdumdum

 Gga ang *ahal nga iwa lalaki sang bayhon
Kag sang trono sia sang iwa ginbilinan
;gud si +va paludhon sa iya tiilan.

0ang malumos ang tawo sa katawhan

;ng ;nak sang iwa nanaug sa kalibutan.
;ng bugal ni ;dan ilabi nga naglala
0ang iya makita nga lalaki ang ata.

Kag paano kon bayhon sang babaye ang ginpili5

;ng linahi ni ;dan indi mamati.
alaan nga 3ulong sa hangin ila ipakabit
:ala sing lalaki nga makapalangit.

!inibo ang nagligad nga mga dinag1on

Kag si +va nagtindog sa pagluhodon
*abaskog nga gasinggit sa kabanwahanan
;ng tingog galanog sa bukid kag kagulangan.

0a pagbalik sang ;nak sang iwa nga ugtong

0ia magapili na sang babaye nga bayhon
*agatindog sia sa ibabaw sang kalibutan
Kag ang ulod sa ulo ni ;dan iya tapakan.
 2
0a ulo ni ;dan dayon magabuskag
 1
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;ng bulak sang paghidait kag kasanag
Iya ihalad ining bulak sa kay +va
 C
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Kag ang kalibutan mangamyon sang paghigugma.
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SHORT STORY: Donato Bugtot  *) Peter S!+i$ Ner)  p
 p
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A*!ut t(e Aut(!r:  s
 a
 n
Peter S!+i$ Ner) #born E Canuary %JEJ$ is an award1winning Filipino poet, fictionist, and
 d
   ht
author. :riting in his native 2iligaynon language, he has won such prestigious literary contests as  e
the -arlos 3alanca *emorial ;wards for !iterature, the -ultural -enter of the 3hilippines #--3$  W
!iterary Brant, and the ;ll1:estern >isayas !iterary -ontest of the Gational -ommission for   o
   rld
-ulture and the ;rts #G--;$. 2e was inducted into the 3alanca ;wards 2all of Fame in &%&. 1       
iversifying into +nglish and Filipino, he has authored over & books, and wrote
screenplays that won the 3hilippine -entennial !iterary 3rize of %JJH, the %JJH Film evelopment
Foundation of the 3hilippines’ 0creenwriting -ontest, the &% -inemanila International Film
Festival 0criptwriting -ompetition, and the &%& Film evelopment -ouncil of the 3hilippines’
First 0ineng 3ambansa Gational Film -ompetition. 2e wrote and edited wide circulation
newspapers in Iloilo -ity before becoming a nurse in the Lnited 0tates. ;s a screen actor, 3eter 
 briefly appears in 9ikoy ;guiluz’s film on cybersex, www.PPP.com #*averick Films, &'$, of 
which he was also the ;ssistant irector. 2e also has a cameo performance in Bugma sa 3anahon
sang akunawa #Braydonnery ;rtists and ream:ings 3roductions, &%&$, the first full1length
feature film that he wrote, directed, and produced.
3eter worked as an orthopedic nurse in !os ;ngeles, -alifornia for seven years before
moving to =eisterstown, *aryland, where he now lives. 2e continues to write in +nglish and
2iligaynon.

DONATO 2UGTOT
3eter 0olis Gery

Lna nga ginbun1ag ang akon kapid. Bin1utdan sia sang pusod, ginhampak sa buli,
gintinluan, ginputos sa lampin, kag gindaho sa akon iloy. ayon, ang paltera nagsiyagit sa kakibot,
“;y, may paamanQ " kag nagdalhay ako halin sa taguangkan ni Ganay paggua sa kalibutan.
 Gatawo ako nga bugtot, kulang1kulang sa bug1at, lipid ang ulo, kag kulakig nga daw palito
sang posporo. 9ungod linubag ang akon dagway, namangkot ang paltera kon buhion pa ako. :ala
nagsabat ang akon iloy. Gaghibi lang sia kag nagnguyngoy.
;mbot kon ginhangop sang paltera nga “0ilence means yes, apang ginhingagaw n’ya ako.
Bin1utdan sang pusod, ginhampak sa buli, gintinluan, ginputos sa lampin, kag gindaho man sa akon
iloy.
0ang tatlo na ako ka adlaw, ginsulod ako sa karton sang sapatos kag ginbilin sa hagdanan
sang kumbento ni 3adre 9ino. Gasapwan ako sang kusinera1mayordoma nga si Gay 9iling. 0ia ang
nagbatiti kag nagsapupo sa akon. Ihatag man kuntani ako ni 3adre 9ino sa 0:7 apang may lakip
nga sulat sa ginbilin nga karton, gani gin1ayop na lang ako sang tigulang nga pari.
0a belasyon para kay 3adre 9ino, nagsiling si Gay 9iling nga bisan kuno malaw1ay ako kag
 bugtot, naghatag man ako sang kalingawan sa mal1am nga pari. 0a huna1huna ko lang, "asubong 
 sang tutoy ni +ather ichard1  2
 1
Binpadaku ako ni Gay 9iling. 9ubo1tubo kami sang iya kinagot nga si imbim. ;mbot kon   st
ginpasuso man ako ni Gay 9iling sa iya titi nga daw mga kalubay, apang nahagop ako sa iya nga  C
daw ato bala nga sia ang akon iloy. 0ang may pamensaron na ako, ginpamangkot ko sia. :ala sia  e
 n
nagsabat sang tadlong. 0iling n’ya, nagdaku kuno ako sa su1am kag tsa.   tu
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0ang bata pa ako, nabatian ko gid nga gin1akigan ni Gay 9iling si imbim sa kusina sang  p
kumbento.
 p
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“2inugay mo gani away inang si ondon, ha5 Brasya ina sia sa aton.  e
 s
“;no nga grasya man5 Kalaw1ay sa iya kag bugtot paQ Indi angayan sa iya ang ngalan nga  a
onato, dapat oogieS tungod bugtot sia.
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“imbim, ang baba moQ    ht
“9uod man.  e
“al1an mo kon ano ang matuod, ha5 Kon indi tungod kay ondon, indi ka makaangkon
 W
sang mga hampanganan. 3ara mo mahangpan, ginatiblian ako sang sobra ni 3adre 9ino tungod kay
 o
   rld
ondon. Kon ginabaklan ka monyeka sang pari, ina bilang pasalamat sa pagpadaku ko kay ondon. 1       

Bani, kabigon mo nga daw utod si ondon.

“Indi Tko Tya. Kalaw1ay sa iyaQ
*adamu lang sang kauslitan ang maldita nga si imbim sang mga bata pa kami. 0ang una,
ako ang ginadala ni Gay 9iling sa ila balay. 0ang ulihi, ginapaupod na lang niya si imbim sa
kumbento agud may kahampang man ako. 3agkatapos dagyang, nagabulig kami ni imbim sa mga
hilikuton sa kusina, kag sa pagpaninlo sang kumbento. ;pang kon may disgrasya, ako pirme ang
ginapasibangdan n’ya. Kon may mabuka nga baso o pinggan, ako ang may sala7 kon mabatok ang
tinig1ang, ako ang may sala7 kon malimtan punpon ang hinalay, ako gihapon ang may sala.
isan ginamaltrato ako, kag ginahimo nga kaladlawan ni imbim, indi ko mahimo nga
magtanum sang dumot kag kaakig sa iya. 9ungod sia lang ang bestfriend ko. 0ia lang ang akon
kahampang, ang kaedad nga sarang ko mahambal.
R
0ang nagnobyo1nobyo na si imbim kay *acmac, ako ang iya tsaperon. Binapasugtan sila
ni Gay 9iling nga magdeyt1deyt basta upod ako. ;ko ang paaman, daw liso sang kasuy.
Kon magpabaybay, hambalan ako ni *acmac, “3alayo1layo ka lang anay, ogs, kay kalaw1
ay gid sa imo. Binaguba mo ang view.
0ikulon sia ni imbim, dayon makadlaw sila. ayon, pangilayan lang ako ni imbim, kag
mahangpan ko na.
Kon mangulabo, ginaupod man nila ako agud may magsaka sang lubi.
“;baw, tan1awa bala ang payatot nga bugtot kon magtaklas sang lubiS daw tuko. ayon,
maharakhak si *acmac.
Kon kaisa, ginaapinan man ako ni imbim. “*as mapuslan siguro si ondon sang sa imo5
“;pang sin1o ang mas gwapo5
 Gahangpan ko man ang amon mga papel sa kabuhi. Kilala ko sanday Uuasimodo,
+smeralda, kag ang maambong nga si -aptain 3hoebus. Gagabasa man ako sang mga libro kag
komiks.
Binpamana ni imbim ang gwapo nga si *acmac. ;ko, nagpabilin nga nangalagad sa
kumbento. ;ntes nagretiro si 3adre 9ino, ginpangabay niya nga tagaan ako empleyo sa simbahan
 bilang dyanitor kag kampanero. 0oltero na ako sadto, natan1awan ko na ang “9he 2unchback of 
 Gotre ame, kag nabatian ko man ang “Kampanerang Kuba ni >ilma 0antos. Gaanad na ako sa
mga sunlog, libak, kag yaguta.
0ang nakasal sila ni imbim, nagbuot si *acmac sa akon. Binpamaninoy pa gani nila ako sa
ila subang nga ginhingalanan namon +smeralda. ;pang Togs’ man gihapon ang tawag n’ya sa  2
akon, short sang Tbugtot.’
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ag1o nagtaliwan si 3adre 9ino, gintuad kag ginsaysay n’ya ang pagkapulot sa akon.
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Binpabasa n’ya ang sulat nga nalakip sa karton, kag ginhatag sa akon ang kulintas nga, suno sa
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sulat, ginpanag1iyahan sang akon iloy " isa ka *arita de los =eyes.   yr
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:ala ko napunggan ang pag1agay sang akon mga luha para kay 3adre 9ino, ang pinaka1  p
Kristiyano nga tinuga nga nakilala ko. ;ng mga ulihi n’ya nga laygay sa akon daw gikan sa 0iete
 p
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3alabras " “3alanggaa sila. Ilabi na gid ang mga nagatamay sa imo.  e
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:ala ko na ginpangita ang akon matuod1tuod nga iloy. :ala ako nakahibalo kon ang e los  a
=eyes apelyido niya nga kasado, o sa pagkadalaga. Kag daw wala man sia ginapangita sang akon
 n
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ginhawa.    ht
ayon, sang nagligad nga tuig, sa pagsugod sang novenario sang ;guinaldo, samtang  e
nagapaninlo ako sang simbahan, ginpalapitan ako sang isa ka babaye, mga kwarentahon ang edad,
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may hitsura, kag daw may1ikasarang sa kabuhi. Gamangkot sia parte kay 3adre 9ino, kag sang
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nakita n’ya ang kulintas nga ginasuksok ko, nangusisa man sia nahanungod sa akon. 1       

0iyam ka kaagahon sia nga nagtambong sang simbang1gabi. 0a huna1huna ko, #ay

 ginapangayo sia sa 'askwa nga ini1
3agkatapos sang *isa sang 3agkatawo, ginpangita n’ya ako sa kumbento. Gagpakilala nga
sia kuno ang akon iloy. :ala ako nakibot. :ala man ako natublag. aw bato lang ako7 daw gin1igo
sang kilat, kag nangin bato.
Bin1agda n’ya ako nga mamaskwa sa siyudad. Gangindi ako. 'ara ano4 Gagpakitluoy sia,
halos maluhod sa atubang ko, tubtub wala na ako nakapamalibad.
Binpasugtan man ako ni Father =ichard.
R
 Gagsulod kami sa 0arabia 2otel para manyaga, apang wala man kami sang ginkaon didto.
 Ganghalawhaw ako sa hotel, apang wala gid ako nagpamulalong nga ginakulbaan ukon namanulan.
 Gag1order sia sang iced tea. -oke kuntani ang gusto ko, apang ambot kon ngaa ice tea man ang gin1
order ko. 0ang nag1order sia sang pagkaon, pareho man sang iya ang gin1order ko. Indi man abi ako
 pamilyar sa menu.
“onato gali ang ginhingalan sa imo ni 3adre 9ino. *atahum nga ngalan.
“onato de los =eyes.
 Gagpanagitlon si *rs. e los =eyes. Gaglag1ok sang ice tea. *adugay1dugay nga wala sia
sang tinimuk1timok. aw nagahulat nga matunaw ang yelo. Binpamalhas ang baso.
aw ginahulat n’ya ako maghambal, gani ginsaysay ko sa iya ang paathag ni 3adre 9ino
sang akon ngalan, “Binkuha sa Italyano nga onatello, nga ang buot1silingon, Tginhatag.’ ugay
kuno ako sang *akaako.
 Gagyuhum si *rs. e los =eyes. “Kumusta ka na5 2amtong ka na gid subong.
“ente1kwatro sang nagligad nga 0etyembre.
 Gagtango sia. .ahibal-an n5ya1 <f course, nahibal1an n’ya.
“3asayluha ako, on. ise1otso lang ako sadto, wala sang hinalung1ong sa akon mga
ginpanghimo. 0iling sang paltera, may depekto ka, sarang ka mapatay sa pila lang ka adlaw. amu
kuno kasamaran ang imo dagway, basi maayo pa nga indi ka na mag1antus. ;pang nabuhi ka.
 .abuhi nga bugtot, lipid ang ulo, putot, kag kulakig gihapon nga daw palito1 $isan anhon
ko nga panginaon, wala gid ako nagdaku1 $isan ano nga hilot ni .ay Tiling sang akon ulo, lipid 
man gihapon1 Daw sinumpa ako1 $ugtot na, law-ay pa1 Daw pinipi nga luy-a6
 Gag1abot ang pagkaon. “eef stroganoff, siling sang weyter. “-areful, the plate is hot.
 Gagsugod tulo ang mga luha ni *rs. e los =eyes.
R  2
“Kon ikaw ang akon iloy, sin1o ang akon amay5
 1
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“3asaylo, on. :ala mo na sia nakilala. Gaaksidente si anny, napulo na katuig ang
nagligad. :ala sia sang hinalung1ong nahanungod sa imo.
 C
 e
;ko naman ang nagpanagitlon.
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“;ntes ako nanganak, nag1away kami ni 3apa mo. Gaglayas ako, nanago sa tiya ko sa  p
arotac Guevo tubtub nakabun1ag. ayon ginbilin ko ikaw sa simbahan sang 0an ionisio
 p
  in
tungodS tungodS  e
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 Gagpisngu1pisngo sia, daw ginakataro nga indi makahambal. aw naluoy man gani ako sa  a
iya.
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“9ungod indi ko mabatas ang imoS kahimtangan.    ht
“Indi mo mabatas ang akon dagwayQ  e
“0iling sang paltera, sarang ka mapatay.
 W
“;pang nabuhi ako.
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“0iling n’ya, kon mabuhi ka, magaantus ka lang. 1       

“Indi sia ang ios. Indi man ikaw.

“3asayluha ako, on. ;pang nahibaluan ko nga magaantus ka lang sa luyo sang imo amay.
Kilala ko si anny. *adayaw sia nga sahi sang tawo. Indi n’ya mabaton nga may depekto ka.
“;may ko sia.
 Gaghibi pa gid si *rs. e los =eyes. Gagpaindis1indis agay ang iya mga luha.
 Gadulaan ako sang gana. :ala sang nagtandog sang pagkaon.
“*ay kapid ka, on.
idto ako nakibot. ;bi ko anay, ang naigo sang kilat, indi na maigo liwat. 0iling nila,
“lightning never strikes the same place twice. Indi matuod.
“Kilala mo si Ced elvis5 ;ng bokalista sang 9unog ;makan5
“2uo, e. Indi bala sia ang nagdaug sa T0tar in a *illion’ nga kontest sa 9>5
“0ia ang kapid mo. ;pelyido ko ang ginagamit n’ya nga stage name. Cohn +dward elvis de
los =eyes ang bug1os n’ya nga ngalan.
aw liwat ako nga ginkilatan. Ang maambong, talented, kag kilala nga si (ed $elvis7
kapid ko4
R
“Lna sia nga ginbun1ag. ayon, ikaw. T3aaman,’ siling sang paltera. Kon napat1ud ko lang
nga batunon ka ni anny, wala ko ikaw ginbilin sa kumbento. ;pang kilala ko ang batasan ni
anny, mas pasulabihon n’ya ang mapagrus mo nga kapid. Gabal1an ko gid nga sika1sikaon ka lang
n’ya. *agaantus ka lang.
“Ggaa5 !uyag ko ipamangkot kon ngaa ginbalikan niya ako. Ggaa subong. Ggaa subong
lang.
“0a nasiling ko na, wala sa hinalung1ong ko ang mga ginpanghimo ko sadto. :ala ako
nakahangop sang akon mga opsiyon. ;no ang sarang ko mapilian5 Binhimo ko lang ang sa
 pamatyag ko labing maayo. Binbilin ko ikaw sa simbahan. antog ang kaayo ni 3adre 9ino.
 Gahibaluan ko nga indi ka niya pagpabay1an. 0a imo kahimtangan, siling ko, mas maayo ang
maabtan mo sa luyo sang pari sang sa 0:.
“Ggaa nagbalik ka5 Ggaa subong lang5
“*ay pangayuon kuntani ako sa imo, on.
“*agluwas sa kapatawaran5
“*ahangpan ko man kon magpamalibad ka. ;pang indi ini para sa akon. 3ara ini sa imo
kapid. Binpahiran ni *rs. e los =eyes ang iya mga luha. “Kinahanglan ni Ced sang kidney
transplant. Binadialysis na lang subong si Ced. :ala na si anny. Indi ako tissue match7 sa dugo pa  2
lang, 9ype ; ako, 9ype ; si Ced. Gagapasimpalad lang ako. 0iling koS
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“9ype ; ang dugo ko. Kag basi matuod ako ang iya tissue match. *ay nahibaluan man ako
nahanungod sa kidney tranplants, may mga nabatian. Indi tungod bugtot, wala na ako sang nabal1
 C
 e
an. Bintudluan ako ni 3adre 9ino, ginpaathagan sang mga balita sa peryodiko kag telebisyon,
 n
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ginkabig nga may kaalam kag ihibalo. 0iling ni 3adre 9ino, daw espongha kuno ang akon utok.   yr
ilib man sia sa akon.  L
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 Gagtango si *rs. e los =eyes. Gagtulo liwat ang iya mga luha. aw tun1og nga nagdalhay  p
sa baso sang ice tea.
 p
  in
 Gaghipus lang ako.  e
 s
0ang ulihi, ginhatagan n’ya ako sang calling card. “9awgi ako kon magbaylo ang pensar   a
mo.
 n
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Bin1inom namon ang ice tea. Binpaputos n’ya ang beef stroganoff. Gagpamilit sia nga dal1    ht
on ko ang pinutos. Binkup1an n’ya ako, kag nagpaalam. Gasaw1ahan ako sa iya paghakus.  e
3agkagua sa hotel, ginhatag ko sa mga bata nga nagapakalimos ang pinutos nga beef 
 W
stroganoff.
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R 1       

Bintuad ko ang tanan kay Father =ichard.

9reyntahon lang si Father =ichard, apang lagting sia nga pari, gani sia ang gintal1us nga
kura1paruko sang nagretiro si 3adre 9ino.
“*akatilingala ang mga pamaagi sang ios. Ikaw, ang bato nga gin1etsa1pwera sang mga
manugtukod, ikaw subong ang sadsaran sang kaluwasan. Ikaw " ang paaman, ikaw subong ang
sugpon nga kabuhi sang imo kapid. Binhingalanan ka nga onato, nagakahulugan Tginhatag sang
ios,’ apang ikaw subong ang ginatawag nga maghatag.
0iling naman iya ni *acmac, “ogs, indi ka magpasugot. ;ra na kay Ced ang tanan. Ggaa
subong ikaw ang kinahanglan nga magsakripisyo5
9ugda naman ni imbim, “Bin1ubos ni Ced ang lugar kag pagkaon sa taguangkan sang imo
iloy gani nangin lipid ang ulo mo, bugtot ka, kag kulakig. 0ia ang gwapo, nami tingog, kag
manggaranon. 0ia ang nagpaayaw sa pagtamod kag pagpalangga sang imo mga ginikanan.
ugang pa ni *acmac, “ogs, indi pag1ihatag ang imo bato1bato. Itigana ina. Kay kon may
tagaan ka gid man, ayhan sa ihada mo na lang sa pila ka adlaw. amu ka na bala utang nga regalo
sa iya. :ala mo naman sia ginpaskwahan sang nagligad.
0ang nakapamat1ud na ako, gintawgan ko si *rs. e los =eyes. Bintestingan ako, madamu
nga mga eksamen kag iskrining) sa dugo, ihi, tissue matching, x1ray, ultrasound, stress test, -9
scan, kag kon anu1ano pa. Gapasaran ko tanan. 0iling sang duktor, ako ang perfect tissue match.
;ko ang perfect donor para kay Ced.
R
Bin1estorya ako liwat ni *rs. e los =eyes.
“*ay dapat ka mahibaluan. Gasamad ang bato1bato ni Ced tungod nag1inom sia sang
=acumin nga hilo para sa mga ilaga. Kag sang daw kulang pa, nagtomar pa gid sia sang madamu
nga 9ylenol kag aspirin.
 .aghandum sia nga magpakamatay4
“;kig si Ced sa akon. 3apa’s boy sia. 0ang nagtaliwan si anny, ako ang iya ginbasol. 3irme
na lang kami nagabangigay. Gagbarkada sia. Gagbanda1banda. Gagbisyo. Gagdrugs. *asami nga
ginasukma sa akon ni Ced, indi ko sia kuno palangga. :ala gid sia kuno nakabatyag sang
 pagpalangga gikan sa akon.
“;pang sia ang ginpili mo. ;ng ginpasulabi.
“Gagkanervous breakdown ako pagkatapos nga ginhatag ko ikaw sa simbahan.
0a huna1huna ko, Ginbilin mo ako, wala ginhatag6
“0iling nila, post1partum depression. ;pang wala lang sila nakahibalo sang sulod sang akon  2
konsensya. 2alos ko tandugon si Ced. Indi ko sia makungkong. 2alos indi ko sia pagtan1awon. Ikaw
 1
  st
ang ginapanumdum ko kon makita ko sia. Gagalain dayon ang buot ko. Kabug1at. Kapiut.
 Gagakahidlaw ako sa imo.
 C
 e
0a huna1huna ko, Ti, ngaa wala mo ako ginbalikan4
 n
  tu
“:ala na ako nakabalik sa 0an ionisio. Gahadlok ako. 3aano kon wala ka nabuhi5 Kag   yr
kon nabuhi ka gid man, ano ang himuon ko5 ;no ang hambalon ni anny5 asi maguba ang diutay  L
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namon nga pamilya. 0ang nagtaliwan na si anny, tin1edyer na si Ced. Gagkahangawa naman ako  p
nga indi ka niya mabaton. ;pang subong, kinahanglan ka ni Ced. Indi ko luyag nga pati sia madula
 p
  in
man sa akon. Gadula na sa akon si anny. Gadula ka na sa akon sang ginbilin ko ikaw kay 3adre  e
 s
9ino.  a
“!uyag ko makita si Ced.
 n
 d
R    ht
0i Ced elvis ang gina1amba sang mga pederast nga mamalaybay kon ginasaulog nila sa  e
mga tinaga ang mapagrus nga mga butkon, malaba nga mga batiis, mabukod nga abaga, makitid nga
 W
hawak, mala1porselana nga panit. ;nghel ang kaanggid sang nawong ni Ced. *ataas ang iya ilong,
 o
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nagabawod sa kalaba ang mga amimilok, mahulutyugon ang mga mata, matibsol ang makakilinam1 1       

kinam nga mga bibig, mapino ang supat, wala punggod, wala bukol1bukol.
Indi sia lipid, o bangian ang guya, o kurapa kasubong ko. Indi sia bugtot, ikig1ikig, o daw tiki nga
masami ginasunlog sa akon. aw mahangpan ko kon ngaa sia ang ginpili ni *rs. e los =eyes sang
sa akon.
“Ikaw ang madonate sang kidney para sa akon5 *ay namutikan ako nga pagpangyaguta sa
tono ni Ced. “3ila ang ginbayad sa imo ni *ama5
“Kabubut1on ko nga ihatag para sa imo ang isa ko ka bato1bato.
“Ggaa5 ;no na naman nga drama ina5 *ay kwarta kami.
*aldito si Ced. !uyag ko na gid ituad sa iya nga ako ang iya kapid apang ginpunggan ako
sang pakitluoy ni *rs. e los =eyes. asi kuno maghurumentado si Ced kon mabal1an n’ya nga
may kapid sia.
“;no ang baylo sang imo kidney5 !uyag mo magsakay sa popularidad ko5 !uyag mo
makilala5 *angin sikat5 ;ng bugtot nga naghatag sang iya kidney kay Ced elvisQ ;mo ina ang
gusto mo5
“Ced, ngaa akig ka sa kalibutan5
“;ko, akig5 2oyQ 3anumduma kon sin1o ang kahambal mo, ha5 Indi lang ikaw ang may
kidney sa kalibutanQ
!uyag ko na gid iburuka sa iya, Apang ako ang imo perfect match6 Ako ang perfect donor1
Tungod ako ang imo kapid1 Ang lawas kag dugo nga igaula sa kapatawaran sang mga sala1 #ga
 sala sang aton pamilya1 %ang sala ni Danny, sala ni #arita, sala mo6 ;pang indi ako makahambal.
;yhan, sa tuman nga kaakig, kaugot, kagS kaluoy.
 Galuoy ako kay Ced. Ano ang natabu sa iya4 .gaa nagtilaw sia nga mag-utas sang iya
kaugalingon4 .gaa tuman ang iya kaugot sa kabuhi4
 Gagharakhak si Ced. Gagapangyaguta.
“Indi ka dapat maluoy sa akon, ugtot. *aluoy ka sa kaugalingon mo. :ala ka nakatilaw
sang tanan nga kapritso nga naaguman ko. :ala ka pa gani siguro nakanobya tungod sa kalaw1ay
mo, ano5 Gakatilaw ka na sang babaye5
3adayon nga nagharakhak ang demonyo. Binapossess si Ced elvis. “3auli ka kag
magpaukoy. Indi ko luyag makita liwat ang itsura mo. *akaluluoy ka man, ugtot. Binsumpa ka
sang kapalaranQ
Binpamahulay ako sang makagua sa kwarto ni Ced. *ayami nga mga balhas.
emonyo ang batasan ni Ced. 0ia nga ginbugayan sang katahum kag mala1anghel nga
hitsura, napun1an sang kalain kag kalaw1ay. BarukQ *akangilil1ad sia7 kag makatalagam, tungod  2
makatiliplang. 2itsura n’ya lang ang mabuot, apang ang sulod, dukot.
 1
  st
R
3ebrero %6, >alentine’s ay. ;dlaw sang mga tagipusoon.
 C
 e
Igsakto nga singkwenta ka adlaw sumugod sang nagpakilala si *rs. e los =eyes bilang
 n
  tu
akon iloy, gintigayon ang kidney transplant para kay Ced.   yr
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 Gamat1ud ako nga ihatag ang isa ka bahin sang akon lawas sa akon kapid. Indi tungod  p
ginpangayo n’ya. Kundi tungod kinahanglan n’ya.
 p
  in
Kag tungod luyag ko.  e
 s
Kinahanglan ni Ced ang sugpon nga kabuhi para sa kahigayunan nga makabag1o. *akabalik   a
sa ios. Kag luyag ko nga ako ang maghatag sang tsansa sa iya. Kon sarang lang mahatag sa iya
 n
 d
ang akon kasing1kasing agud mabag1o man ang iya tagipusuon, himuon ko. Indi tungod onato ang    ht
ngalan ko, kundi tungod kapid ko sia.  e
;yhan, matuod ang ginhambal ni imbim nga si Ced ang nag1ubos sang pagkaon kag lugar 
 W
sa taguangkan ni Ganay nga para kuntani sa amon nga duha. ;pang kon balikdon ang tanan, wala
 o
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ako ginpatay sang akon kapid sa madulum nga taguangkan ni Ganay kon diin mahapus ang pagpipi 1       

kag pagdugmok sa akon. 0a baylo, ginbilinan n’ya ako sang tsansa nga mabuhi.
Ginbilinan n5ya ako sang tsansa nga mabuhi6

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2LOG POST: Pavia Carabao Carroza Festival  *) E&gar Si$,ar  p
 p
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 s
%ide .ote6  a
W(at i$ a *+!g?
 n
 d
; *+!g is a type of website that is usually arranged in chronological    ht
order from the most recent Tpost’ #or entry$ at the top of the main page to the
 e
older entries towards the bottom. logs are usually #but not always$ written by
 W
 o
one person and are updated pretty regularly. logs are often #but not always$    rld
written on a particular topic " there are blogs on virtually any topic you can 1       

think of. From photography, to spirituality, to recipes, to personal diaries to

hobbies " blogging has as many applications and varieties as you can imagine.
:hole blog communities have sprung up around some of these topics putting
 people into contact with each other in relationships where they can learn,
share ideas, make friends with and even do business with people with similar 
interests from around the world.

A*!ut t(e Aut(!r:

E&gar Hu*er! Si$,ar was born in the town of 3avia, Iloilo #%J8'$. 2e currently lives in
-adena de ;mor 0treet, on Francisco >illage, Caro, Iloilo -ity. 2e finished the course ; +nglish
with 3hilosophy as *inor Field of -oncentration at *aryhurst 0eminary in aguio #%J6$, and
*aster of *anagement, *a(or in 3ublic *angament #**3*$ at Lniversity of the 3hilippines
>isayas #%JJ$. 2e now works as ivision -hief, ;dministrative V =ecords ivision of Iloilo -ity
9reasurerAs <ffice. 2e was a recipient of the -ultural -enter of the 3hilippines !iterary Brant for 
short story writing in 2iligaynon #%JJ'$, First 3rize :inner in the Uuin aterna 0hort 0tory :riting
-ontest in 2iligaynon #%JJ'$, and 9hird 3lace :inner, /uhum *agazine 0ugilambong #%JJ$. ;t
 present, he is keeping 2iligaynon alive through 3ahina 2iligaynon which showcases in the internet
the culture and lifestyle of the Ilonggos.

PA-IA CARA2AO CARRO8A FESTI-AL

 #http)DDnewedgarsiscar.blogspot.comD&%ED&Dpavia1carabao1carroza1festival.html$
+dgar 2. 0iscar 

-elebrated annually every 'rd of *ay and consistently since %J' in 3avia, Iloilo, this
Festival showcases 3avia’s ingenuity and of 
their being an indigenous people. Included in
the -alendar of ;ctivities of the epartment
of 9ourism, -arabao -arroza Festival attracts
many foreign and domestic tourists, guests,
and visitors all over the region. 9he festival
which highlight the celebration of the town
 2
 1
fiesta is being participated by the eighteen   st
#%H$ barangays of the municipality and  C
consists of three #'$ main attractions namely7
 e
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a.$ -arabao -arroza 3arade  p
 b.$ -arabao -arroza =ace and
 p
  in
c.$ 0earch for -arabao -arroza Uueen.  e
 s
 a
Hi$t!r)
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   ht
It was on *ay ', %J' that the  e
-arabao -arroza Festival was
 W
conceptualized by Former *ayor 
 o
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 Gelson B. Bumban together with *r. 1       

=odolfo -laparols, then Field

9ourism <fficer of the epartment of 
9ourism and the late 9imoteo B.
Cumayao, then *useo Iloilo curator.
9he venue for the First
-arabao -arroza =ace was the
riverbed of ;ganan =iver. 9he First
-arabao -arroza 3arade had the
carrozas decorated with the
 barangay’s farm produce and the
arangay *use wearing the “bakya, “patadyong and “kimona typical of a Filipina. 9he First
Festival Uueen 0earch was done on *ay ', %J8 with !ourdes Bolez de ;sis as the First Festival
Uueen.
9he festival had evolved from its simple celebration to what it is now. 9he parade has now
 become a contest of the “*ost Baily ecorated -arabao -arroza with the carrozas decorated
 beautifully and donning the carabaos also. 9he race is now being held at the 3avia Gational 2igh
0chool grounds and the 0earch for the Festival Uueens had produced a lot of beauties who made
 best as 9> 2osts and +ntertainers. 3avia is blessed with town leaders who unselfishly commit their 
leadership to the place and the people they serve. 9he festival’s concept and ob(ectives had been
carried through the years with the change of time and leadership and will continue to serve as a
venue to showcase what 3avia is " and who 3avianhons are.

Cara*a! Carr!7a Para&e

+ighteen #%H$ gaily decorated

carrozas and carabaos with their 
muses clad in Filipiana costumes start
their way parading from rgy. Lngka
I down to 3avia Gational 2igh
0chool. +ach vies for the *ost Baily
ecorated -arabao -arroza, and the
carroza being the float bears a motif 
depicting the barangay’s noted  2
industry or the barangay’s
 1
  st
agricultural products. 9he muses vie
for the title of -arabao -arroza
 C
 e
Festival Uueen.
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Cara*a! Carr!7a Ra,e

9he race consists of the carroza #free from any attachments and decorations$ being pulled by
carabaos with their riders minus the muses is
made on a %% meter lane at 3avia Gational
2igh 0chool Brounds.9hree #'$ elimination
rounds complete for the final race. ; winner is
then declared from the six #E$ finalists.

Sear,( !r t(e Cara*a! Carr!7a Fe$tiva+

Quee

9he search is made among the eighteen

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

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SHORT STORY: Binukot  *) A+ai Ru$$ Di"7!  p
 p
  in
 e
A*!ut t(e Aut(!r:  s
 a
 n
A+ai Ru$$ Di"7! was born on <ctober '%, %JE' in Caro, Iloilo -ity. 2e finished achelor 
 d
   ht
of 0cience in iology 0ciences at :est >isayas 0tate Lniversity7 and achelor in !ocal  e
Bovernment ;dministration #!B;$ at Iloilo 0tate -ollege of Fisheries #&J$. 2e became a  W
fellow of L3 !os aOos and th Iligan Gational :riters :orkshop #&$ at *indanao 0tate
 o
   rld
Lniversity. 2e won 'rd prize for his short story “inukot in the -arlos 3alanca *emorial ;wards 1       

for !iterature #&%&$7 his poetry collection “;ng akunawa kag iban pa nga mga binalaybay
gained recognition from Komisyon sa :ikang Filipino #&$7 ;ng *anunulat kag ;ng
3endulum was his first book published by Fray !uis de !eon -ompetitive ook :riting Brant
#&E$7 he also received Bawad +mmanuel !acaba for est Gew :riter in 2iligaynon from the
 Gational -ommision for -ulture and the ;rts #&$.

2INU9OT
;lain =uss imzon

Binpamiud ni !eonita ang mga pinanid sang katsa. 0a isa ka patadyong, ginputos niya ang
mga dagum kag may nagkalainlain nga duag sang mga hilo. ;ng iban sa mga katsa nasugudan na
niya bilang mga panubok nga amo ang paghingalan sang mga ukidnon sa pagborda sang mga
 bagay kag mga hitabu. *ay mga bagay kag mga hitabu nga nasugdan na sa pagborda. ;pang ini
nga idihon nga sugidanon ni !eonita wala gid mahibaloan sing bisan isa ka ukidnon. 3ara sa iya,
maduagon ini nga sugidanon, apang nahibaloan man niya nga ini indi maduagon para sa mga
ukidnon.
  3at1ud nga matingala ang mga ukidnon nga wala siya makapakigbahin sa inanog.
 Gahibaloan niya nga maaligmat si !ola 9elya sa iya pagkadula. 0a ini nga hitabu, siya ang mangin
una nga ukidnon nga makabuhat sang iya ginabuko. 3alangga siya ni !ola 9elya. :ala man
nagkulang ang pagtatap kag pagtudlo sang tigulang sa iya sang mga kamatuoran para sa iya bilang
isa ka babaye nga ukidnon. 0i !eonita makabig nga pinaka1huwaran kag pinaka1maalam.
 Gagdaku siya sa sabak ni !ola 9elya nga labi nga ginatahod. 0iya makabig nga manunubli ni !ola
9elya. 0iya ang may pinaka1madamu nga nasaulo nga mga sugidanon. 0iya ang may pinakadaku
nga kahigayonan nga makasaulo sang 2inilawod, ang malaba nga binalaybay nga may sugidanon
nahanungod sa pagpasimpalad kag paghigugma sang mga ukidnon. 0i !eonita man ang
 pinakamatahum nga ukidnon. Kon kaharian ini nga tribu, isa siya ka prinsesa nga manug1reyna.
*atandaan pa niya sang siya nagpangtipon sang mga dahon sang kamangyan nga ginalubak para
gamiton nga bulong sa madamu nga sahi sang balatian, kag nagtalang siya kag wala makabalik 
gilayon sa ila payag ni !ola 9elya. ilog nga tribu ang nagpangita sa iya katulad lang nga
nagpangita ang iban sa ila sang pinakamabaskug nga anting1anting.
Karon, nagtigpasaw ang iya mga tiil sa sapa nga nagakihad sang talon kag kakahoyan sa
duta sagwa sang mga ini.  2
0a iya panghunahuna, dugangan niya sang isa ka sugidanon ang mga ukidnon. ugangan
 1
  st
niya ang 2inilawod sang iya kaugalingon kag matuod1tuod nga sugidanon pananglit iya ini
mahimo. Ini nga sugidanon hatagan niya sang mga laragway paagi sa panubok.
 C
 e
 Gagbalikid si !eonita sa talon kag kakahoyan. :ala sing gal1um sa ibabaw sang mga ini. 0a
 n
  tu
kalayuon, mahinay nga mabatian ang tunog sang mga tambur, agung, kag kahoy nga ginabasal. Ini   yr
ang mga kasangkapan nga ginapatunog sa pagsaut sang inanog, ang saut nga nagasunod sa hulag  L
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sang banog ukon pispis nga dapay. *ahinay na nga mabatian ang mga tigbato sang pag1amba sang  p
ta1ta. ;ng ta1ta ang pinakamatagsing kag pinakamagahod nga bahin sang inanog. “2erlikitaQ
 p
  in
2erliQ 2erliQ 2erlikitaQ Gahibaloan niya nga padayon ang pagsaut sang tribu.  e
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RRRRR
“!amunon sang higante nga man1og nga si akunawa ang iya iloy nga si Lgsad.
*agabangon si akunawa nga nagabaruron sa idalum sang dagat sa diin ginbilin kag
ginpatumbayaan siya ni Lgsad. Gagdaku siya nga nakaangkon sang kalabaon nga makatabid sang
langit kag dagat. 0a kalain sang iya balatyagon, luyag magtimalus ni akunawa kay Lgsad, nga iya
iloy. Gagalutaw sa hangin ang pangayaw nga nagpulong sini kay !eonita.
RRRRR
*angin masiri ang mga lalantawon gikan sa putokputokan sa diin malapit sa dagat. ala ni
!eonita ang mga pinanid sang katsa, mga dagum, kag hilo nga may nagkalainlain nga duag.
*agabuhat siya sang panubok nga magalaragway sang paglamon ni akunawa kay Lgsad. 2inali
matabu, ini nga panubok indi niya mahimo nga mahigot sa iya agtang bilang sampulong ukon puni
sa tagsa ka pagsaut sang inanog. Indi ini iya sang mga ukidnon. Iya ini sang isa ka pangayaw.
!aban nga maakig si !ola 9elya bangud batuk sa kinaandan sang mga ukidnon ang
 pagabuhaton ni !eonita nga may kakulba. *alayo ang talon kag kakahoyan sa dagat. Binatawag
man sila nga mga 0ulodnon bagud nagapuyo sila sa sulod sang talon kag kakahoyan.
RRRRR
;ng pangayaw nagalutaw sa hangin. Isa ka gab1i, nagtuhaw siya samtang nagatamwa si
!eonita sa ugsad kag nagahuyop sang tulali santu sa huni sang mga pispis nga punay. 0a siga sang
ugsad, ang pangayaw naka1sarwal lang nga human sa daw may tuman kagagmay nga mga mata nga
lambat nga lanot. :ala ini sing may ginasul1ob nga bayo. Indi tuman kadalagku apang bayhonan
 2
 1
ang iya dughan kag mga butkon. ;ng iya mga mata nagalaragway sang kaalam kag kaisog. *alaba   st
nga bangkaw nga ang punta sini may tagub nga may dagway sang isda kag napunihan sang pilak   C
ang nahigot sa iya likod.
 e
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3ara kay !eonita, indi ini sayup nga pagpalatihan. Ini kamatuoran sagwa sang mga
  tu
kamatuoran nga nagapalibot sa mga ukidnon. !amunon sang higante nga man1og nga si   yr
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akunawa ang iya iloy nga si Lgsad. *agabangon si akunawa nga nagabaruron sa idalum sang  p
dagat sa diin ginbilin kag ginpabayaan siya ni Lgsad. Gagdaku siya nga nakaangkon sang kalabaon
 p
  in
nga makatabid sang langit kag dagat. *agatimalus si akunawa kay Lgsad.  e
 s
 0i !eonita naghamtong nga wala nakakilala sang iya iloy. :ala man niya makilala ang iya  a
amay. 0i !ola 9elya nga wala man mapat1ud kon matuodtuod niya nga lola ang nagbatiti sa iya
 n
 d
 bilang ginikanan. 0i !ola 9elya ang pinakatigulang nga babaye sa tribu. 0unu sa mga huring1huring,    ht
si !eonita anak sang mga pangayaw nga nagtalang sa ginsakpan sang mga ukidnon. !ikom sa  e
tanan, ini nga sugilanon ginpamatian ni !eonita nga may daku nga pagpati. ;pang wala gid niya
 W
ang iya pagpati ginpahibalo sa mga ukidnon. :ala gid niya ini ginpamangkot bisan kay !ola
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9elya. 1       

RRRRR
0a putokputukan, daw halos lab1uton ni !eonita si Lgsad. Gagpangita siya sing daku,
malapad, kag matapan nga bato. idto niya ginhumlad and mga katsa kag ginbutang ang mga
dagum kag mga hilo nga may nagkalainlain nga mga duag. “;no ang duag ni akunawa5
 pamangkot ni !eonita.
3ara kay !eonita, matuod ang pangayaw. Gaghambal pa ini nga awayon kag patyon niya
si akunawa para mauntat na ang paghandum sini nga magtimalos sa iya sini nga iloy nga si Lgsad
 para mauntat na ang pagtublag sini sa pangabuhi sang mga taga1dagat bangud tagsa ka paglukso
kag pagtupa ni akunawa sa iya handum nga malamon si Lgsad nagataub kag nagadalagku ang
mga balod.
 Gagpati si !eonita sa sugilanon sang isa ka pangayaw. *aakig sa iya si !ola 9elya. ;pang
yari na siya sa putokputokan. Gahumlad na niya ang katsa sa matapan nga bato. Gahanda na niya
ang mga dagum kag hilo.
“*alagas ko ayhan sa pagtubok ang kadasigon sang mga mahimo matabu5 9andaan ko kag
amo dayon ang pagtubok. ;no kalawig nga mahuman ko ang panubok sang akon sugidanon5
 pamangkot naman ni !eonita.
;ng paglamon ni akunawa kay Lgsad kag ang pagpatay sang pangayaw kay akunawa
ipakita ni !eonita paagi sa panubok. 3ananglit makita sang mga ukidnon ang mga laragway sa
 panubok, matingala sila kag mamangkot. ;ng pangayaw, si akunawa, kag Lgsad indi kinaandan
 para sa mga ukidnon.
  “Karon, indi na mabatian ang tunog sang tambur, agung, kahoy nga ginbasal kag ta1ta.
angud nga natapos na bala ang inanog ukon bangud na ini sa kalayuon sang talon kag
kakahoyan5 dugang nga pamangkot ni !eonita.
*ay liwan nga lumay ang pangayaw. *ay kinalain ang iya sugidanon. *ay kinalain ang
iya kaambong. Katulad sang lana nga ginsimpon sa duga sang ginlubak nga dahon sang kamangyan
nga nagailig sa dughan kag mga butkon sini ang manipis niya nga balhas. aw ginabutong sang iya
kaambong si !eonita. !iwan nga pagpalangligbos kag kainit ang mabatyagan niya. ;ng iya mga
tinaga sugod sang una siya mabatian ni !eonita nagadala sang kamatuoran nga daw indi ni !eonita
mahimo duhaduhaan.
“*ahimo ka mag1upod sa akon kon mapatay ko si akunawa. *apuyo kita upod sa akon
tribu, nagabalikbalik sa pamatin1an ni !eonita ang mga ginpulong sang pangayaw.
 Gagtulok si !eonita kay Lgsad. Binhulat niya ang pagpakita kag paglukso ni akunawa
halin sa dagat kag paglamon sini kay Lgsad.  2
:ala na ang paghuni sang mga punay. Indi na niya makita ang mga bukol sang mga tanum
 1
  st
nga labog. Binhulat niya ang pagpakita sang pangayaw.
 Gagtanog siya sang mapulapula nga hilo. Gagtubok siya sang dughan pagkatapos sang mga
 C
 e
 butkon. Bindugangan niya ini sang ulo. Bintapos niya ang lawas kag ginbutangan ini sang mga tiil.
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;ng lalaki may malaba nga bangkaw nga ang punta sini may tagub nga may dagway nga isda nga   yr
napunihan sang pilak nga nakahigot sa iya likod.  L
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 Gagtulok si !eonita kay Lgsad. :ala pa nakapakita ang pangayaw. Binpadayon ni !eonita  p
ang pagtubok. Gagdugang siya sang kayumanggi nga hilo. Binhuman niya sa pagtubok ang isa ka
 p
  in
 babaye nga hublas kag nagadupa sa atubang sang pangayaw.  e
 s
 Binpadayon ni !eonita ang pagtubok sing isa ka wala matapos nga laragway. 0a ini nga  a
laragway yara si !eonita kag ang pangayaw nga may ginadapit nga gamay nga bata. Indi mapat1ud
 n
 d
ni !eonita ang nawong nga bahin sang bata nga ila ginadapit. Bindihon niya ang lawas sini nga may    ht
 panit nga mapulapula katulad sang panit sang pangayaw.  e
 0a isa naman ka katsa, may payag. Ila ini payag sang pangayaw bilang mag1asawa. !uyag
 W
niya ibutang ang laragway sang talon kag kakahoyan. ;pang nagaagaw sa iya panghunahuna nga
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ibutang ang laragway sang dagat. 3ananglit magdayon siya nga mag1upod sa pangayaw, indi na 1       

siya makabalik sa sulod sang talon kag kakahoyan.

;pang indi man siya makabalik sa mga ukidnon, matuman niya ang wala matuman nga
 pagtingub sang iya pamilya nga yara ang iloy, amay, kag ila anak. 0iya ang magahatag sang unod
kag dugo sa naglipas nga kabuhi sang iya pamilya nga wala matuman sa iya panghunahuna.
2atagan niya katumanan ang nagligad bangud nga ginakabig niya ang iya kaugalingon nga isa ka
 babaye nga pinasahi. 0a tribu sang mga ukidnon, wala pa mabun1ag ang isa ka lalaki nga mahimo
 pasugtan sang mga katigulangan sang tribu nga makapangaluyag kag makapangasawa sa iya. 0a
tribu sang mga ukidnon halos indi siya mapalapitan sang mga lalaki. Ikabuhi niya sagwa sang
tribu sang mga ukidnon ang kabuhi nga wala matuman sang iya mga ginikanan sa iya
 panghunahuna.
 Gagtubok siya sang dagat sa katsa. Binapanan1aw niya ang mahimo matabu pananglit mag1
upod siya sa pangayaw.
 *akagalanyat ang pangayaw. Indi niya mahangpan ang gahum sang pagkagalanyat sini.
Katulad sang lana nga ginsimpon sa duga sang ginlubak nga dahon sang kamangyan nga nagailig sa
dughan kag mga butkon sini ang iya manipis nga balhas. aw ginasuyop sang kaalam kag kaisog sa
iya mga mata si !eonita. ;ng tinaga sang pangayaw nagadala sang kamatuoran nga mabudlay
duhaduhaan.
  “*ahimo ka mag1upod sa akon pagkatapos ko mapatay si akunawa. *abatian ini ni
!eonita nga katulad lang nga yara sa iya atubang ang pangayaw.
0unu sa mga ukidnon, duha ka napulo ka tuig ang nagligad sang ginbun1ag si !eonita
sa talon kag kakahoyan. ;pang ini mahipos niya nga wala ginpatihan. *as nagapati siya nga isa
lang siya ka pangayaw sa mga ukidnon. !uwas sa mga ini, naghamtong siya nga isa gid ka tunay
nga ukidnon. Gangin sampaton siya sa pagsaut sang tinigbayi nga bahin sa inanog. *asaulo niya
ang tunog sang mga barasalon nga ginagamit sa paglanton upod sa pagsaut) ang tambur, agung,
kahoy nga ginabasal kag ang mga ginamitlang nga mga tigbato sa ta1ta. Karon, indi na niya
mabatian ang tunog sang mga ini. Gadula na ang mga ini sa iya pamatin1an.
!iwan na nga kalibutan ang pagaatubangon ni !eonita. !iwan ang pangayaw. *ay kinalain
siya nga lumay. 9uhay ang iya sugidanon.
 Katulad sang lana nga ginsimpon sa duga sang ginlubak nga dahon sang kamangyan ang
nagailig sa dughan kag mga butkon sang pangayaw ang manipis sini nga balhas. uga ini nga
makabulong sang kauhaw sa paghandum ni !eonita karon.
 Gag1untat si !eonita sa pagtanog. :ala siya makahibalo sang duag ni akunawa. 2alos
magaampo na si !eonita sa paghulat. Gagaduhaduha na siya nga hinali indi na magpakita ang  2
 pangayaw.
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“:ala sing kinalain nga lumay ang pangayawQ :ala sing kinalain ang iya sugidanonQ :ala
sing kinalain ang iya kaambongQ *akita man ini tanan sa mga ukidnon, sa mga lalaki nga
 C
 e
ukidnonQ :ala sing mga mata nga makapaamag sa akonQ Gagsinggit si !eonita. “:ala sing
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kinaalam kag kaisog nga makapaamag sa akonQ 9anan ini yara sa mga ukidnonQ ;ng mga tinaga   yr
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lang sang mga ukidnon ang kamatuoroanQ :ala na sang kamatuoran nga mahimo duhaduhaanQ  p
;ng kamatuoran, amo ang kamatuoran lang sang mga ukidnon.
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 Gagdaguob ang tingug ni !eonita gikan sa putokputokan.  e
 s
 “*ahimo ka mag1upod sa akon pagkatapos ko mapatay si akunawa Q Ini nga mga tinaga  a
sang pangayaw iya na nga kalimtan.
 n
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Binpiud ni !eonita ang mga katsa. Binhimos niya ang dagum kag mga hilo. *agabalik siya    ht
sa sulod sang talon kag kakahoyan.  e
 Gagbaskug ang hangin. Gaglantaw si !eonita sa palibut. 2inali nagtuluhaw ang mga dahon
 W
kag bukol sang mga labog. Gagsugod sa pagtunog ang mga barasalon nga ginagamit sa inanog.
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 Gagsigabong ang mga tambur. Gaglanug ang mga agung. Gaglinagapak ang mga kahoy nga 1       

ginabasal. Gaglagsing ang mga tigbato sang pag1amba sang ta1ta. 2erlikitaQ 2erliQ 2erliQ 2erlikitaQ
*akita niya ang iya kaugalingon sa tunga sang inanog. *akita niya si !ola 9elya nga nagapiyong
kag nagamitlang sang mga sugidanon, sugidanon sang magkahagugma nga naangut sa pagtuga
sang mga kasangkapan sa paglanton katulad sang kubing nga ginalanton sunod sa hangin sa sulod
sang bukas nga baba, tulali nga ginahuyop, kag suganggang nga ginahampak sa kamut kag
nagapagana sa pagsaut sang inanog. Ini ang mga sugidanon nga iya nahamut1an sa duha ka
napulo ka tuig niya nga pang1edaron.
 Gagsaut siya sang tinigbayi nga bahin sang inanaog. Katulad siya sang isa ka banog ukon
dapay nga nagalupadlupad sa nagaagaway nga amihan kag habagat. Gagkiaykiay siya sa wala.
 Gagkiaykiay siya sa tuo. Gakasul1ob siya sang pula nga patadyong kag puti nga bayo nga may
 panubok sang mga bulak sang labog.
0ang magtulok si !eonita sa kalangitan, nagtuhaw sa nawong ni Lgsad ang pangayaw.
 Gaglupad nga tuman ka dasig ini palapit sa iya atubang. Gagsulod sa panghunahuna ni !eonita nga
nagbutig ang pangayaw. “;ng pangayaw kag si Lgsad isa lang. Indi tanan nga ginhambal sang
 pangayaw matuod. apat ini pamatud1an ni !eonita.
 Gagbaylo ang palibut. Gadula ang mga barasalon sang inanog. Gadula ang tunog sang mga
tambur, agung, kag kahoy nga ginabasal. Gadula ang mga tigbato sang pag1amba sang ta1ta.
;ng lawas sang pangayaw luyag ni !eonita matandug. !uyag niya ini pamatud1an. !uyag
niya mahaplos ang balhas nga daw ginsimpon nga lana kag duga sang ginlubak nga dahon sang
kamangyan sa dughan sini. !uyag niya ini mapamatud1an. !uyag niya mauyatan ang baslay sini kag
 pamatud1an nga indi ini panan1awan lang. *ahimo lang, luyag niya nga pilason ang iya pagka " 
 babaye nga ginakabig nga ukidnon sang bangkaw sang pangayaw para indi siya magduhaduha nga
ini indi matuod. !uyag niya nga makita ang pagtulo sang dugo sang iya pagka1babaye nga una
ginpilas sang isa ka pangayaw. !uyag niya mapamatud1an ang kasakit kag kadalag1an sang
 pagkapilas sang kaisganan sang iya pagkababaye. 0a unod nga inagyan sang tinulo sang iya dugo
magahalin ang bag1o nga tinuga nga magapadayon sang isa ka bag1o nga sugidanon.
“!amunon sang higante nga man1og nga si akunawa ang iya iloy nga si LgsadQ Karon,
nagadaguob na ang tingug sang pangayaw.
“;pang diin si akunawa5 sabat ni !eonita.
 “Gakita mo na si akunawaQ Iya iloy ang iya ginhalinan. Indi niya ini mahimo malamon.
:ala sing may makalamon sa iya ginhalinanQ
“;no ang duag ni akunawa5
“Gahibaloan mo na ang duag ni akunawa. Katulad ini sang duag sang iya iloy.  2
 “Ipakita sa akon si akunawa.
 1
  st
 “Ipakita ko sa imo si akunawa kag magaupod ka sa akon5
 “Ipakita sa akon si akunawa kag magaupod ako sa imo.
 C
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“;ng duag mo, duag sang imo ginhalinan. ;ng duag ni akunawa, duag sang iya iloy nga
 n
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iya ginhalinanQ Gagadaguob ang tingug sang pangayaw.   yr
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Gaglupad pabalik kay Lgsad ang pangayaw. Bintinghuwaan nga lagson siya ni !eonita.  p
Binlakad ni !eonita ang mga talaytay. 0a iya pamatyag, ginalakad niya ang mga panganod.
 p
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!ambuton niya ang pangayaw nga karon nangin isa upod kay Lgsad. 2inali nga ginlamon sang  e
 s
kasanag ni Lgsad ang pangayaw. aw ginalakad ni !eonita ang mga panganod. !ambuton gid niya  a
ang pangayaw. !ambuton niya ang pangayaw nga karon nangin isa kay Lgsad. !ambuton niya
 n
 d
karon si Lgsad. aw ginalakad niya ang mga panganod.    ht
Binlagas ni !eonita si Lgsad tubtub si Lgsad ginlamon sang kaagahon. ;pang natiplang  e
siya sang pangayaw. ;ng pangayaw, si Lgsad kag si akunawa isa lang ka tinuga.
 W
RRRRR
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Binpahigda ni !ola 9elya si !eonita sa iya mga paa. Binkuha sang isa ka siglo kag duha ka 1       

tuig nga mga kamut ni !ola 9elya ang mga katsa nga may mga panubok ni !eonita. Binpahid ni
!ola 9elya ang isa ka katsa nga may panubok nga laragway ni !eonita kag sang pangayaw kag sang
wala mahuman nga bata sa nawong ni !eonita.
 Gagkuha si !ola 9elya sang lana nga ginsimpon sa duga sang ginlubak nga dahon sang
kamangyan. Binbanyosan niya ang mga butkon kag ulo ni !eonita. Gabatyagan ni !eonita ang
 pagsuyop sang kainit kag pagkadula sang pagpalanugnaw nga naglikop sa iya bilog nga lawas.
 Gaghugot ang paghakos ni !ola 9elya kay !eonita. Binpiyong sang tigulang ang iya mga
mata. Gadumduman ni !ola 9elya nga sadto may nagtuhaw man nga isa ka pangayaw sagwa sang
iya bintana. Gagdala ini sang sugidanon nahanungod kay akunawa nga luyag maglamon sang iya
iloy nga si Lgsad. Gadumduman ni !ola 9elya nga sa siga sang ugsad, naka1sarwal lang ini nga
human sa daw may tuman kagagmay nga mga mata nga lambat nga lanot. :ala ini makasul1ob
sing bayo.
*atahum lantawon ang dughan kag mga butkon sini sa diin nagailig ang manipis nga balhas
nga daw katulad sang ginsimpon nga lana kag ginlubak nga dahon sang kamangyan. ;ng mga mata
sini nagapakita sang kaalam kag kaisog nga tuhay sa iya sang mga ukidnon. *alaba nga bangkaw
nga ang tagub sini may dagway nga isda kag napunihan sang pilak ang nahigot sa iya likod.
“*ahimo ka mag1upod sa akon pagkatapos ko mapatay si akunawa, pulong sang
 pangayaw Kay !ola 9elya.
 Gagsugod si !ola 9elya sa pagmitlang sang mga tinaga. aw halos wala nagatunog ang
 pagmitlang ni !ola 9elya sang mga tinaga. aw nagakutibkutib lang ang iya mga bibig kag sa ini
lang nga kahigayonan nga indi ni !eonita mahangpan ang buot silingon sang ginapangmitlang ni
!ola 9elya.
 Gagbangon si !eonita kag nagtipon naman sang mga pinanid sang katsa, mga dagum, kag
mga hilo nga may may nagkalainlain nga mga duag. Gagsugod siya sa pagtubok sang dagway ni
Lgsad nga diin katulad ini sang isa ka salaming sa diin makita ang ulo sang pangayaw nga
nakatabid sa lawas sang isa ka higante nga man1og. 3agkatapos niya sa pagtubok sang pangayaw,
kay Lgsad kag kay akunawa, nagtubok naman siya sang isa ka bag1o nga laragway. 0a
laragway, isa siya ka tigulang nga may pangedaron katulad ni !ola 9elya karon. 0a laragway,
nakapungko siya sa ulunan sa tunga sang salog sang payag ni !ola 9elya. *ay tupad siya nga isa ka
dalaga nga may pangedaron katulad niya karon. 0a laragway, nagapiyong ang iya mga mata kag
nagamitlang siya sang mga tinaga sang isa ka sugidanon.
RRRRR
 0a masunod nga pagpakita ni Lgsad, mahipos nga ginhagad ni !ola 9elya si !eonita nga  2
magkadto sa sapa nga nagakihad sang talon kag kakahoyan kag sang duta sagwa sini. 0a isa ka
 1
  st
 bahin sang patag nga kahilamunan, nagpungko si !ola 9elya katulad sang iya pagpungko kon siya
ang magmitlang sang mga tinaga sang mga sugidanon sa sulod sang iya payag. Gagsugod siya sa
 C
 e
 pagmitlang sang mga tinaga sang isa ka sugidanon. *atigda ang pagmitlang ni !ola 9elya kag labi
 n
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nga mahangpan ni !eonita ang mga tinaga. Gagpungko si !eonita sa tupad ni !ola 9elya katulad   yr
sang iya ginahimo tagsa nga yara sila sa sulod sang payag samtang nagapamati siya sa mga  L
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sugidadon ni !ola 9elya. Karon, makita ang pagkakibot, pagkatingala, dayon pagkalipay sa  p
nawong ni !eonita.
 p
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3agkatapos ni !ola 9elya sa pagmitlang sang sugidanon, nagpagwa siya kag naghumlad  e
 s
sang mga panubok. *ay yara nga may laragway ni !eonita, sang pangayaw kag nahuman nga bata  a
nga may duag sang pangayaw. *ay yara man nga ay laragway sang isa ka payag .
 n
 d
*ay isa ka panubok sa mas malapad nga katsa. 0a ini nga panubok, may yara sang    ht
laragway sang babaye kag lalaki nga indi mga ukidnon. Binhangop ni !eonita nga pangayaw ang  e
mga ini. *ay lapsag nga ginadahu ang babaye kag lalaki sa isa ka tigulang nga babaye nga
 W
ukidnon. ;ng panapton sang babaye indi katulad sang panapton sang mga ukidnon nga babaye.
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;ng lalaki naka1sarwal nga nahuman sang may tuman ka gagmay nga mga mata nga lambat nga 1       

lanot. :ala ini makasul1ob sang bayo. *alaba nga bangkaw nga ang punta sini may tagub nga
may dagway sang isda kag napunihan sang pilak ang nahigot sa iya likod.
  Bindaho niya kay !eonita ang mga panubok. Binhimutadan ni !eonita ang mga ini.
Bilayon nga naglakat si !eonita. Gaglakat siya padulong sa ginahamtangan sang dagat nga wala
sing pangduhaduha ukon kahadlok. :ala gid siya nagbalikid sa talon kag kakahoyan. 0i !ola 9elya
naman naglantaw sa nagapalayo nga !eonita tubtub nadula ang dalaga sa mga talaytay kag mga
 panganod.

 2
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POETRY: Ang Baboy *) 3!( Ire"i+ E. Te!&!r!  p
 p
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A*!ut t(e Aut(!r:  s
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3!( Ire"i+ Erie Te!&!r!  #born Govember %6, %J' in *aybato Gorte, 0an Cose de
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uenavista, ;nti4ue, 3hilippines$ is a Filipino writer , literary critic and cultural scholar. orn to a  e
middle1class family in ;nti4ue province, 9eodoro gained early recognition as a creative writer since  W
his college years. 2e writes in four languages, namely +nglish, Filipino, 2iligaynon and Kinaray1a.  o
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2e is a member of the ;lon -ollective and the 9abigD2ubon *anunulat ;nti4ue. *any of his 1       
literary works have been published some of the countryAs leading (ournals, magazines and
newspapers. 2e is a five1time awardee of the 3alanca ;wards and has published countless books of 
fiction and poetry. 2e obtained his bachelorAs degree in biology from the Lniversity of 0an
;gustin in Iloilo -ity and completed a masterAs degree in creative writing from the e !a 0alle
Lniversity1*anila with high distinction.

ANG 2A2OY
Cohn +remil +. 9eodoro

0ugot takun nga mangin baboy

Kon ang tangkal ko mga butkun mo.
asta damogan mo lang ako
Kang imo nga yuhum kag haruk 
;ga, hapon.

ali man lang ako patambukun.

;ng pangako mo man lang
 Gga indi ako pagpabay1an
;mo ang bitamina nga akun
Binatomar.

Kag kon gabii gani

;ng mga apuhap mo man lang
0a akun likod kag dughan
;ng makapahuraguk kanakun.

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ONE4ACT PLAY: Children of the Sea *) G+e Sevi++a #a$  p
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A*!ut t(e Aut(!r:  s
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G+e Sevi++a #a$ #born %JEH$ is a Filipino teacher, theater artist, writer, and nine1time
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winner of the -arlos 3alanca *emorial ;wards for !iterature. *as is currently a Fine ;rts professor   e
at the ;teneo de *anila Lniversity.  W
Blenn *as hails from 0an Cose de uenavista, ;nti4ue. 2e studied in ;nti4ue -hristian  o
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-enter, 0t. ;nthonyAs -ollege, <ton +lementary 0chool, ;nti4ue Gational 0chool, :est >isayas 1       
0tate Lniversity, and 9he -atholic Lniversity of ;merica.
2e is the contributing editor for drama in +nglish of the website ; -ritical 0urvey of 
3hilippine !iterature and the drama editor of !iteratura, an online magazine of 3hilippine literature.
2is plays have been published in 9ony, the literary (ournal of 0t. ;nthony’s -ollege in 0an Cose de
uenavista, ;nti4ue7 0an;g, the literary (ournal of the Lniversity of 0an ;gustin in Iloilo -ity and
;ni, the literary (ournal of the -ultural -enter of the 3hilippines.
Blenn has won nine times in the on -arlos 3alanca *emorial ;wards for !iterature. 2e
won first place for T’2er Father’s 2ouse’’ #&6$, ?In the !and of the Biants? #&8$ and T’9he
eath of *emory’’ #&E$, second place for T’In the ark’’ #&%$, T’-hildren of the 0ea’’ #&8$
and T’Bames 3eople 3lay’’ #&$, and third place for T’9he Feline -urse’’ #%JJE$, T’irth of Flight’’
#&'$, and T’=ite of 3assage’’ #&6$.

CHILDREN OF THE SEA

Blenn 0evilla *as

C(ara,ter$

*anding 0oling " an old woman -orazon " <smar and +strella’s daughter, %6
<smar " her son, '8 9he men and women of -aluya
+strella " <smar’s wife, ''

Settig
9he stage’s walls are made of katsa #sack or muslin cloth$. 9o the right is *anding 0oling’s
 bedroom. 2ere, an old bamboo bed occupies most of the space. Gear it is an old table with a lighted
candle. 9o the left is a small kitchen with its re4uisite table and chairs. In one corner is a bamboo
cupboard. Gear it is the sink with an earthen (ar filled with potable water. <n the other side of the
kitchen is an old cabinet filled with old clothes. 0uspended above the stage is a huge fishing net that
is dangerously threatening to collapse.

Ti"e a& P+a,e

; stormy month in the province of ;nti4ue, 3hilippines. 9he island municipality of -aluya.
9he farthest from the capital town of 0an Cose de uenavista, -aluya and its nine other islands can
only be reached by motorized pump or ferry boat. In Kinaray1a, a native language of ;nti4ue, the  2
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word “kaluya literally means lonely.   st
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9he sound of angry waves is heard. 0oon, thunder roars and the wind howls. ;t the  p
foreground of the stage, +strella and -orazon are worriedly looking out to the sea. !ight comes
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from the kerosene lamp that +strella carries.  e
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+09=+!!; o you see anything, -orazon5  a
-<=;W<G ;no abi ay your tatay insisted gid to go to 0ibay and look for your 9iyo endo there.
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ut this weatherS    ht
#The two women stare helplessly at the angry sea18  e
+09=+!!; <, ta. It is late run, -orazon. /our lola must be worried already.
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-<=;W<G /ou go ahead rulang, TGay. I will wait for tatay here.
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+09=+!!; -orazon. 1       

#)oraon once again looks out to the sea.$

+09=+!!; -orazonQ !inti ngaS
#)oraon reluctantly follows her to offstage1$
# In a while, a dim light reveals #anding %oling sleeping on the bed1 The waves become even
angrier and she is disturbed1 The bed creaks as she tosses and turns in her sleep1 The flickering 
images of a grim shadow play are then pro*ected on the katsa walls2 a boat being tossed at sea 7 a
man desperately trying to save his boat and his life 7 the waves becoming even angrier as the man
 slowly loses control of the boat 7 the boat suddenly getting hit by a big wave 7 the man bravely
 facing death as he frantically prays the 9#aghimaya ikaw, #ariya1:$
*;G *aghimaya ikaw, *ariya S buta ikaw ti grasya S ipangamuyo mo kami kadya kag sa tion
kang amun kamatayun S
# Another wave, bigger and more fatal, hits the boat1 The man screams1 The flickering images
disappear as another dim light reveals the rest of the stage1 /strella and )oraon enter the kitchen1
 /strella places the lamp on the dining table, )oraon sits in one of the chairs1$
*;GIGB 0<!IGB endorQ # 'ulls herself up and clutches her rosary18
+09=+!!; TGay5 #%he hurriedly enters #anding %oling5s room.$
+09=+!!; /ou dreamed of endor again. #%he gently massages the old woman5s back .$
+09=+!!; -orazon5 -orazonQ ;bi bring a glass of water anay here for your lola.
-<=;W<G ali lang, TGayQ #%he gets a glass of water from the cupboard and fills it with drinking 
water .$
+09=+!!; 9he !ord has mercy, TGay. 2e will surely take pity on endor.
*;GIGB 0<!IGB Is <smar home already, +strella5
+09=+!!; Got yet gani, TGay. :e wanted to wait for him longer daad but it was getting late
already. I’m worried man gani.
*;GIGB 0<!IGB I hope he arrives with some news about endor soon.
#)oraon enters the room and hands over the glass to #anding %oling1 The old woman drinks from
it slowly.$
-<=;W<G TGay, I’d like to go back to the shore daad and wait for tatay there.
+09=+!!; ;bi stop adding to our problems man anay, -orazon. /ou know how worried your lola
and I are tapos here you are asking permission to go back to the shore, alone5 ;bi be
considerate manQ !inti nga S
-<=;W<G ut, TGay. I (ust want to be there daad so when tatay arrives S
+09=+!!; #;verlapping1 %tands up.$ :hat5 :hat will you do gid haw man when your tatay  2
arrives, ha, -orazon5 /ou know very well that he will get angry lang with us if he sees
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you waiting for him there aloneQ Indi bala5 ;bi use your head man once in a while,
-orazon, ayQ ;nd stop this foolishness at once abiQ wisit nga S ;bi go to the kitchen
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rulang gani and make yourself useful there.
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# #anding %oling hands over the glass to )oraon who then goes to the kitchen and sits in one of the   yr
chairs, sulking .$  L
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*;GIGB 0<!IGB on’t you think you’re a little too harsh on -orazon, ha, +strella5 0he is a big  p
girl now. 0oon, I am sure nga she will assert herself more.
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+09=+!!; ;ssert herself more5 In other places siguro, TGay, that is possible. ut here5 In -aluya5  e
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:e can’t even assert ourselves gani in this house mong. Go one listens to us hereQ Indi  a
 bala, TGay5 +xcept ourselves man e.
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# A moment of silence.$    ht
+09=+!!; ;nd that child is becoming stubborn as she grows older, TGay. Indi bala5 0he had  e
 better do something about it if she wants a good man to marry her. <therwise, who will
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look after her and take care of her bay5 :e can’t always be there for herQ
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# Another gust of wind is heard1 /strella sighs1 In the kitchen, )oraon gets up and hurriedly leaves 1       

 for the shore1 /strella sits beside #anding %oling .$

+09=+!!; TGong Kardo sacrificed a chicken gali this afternoon, TGay. 2e said he did it to appease
the spirits of the sea. # A beat .$ I guess they’re asleep. It’s taking a long time for the
sacrifice to work.
*;GIGB 0<!IGB +strellaQ 2e is a good man, your *anong Kardo. 2e also lost two sons to the
sea many years ago so he understands what we are going through now.
; moment of silence.
+09=+!!; I’m sorry, TGay. I’m sorry gid but S I do not know what to do run abi. I have a favor 
to ask of you gani daad.
*;GIGB 0<!IGB :hat favor, +strella5
+09=+!!; 3lease talk to <smar abi later, TGay. 2e won’t listen gid to me abi. 2e insists in leaving
for *indoro the moment he arrives from 0ibay. It is important that he go there kuno to
get ice for the island. I keep telling him gani to wait daad until the weather gets better 
 but he won’t listen to me gid. TGong Gestor kuno promised to pay him extra pesos if he
leaves tomorrow with erto. 0ibay, at least, is not that far. ut *indoro5
# A moment of silence.$
*;GIGB 0<!IGB I don’t know, +strella, but S all right. For your sake, I will try. ut you know
how he is.
+09=+!!; For my sake5 For my sake lang, TGay5 :hat about you tana bay, TGay5 o’t you want
your son haw to stay here anay until the weather gets better5 TGay.
*;GIGB 0<!IGB /ou know very well he doesn’t listen to me man, +strella. ;nd I have
accepted that many years ago run. :hen he was younger, yes, he listened to me. ut the
day he became taller than me, he started doing things on his own run. !ike his tatay. ;nd
his other brothers.
+09=+!!; ut, TGay S
*;GIGB 0<!IGB 9hrough the years, I have learned to accept many things run, +strella. +ven if 
I can’t understand them man. ;nd one of them is to keep my opinions to myself. I also
didn’t believe my nanay when she told me that many, many years ago. ut she’s right,
indi bala5 9hat’s (ust how things are here. I keep hoping gani that things will be a little
different when it’s -orazon’s turn run to get married. ut with the way things are S
#%he smiles sadly.$
*;GIGB 0<!IGB ;fter I talk to him and he still decides to leave, ti kundi we cannot do
anything run but pray for his safety rulang. #0he takes +strella’s hand.$ ut the !ord has  2
mercy and he will take pity on us. <smar will be home soon.
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# Another gust of wind is heard .$
+09=+!!; I don’t know, TGay. I no longer know what to believe. I’ll go back to the shore rulang
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anay siguro. I will wait for him there. I’m worried run gid abi.
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# #anding %oling doesn5t answer .$   yr
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+09=+!!; 0ige, TGay. -orazon5 -orazonQ #Gets up and goes to the kitchen.$ ;bi go with me to  p
the shore anay. :e will wait for your tatay thereQ -orazonQ ;y sus S # eturns
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immediately.$ /our granddaughter, TGay. 0he went ahead run gali. I pity gid the man  e
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who will choose her for his wife. :e’ll be back as soon as <smar arrives.  a
#%he goes to the kitchen and gets the kerosene lamp1 %he leaves1 #anding %oling stares after her1 In
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a while, she prays.$    ht
*;GIGB 0<!IGB *aghimaya ikaw, *ariya, magkalipay ikaw, buta ikaw ti grasya7 ang  e
Binuong ’yos rugyan kanimo. Gahamut1an ikaw labaw sa tanan ng mga babayi kag
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nahamut1an man ang bunga kang imo busong nga si 2isus S
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# !ights out1 /strella soon reaches the foreground area of the stage1 There, she sees )oraon sitting  1       

on the shore and looking out to the sea1 The sound of angry waves is still heard1$
+09=+!!; 0us, -orazon, you shouldn’t have gone ahead. /ou should have waited for me daad.
#)oraon doesn5t answer1 /strella sits near her .$
+09=+!!; ;y, your tatay, -orazon. I hope he is safe out there.
# And the two women stare silently at the sea, waiting1 In a while, the sound of an approaching 
motoried pump boat is heard1 The two get up1$
+09=+!!; Binuo ko. #*y Bod.$ 9hat’s your tatay’s boat, indi bala5 9hat’s his boat, indi bala,
-orazon5
#)oraon rushes forward and tries to see more clearly.$
-<=;W<G I think it is his boat gid man, TGay. T9ayQ # !ooks at /strella.$ It’s tatay’s boat gid man,
TGayQ
+09=+!!; iyos ko, salamat. <smarQ
#The women an<iously wait for the boat to reach the shore1 In a while, a wet and every tired ;smar 
enters1 He has with him a weather-beaten knapsack1 /strella rushes to meet him.$
+09=+!!; 0us, <smarQ 9hank Bod you are safe. :e’ve been very worried gid about you. 9i did
you find out anything about endor5 2as anyone seen him, or heard anything about him,
in 0ibay, ha, <smar5 Ganay had another one of her bad dreams abi. 0he dreamed about
endor again and she dreamed that S
-<=;W<G #<verlapping.$ is that 9iyo endor’s bag, T9ay5
# /strella notices the knapsack .$
+09=+!!; Binuo ko. 9hat’s endor’s bag, isn’t it, <smar5 :here did you S
<0*;= 0omeone found it floating near the shore of 0ibay yesterday. 2e gave it to me when I said
it looked like endor’s.
+09=+!!; /ou mean you haven’t S 9i shall we open it now, <smar5 ecause if that’s really
endor’s S
<0*;= #;verlapping .$ I’m tired, +strella. !et’s talk about this some other time. #hands over the
knapsack to /strella.$ /ou keep this anay. # /strella silently accepts the knapsack .$
<0*;= on’t show it anay to nanay until we are sure what really happened to endor.
+09=+!!; ut, <smar, if this bag is really endor’s S
<0*;= #;verlapping .$ +strella.
+09=+!!; I mean, don’t you want to open this now, <smar5 Indi bala nga S I’m sorry but indi
 bala nga we’ve been waiting for something like this to turn up5 ;nd now that we have
this, don’t you think it’s a good idead for us S even (ust us lang anay, <smar S to look   2
at this now5
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#;smar doesn5t acknowledge /strella5s suggestion.$
<0*;= 2ow is your lola gali, -orazon5
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# /strella sighs.$
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-<=;W<G 0he’s okay lang man siguro, T9ay.   yr
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+09=+!!; 0he’s still trying to be brave about all this man. 0he’s been waiting for something like  p
this gani to S
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<0*;= #;verlapping1$ 2ave you had supper run, -orazon5  e
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-<=;W<G Got yet, T9ay. ut it’s ready run. Ganay said we should eat together mong.  a
<0*;= 9a. I’m hungry run gid man.
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+09=+!!; <smarQ    ht
<0*;= !et’s go home run, +strella. I’m sure you’re hungry, too. :e’ve all had a long day.  e
# /strella *ust stares at ;smar .$
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<0*;= +strella.
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# And they slowly head for home1 A dim light again reveals the house1 %till clutching her rosary, 1       

 #anding %oling is now sitting on the edge of her bed an<iously waiting for ;smar5s arrival1 The
 sound of angry waves is still heard1 %oon, ;smar, /strella and )oraon enter the kitchen.$
<0*;= TGay5
*;GIGB 0<!IGB <smar5 <smar, is that you run5 #%tands up and rushes to meet ;smar who
hurriedly enters her room.$
# In the kitchen, /strella places the lamp on the dining table1 %he goes to the cabinet and 
momentarily stares at the knapsack1 )oraon sits and watches her silently1 %oon, /strella hides it 
inside the cabinet1 At the same time 78
<0*;= Tisa ko, TGay. # "isses the right hand of #anding %oling .$
*;GIGB 0<!IGB less you, my son. #+mbraces <smar.$ 9hank Bod you are safe, <smarQ ;no
abi ay I had this bad dream kaina #a while ago$. I really thought S ut you are safe. ;nd
that’s what’s important. 9i have you any news about endor5 2as anyone seen him, or 
heard anything about him, in 0ibay5 2a, <smar5
<0*;= Go, TGay. ut I’ll continue looking for him when I return from *indoro.
# /strella enters #anding %oling5s room.$
<0*;= I won’t stay there long man, TGay. erto and I will (ust load the blocks of ice from *anlor 
Ice 3lant and then we’ll immediately go back here. #0its on *anding 0oling’s bed.$
-orazon5 -orazonQ
-<=;W<G T9ay5
<0*;= ;bi bring a clean shirt for me anay here. 9he one I have on is very dirty run gid.
-<=;W<G ali lang, T9ayQ
#%he gets up and goes to the cabinet1 %he searches for a clean shirt but her attention is clearly on
the knapsack1 ;utside, a gust of wind can be heard1 )oraon gets the bag and carefully opens it1 At 
the same time 7$
<0*;= on’t worry, TGay. endor cannot (ust disappear man, indi bala5 2e is bound to turn up
somewhere soon. ;nd for all we know, endor (ust might be in another island, worried
man about us. :e never know, indi bala5
+09=+!!; <r he could be floating lifeless somewhere out in the sea. :e also never know, <smar,
indi bala5
<0*;= +strellaQ
+09=+!!; /our brother has been gone nine days run, <smar. Gine daysQ ;nd we haven’t heard
anything about him S not a single thing we could pin our hopes onQ 9apos you tell us to
still hope and not worry5  2
<0*;= 9i what do you want me to say bay, +strella5 2a5
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# A moment of silence.$
+09=+!!; I cannot go through another nine days of hoping and not knowing anything, <smar.
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# In the kitchen, )oraon carefully closes the knapsack and returns it to its hiding place1 %he gets a
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clean shirt and closes the cabinet1 At the same time S$   yr
+09=+!!; /ou will not leave for *indoro. ;t least, not now, <smar.  L
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<0*;= +strellaQ :e talked about this run, indi bala5 idn’t we talk about this run yesterday5 2a5  p
;nd you agreed that I’ll leave for *indoro the moment I arrive from 0ibayQ
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+09=+!!; :hat are you saying I agreed, <smarQ I didn’tQ /ou (ust assumed that I did but I didn’tQ  e
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<0*;= ut our talk ended with you not saying anything about it anymoreQ It ended with me  a
saying that I’ll leave for *indoro today, indi bala5
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+09=+!!; <smar, my not saying anything anymore didn’t mean I agreedQ    ht
<0*;= # /<asperated .$ 0usQ #Turns to #anding %oling .$ TGay, abi talk to her anay and put some  e
sense into her head, abi.
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+09=+!!; It is you who should put some sense into your head, <smarQ ;bi listen to reason man
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ayQ 2ow can you possibly go back to the sea when the weather has not improved at all5 1       

!isten to it balaQ ;nd look at yourself man abi, <smarQ 2ave you seen yourself lately5
2a5 /ou look like death itselfQ =est, <smarQ =est anay abit. +ven for (ust a night lang.
Cust one night lang, <smar. =estQ
#)oraon slowly enters the room.$
-<=;W<G T9ay. # Hands over the shirt to ;smar . ;smar accepts the shirt but doesn5t put it on.$
*;GIGB 0<!IGB -orazon and I had better prepare supper anay siguro. /ou must be hungry
run, <smar. # #anding %oling does not look at /strella.$
+09=+!!; TGayQ
*;GIGB 0<!IGB 9a, -orazon.
# #anding %oling and )oraon go to the kitchen1 /strella stares after them1 %oon, #anding %oling 
and )oraon prepare the dining table.$
+09=+!!; I am sorry but I cannot let you tempt death again, <smar.
<0*;= ut, +strella S
+09=+!!; #;verlapping .$ /ou (ust don’t know lang but each time you leave this house to look for 
endor S each time I watched you leave this house to look for your brother, <smar S I
always felt like I was seeing you for the last timeQ ;nd I am afraid that you will end up
 (ust like your tatayQ ;nd your brothersQ ut I kept 4uiet lang, <smar. ecause even if it
was difficult to do, I still somehow understood. ut to get ice for the island5
<0*;= I already gave my word to TGong Gestro, +strella. 2e is counting on me to be on that boat
to *indoro.
+09=+!!; !isten man abi to me, <smar, ayQ TGayQ
# #anding %oling hears /strella but makes no move to return to the room.$
<0*;= +strella, I begged TGong Gestor for this (obQ ;nd if I don’t take that boat ride to *indoro,
he will give the (ob to someone else. ;nd you know very well there are many in this
island who will gladly take my place, indi balaQ 9i if that happens, where am I going to
get money bay so you will have something to eat5 2a, +strella5 /ou know of any other 
way haw of earning money5 ;bi tell me. 9ell me, +strella, and I will gladly not leave for 
*indoro nowQ /ou know why5 ecause you are rightQ I am tiredQ I am very tired run,
+strellaQ
+09=+!!; ut we can do without money for a few days more, <smar. ;nd even if we eat
tangkong and ginamos and pinakas everyday, no one is complaining man, <smar, indi
 bala5 ;nd we will all go on eating tangkong and ginamos and pinakas for as long as they
are the only things you can affordQ /ou will never hear us complain, <smar. Cust please  2
stay. 3lease.
 1
  st
# A moment of silence.$
<0*;= !et’s talk about this some other time, +strella. I am tired. ;nd I still have a (ob to do. For 
 C
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now, I need you to understand me lang anay. 3lease.  #/strella doesn5t answer .$ 9his is
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my (ob, +strella. 9his is my only (ob. ;nd right now, I am the only man left in this   yr
family, indi bala5 If I lose this (ob, our already miserable life will become even more  L
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miserable. I can’t allow that to happen. 9hat’s why I have to leave. # /strella still doesn5t   p
answer .$
 p
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+09=+!!; /our supper is waiting for you.  e
 s
# And she hurriedly goes out1 %he goes to the table and puts food on her plate1 %he looks at   a
)oraon.$
 n
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+09=+!!; <, -orazon5 :hat are you waiting for pa5    ht
#)oraon slowly goes to the table1 %he also puts food on her plate1 %oon, the two of them eat =uietly1  e
 #anding %oling *ust looks at them1 In a while, she slowly goes to her room.$
 W
*;GIGB 0<!IGB ;re you not going to eat, <smar5 # ;smar doesn5t answer .$ I don’t want to
 o
   rld
interfere daad, but S +strella has a point, indi bala, <smar5 1       

#;smar still doesn5t answer1 He changes his shirt .$

*;GIGB 0<!IGB o you really have to go, <smar5
<0*;= # #lldly irritated .$ TGay.
*;GIGB 0<!IGB /our tatay abi didn’t listen to me man when I begged him to stay the night we
saw him last. =emember5 I told him to wait daad, even for (ust another day. 2e (ust said,
“ut don’t you always tell me that, 0oledad5 ;nd don’t I always go back to the island
man, tired but safe5 2ay, <smar. ;bi mo #/ou know what$, I didn’t sleep that night. I
stayed awake listening lang to the angry waves. I kept imagining your tatay S out there
in the sea, helplessly facing its fury alone.
<0*;= ut the sea has also been kind man to us, indi bala, TGay5 It has always provided us with
food. ;nd money.
#*anding 0oling sits near <smar.$
*;GIGB 0<!IGB ut it also claimed man the life of your tatay and your three brothers.
<0*;= #%oftly.$ TGay.
*;GIGB 0<!IGB I have stopped hoping run, <smar. I (ust want your brother’s body to be
found so we could give him a proper burial. ;nd +strella’s right. :hat good is a few
 pesos more if the price is the life of my only surviving son5
<0*;= I will be very careful, TGay. I will be very careful gid.
+=9< # +rom outside.$ <smar5 <smarQ
<0*;= erto5 Is that you run5
# /strella and )oraon stop eating .$
+=9< #From outside.$ /es, <smarQ :e might have to leave for *indoro siguro run bayQ 9he sea
is not as angry as it was kaina mong so we might as well take advantage of it. :hat do
you think haw5
#<smar looks at *anding 0oling.$
+=9< #From outside.$ <smar5
<0*;= /ou go ahead lang anay to the boat, ertoQ I’ll (oin you in a whileQ
+=9< #From outside.$ 0ige aQ I’ll (ust wait for you there rulang, <smarQ I’ll prepare the boat runQ
<0*;= 0ige, ertoQ -orazon5 -orazonQ
-<=;W<G T9ay5
<0*;= ;bi get me another shirt anay to bring to *indoroQ
-<=;W<G /es, T9ayQ ali lang gidQ
#%he gets up and goes to the cabinet1 %he opens it and gets another shirt1 /strella stares at the  2
cabinet =uietly1 )oraon closes it and goes to #anding %oling5s room.$
 1
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-<=;W<G T9ay. # Hands over the shirt to ;smar .$
<0*;= # Accepts it .$ 9hank you, -orazon. ;nd if I have time, I’ll buy you a new dress in *indoro,
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-<=;W<G 0ige, T9ay. 9hank you man.   yr
#;smar gets up.$  L
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<0*;= TGay.  p
# #anding %oling embraces ;smar .$
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*;GIGB 0<!IGB I really pray you are making the right decision, <smar. 9i take care gid. I will  e
 s
 be praying rulang for your safety.  a
<0*;= 0ige, TGay. /ou take care lang anay of things here. I’ll go back immediately man a.
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*;GIGB 0<!IGB on’t worry about us, <smar. :e’ll be (ust fine.    ht
#;smar goes to the kitchen1 #anding %oling and )oraon slowly follow him there.$  e
<0*;= +strella.
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# /strella doesn5t answer1 %he resumes eating .$
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<0*;= +strella, please. 1       

# A moment of silence.$

<0*;= I’m leaving anay, +strella.
+09=+!!; <f course. /ou’ve made that clear kaina pa, indi bala5 0o sige. Go one can stop you
man ayhan.
<0*;= I’ll be back immediately, +strella. :e’ll talk then.
+09=+!!; :hy bother, <smar5 ;fter all, in this house, only your opinion matters, indi bala5 !et’s
not waste our time.
# A gust of wind is heard .$
+09=+!!; /ou might be late run, <smar. erto might become impatient and leave you behind.
#;smar angrily leaves1 /strella *ust goes on eating1 #anding %oling sits facing her1 /strella gets up
and brings her plate to the sink1 %he washes it .$
*;GIGB 0<!IGB +strella. It might not be a good idea to let your husband leave like that. If 
something happens to him S
+09=+!!; #;verlapping .$ If he stayed here tonight, TGay, nothing will surely happen to him.
# A moment of silence.$
+09=+!!; I thought you were going to talk to him, TGay.
*;GIGB 0<!IGB ut I did, +strellaQ <r at least, I triedQ
+09=+!!; Go, TGay, you didn’t. /ou listened to him and agreed to everything he saidQ If you
insisted that he stay here daad, he might have listened to you pa and we wouldn’t be
worrying about him nowQ 2e’s your only son left, TGay.
*;GIGB 0<!IGB 9hat’s why Bod will take care of him, +strella.
+09=+!!; TGayQ /ou lost your husband and sons to the sea run and you still believe that Bod will
take care of the only one left5
*;GIGB 0<!IGB +strellaQ
+09=+!!; 9here is no Bod out there in the sea, TGayQ I know because I’ve been there several
times run. <ut there, there’s (ust you and the endless water. ;nd once the sea gets angry,
TGay, there is nothing you can do but hope that it will at least be a 4uick endQ I lost my
only brother to the sea years ago man, TGayQ 2e was a fisherman who insisted he knows
everything about it. 0o he left even if we begged him not to. ;nd he didn’t return, TGayQ.
I even went with 9atay to look for him gani mong. :e searched for him for daysQ ;nd
you know what, TGay5 :e never found himQ ;nd you tell me Bod will look out for 
<smar because he’s the only one left5
#Gusts of wind are again heard1 %oon, thunder roars.$  2
*;GIGB 0<!IGB Binuo koQ It might not be too late pa man siguro, +strella, indi bala5 Gestor’s
 1
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 boat might not have left pa man siguro, indi bala5
+09=+!!; ut you have to hurry siguro, TGay, if you want to prevent <smar from leaving. erto
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was in a hurry nga daan to leave kaina, indi bala5
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*;GIGB 0<!IGB on’t you want to go with me to the shore haw, +strella5   yr
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+09=+!!; ut he’s angry with me, TGay. /ou saw how we parted ways kaina. ;nd my being there  p
might force him pa gani to leave even more, indi bala5 -orazon.
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-<=;W<G TGay5  e
 s
+09=+!!; ;bi go with your lola anay to the shore. 2opefully, your tatay hasn’t left pa man for   a
*indoro.
 n
 d
-<=;W<G /es, TGay.    ht
+09=+!!; ;nd bring that lamp dayon so he will immediately see you approaching.  e
-<=;W<G /es, TGay. #Gets the kerosene lamp.$
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*;GIGB 0<!IGB 0ige, +strella. 3ray that we will reach <smar in time.
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+09=+!!; I will, TGay. Gow, hurryQ 1       

*;GIGB 0<!IGB 9a, -orazon.

# And the two women hurriedly leave1 /strella watches them for a moment1 In a while, she goes to
the cabinet and takes out the knapsack1 !ightning strikes and another thunder is heard1 %oon, there
is rain1 /strella goes to the table and hurriedly opens the bag1 %he takes out its contents2 a bonnet 
and a dried out, plastic-covered prayer book1 %he inspects the shirt and the bonnet but doesn5t see
any identifying mark on them1 %he picks up the prayer book and looks at its cover1 %he sees
 $endor5s name on it .$
+09=+!!; endorQ
# !ightning strikes again1 +rom afar, a woman wails1$
+09=+!!; TGay5
*;GIGB 0<!IGB # +rom outside$. +strellaQ ;y, Binuo ko, +strellaQ
+09=+!!; TGayQ
# /strella is about to rush out when #anding %oling and )oraon, both soaked, hurriedly enter the
house.$
+09=+!!; TGayQ :hat’s wrong, TGay5 :as that you who screamed5
*;GIGB 0<!IGB +strella S #%he wails again.$
+09=+!!; TGay5 # Her tears start to fall as she realies why the old woman is inconsolable.$
*;GIGB 0<!IGB ;y, he is gone run, +strellaQ *y last sone is gone runQ ;nd I saw it happen
gid. ;y, Binuo ko, but I saw it happen gid, +strellaQ !ightning struck so I clearly saw itQ
+09=+!!; 0aw what, TGay5
# And the grim images of the shadow play are again pro*ected on the katsa walls1 The angry waves
are again heard .$
*;GIGB 0<!IGB 2is death, +strellaQ <smar’s deathQ ;y, his boat was way out in the sea run
when a big wave, bigger that the ones that were tossing it around, suddenly hit it. ;nd it
was so big it turned the boat over, +strellaQ ;y, Binuo ko, but it turned the boat over gidQ
;nd I saw <smar trying desperately to stay up in the water. 2e is a good swimmer, indi
 bala, +strella5 2e is a very good swimmer and so is erto who is a very good swimmer,
too. ut another wave hit themQ ;nd it was (ust as big as the one before itQ ;nd then I
couldn’t see them anymore. ;nd then I couldn’t see them anymore, +strellaQ ;nd he is
the only one leftQ 2e is my only son leftQ #3ails.$
#9he shadow play ends.
+09=+!!; ut S it was dark, wasn’t it, TGay5 *aybe you didn’t S *aybe your eyes were (ust
S  2
*;GIGB 0<!IGB ut I saw it gid, +strellaQ ;y, I saw it gid abi.
 1
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+09=+!!; ut, TGay S TGayQ
# Her knees fail her and she falls to the ground1 )oraon rushes toward her .$
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-<=;W<G TGayQ
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  tu
+09=+!!; /our tatay, -orazon. /our tatay left us run kuno, -orazon.   yr
-<=;W<G /es, TGay. I saw it. I saw it man, TGayQ  L
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# /strella cries1 )oraon comforts her .$  p
+09=+!!; ;no abi ay he won’t listen gid to meQ 2e won’t listen gid to me abi mongQ ;y, <smar.
 p
  in
#Gets up.$ -orazon. !et us go to the shore ow. I need to be with your tatay. I need to see  e
 s
your tatay now. <smarQ TGay5  a
*;GIGB 0<!IGB I cannot bear to look at the sea right now, +strella5 !et’s (ust wait for him
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rulang here. I am sure the men of the island will soon bring him here.    ht
# /strella wails1 #anding %oling notices the knapsack on the table and rushes toward it1 %he takes  e
 $endor5s things in her hand .$
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*;GIGB 0<!IGB 9hese are endor’s thingsQ 9hese are endor’s things, indi bala, +strella5
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9hese are his, I am sure gidQ 1       

+09=+!!; <smar said someone found the bag floating near the shore of 0ibay yesterday, TGay.
2e brought that with him kaina but he told me not to show it to you anay. ;t least, until
he learns what really happened gid to endor, he said. 2e wanted to spare you daad from
more pain, TGay. ;y, who knew he would suffer the same fate, indi bala, TGay5 ;nd
cause us even more painQ ;y, Binuo ko, <smarQ
*;GIGB 0<!IGB 9his bag, +strella. endor bought this in !ibertad two years ago, indi bala5
For the fiestaQ 2e attended with <smar and erto, remember5 ;nd this shirt S and this
cap have been with him for years run. I washed these myself pa gani two weeks ago.
;nd his prayer bookQ ;y, I gave him this prayer book for his birthday last year, +strella.
2e was so happy when I gave this to him. 2e was so happy he told me he’ll bring this
with him everywhere he goes so he’ll always be safe. 0o he’ll always be safe, that what
he said, +strellaQ
# A moment of silence.$
+09=+!!; :hat will happen to us run bay, TGayQ 9here are three of us left rulang. ;nd all
womenQ ;y, what are we going to do, TGay5
*;GIGB 0<!IGB :e’ll take care of ourselves e, +strella. /ou, me and -orazon. :e’ll take care
of each other e. In the meantime, we have things to attend to anay. # Arranges $endor5s
things on the table1$ <ne of us should go to the convento tomorrow to ask help from
3adre *iguel. /ou might want to do that, +strella. 2e helped us before with *anuel’s
funeral so I’m sure he’ll help us again. I will go tana to the munisipyo and ask for 
 plywood that we can use for <smar’s coffin. ;nd go to your *anding *iling man gali
tomorrow, -orazon. 9ell her we will borrow anay her playing cards and mah(ong set for 
the wake. ;nd the tolda tana, your *anong Kardo will surely help us with that. ;y, we
have so many things to do but many will surely help us get them done man.
3;=+ *IBL+! # +rom outside.$ *anding 0oling5 +strellaQ *andingQ 9his is 3adre daadQ
+09=+!!; 9hey’re here run, TGayQ
#)oraon assists /strella in getting up.$
*;GIGB 0<!IGB 3adre5
# 'adre #iguel enters with some women1 (ust like #anding %oling and )oraon, they are also all 
wet from the rain.$
*;GIGB 0<!IGB 3adre.
3;=+ *IBL+! +strella. *anding. # Holds #anding %oling5s hands.$ I am sorry gid to be the one
to tell you this but S  2
*;GIGB 0<!IGB :e already know, 3adre. -orazon and I saw it kaina. :e were on our way to
 1
  st
him daad to plead that he not leave for *indoro anay but S we were late run. y that
time, he was already out in the sea with erto, 3adre. ;nd we saw it gid. ;y, -orazon
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and I saw it gid, 3adreQ
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3;=+ *IBL+! :e have his body run outside, *anding.   yr
+09=+!!; ;y, Binuo ko, <smarQ  L
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#The men bring in the body of ;smar1 /strella and )oraon rush to it, wailing .$  p
-<=;W<G T9ayQ
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+09=+!!; <smarQ ;y, forgive me gid, <smar. Forgive meQ I didn’t mean what I said gid kainaQ  e
 s
<smarQ  a
#The women attend to /strella and )oraon while the men bring ;smar5s body to the bedroom1
 n
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They lay it gently on the bed .$    ht
*;GIGB 0<!IGB =est well, my child. Gow, you no longer have to worry about working so  e
hard. on’t worry about us, <smar. 0oon, we will be all right man. 0oon, everything will
 W
 be all right man.
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#%he kisses his forehead1 'adre #iguel then sprinkles Holy 3ater over ;smar5s body1 %oon, the 1       

visitors move =uietly to the kitchen1 )oraon goes with them and gets a towel and washbasin1 %he
 goes back to the room and gives these to /strella1 In a while, /strella cradles ;smar5s body and 
 gently cleanses it .$
+09=+!!; I pray you are at peace run, <smar. :atch over us lang, ha5 0o we won’t be too
helpless. ;y, I do not know what will become of us run. ut don’t worry. Bod will take
care of us man siguro. ;nd forgive me again, <smar. ;y, forgive me. Forgive me.
# #anding %oling and )oraon watch this scene =uietly1 In the kitchen, 'adre #iguel leads a
 prayer .$
3;=+ *IBL+! ;G 92+ *+G ;G :<*+G <F -;!L/; *aghimaya ikaw, *ariya,
magkalipay ikaw, buta ikaw ti grasya7 ang Binuong Tyos rugyan kanimo.
#The lights slowly fade out1 In the dark, the barrio5s prayer becomes one with the relentless and the
angry waves of the sea.$
3;=+ *IBL+! ;G 92+ *+G ;G :<*+G <F -;!L/; Gahamut1an ikaw labaw sa tanan
nga mga babayi kag nahamut1an man ang bunga kang imo busong nga si 2isus. 0anta
*ariya, nanay kang yos, ipangamuyo mo kami nga makasasala. Kadya kag sa tion
kang amun kamatayun.
T(e e&.

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ESSAY: Weaponizing Soial Media *) #iria" Dee$!r  p
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Satiag!
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A*!ut t(e Aut(!r:
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#iria" Pa+"a Dee$!r Satiag! #%8 Cune %J68 " &J 0eptember &%E$ was a Filipino  e
 politician and (udge, who served in all three branches of the 3hilippine government) (udicial,
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executive, and legislative. 0ome of her alma maters are Lniversity of the 3hilippines, Lniversity of     rld
*ichigan, <xford Lniversity, *aryhill 0chool of 9heology, Lniversity of -alifornia, 2arvard 1       

Lniversity, and -ambridge Lniversity. 0antiago was named one of 9he % *ost 3owerful :omen
in the :orld in %JJ by The Australian magazine.
In %JHH, 0antiago was named laureate of the =amon *agsaysay ;ward for government
service, with a citation ?for bold and moral leadership in cleaning up a graft1ridden government
agency.
In &%&, 0antiago became the first Filipina and the first ;sian from a developing country to
 be elected a (udge of the International -riminal -ourt. 0he later resigned the post, citing chronic
fatigue syndrome, which turned out to be lung cancer. In &%E, she became part of the International
;dvisory -ouncil of the International evelopment !aw <rganization #I!<$, an
intergovernmental body that promotes the rule of law.
0antiago served three terms in the 3hilippine 0enate. <n %' <ctober &%8, 0antiago declared
her candidacy for 3resident of the 3hilippines in the &%E elections after her doctors from the
Lnited 0tates declared her cancer AstableA and ArecededA, but lost in the elections. Following her 
death, she was called by her supporters as ?the best president we never had?.
0antiago was known as the Dragon !ady, the  'latinum !ady, the  Incorruptible !ady,
the Tiger !ady, and most popularly, the Iron !ady of Asia.

WEAPONI8ING SOCIAL #EDIA

#excerpt from the speech delivered at the L3 *anila on %& Feb &%')
*iriam efensor 0antiago

9he campaign period has begun. ;ll kinds of characters want to run for public office. :e,
the 8& million Filipino voters, are bored with their antics. :e are aghast at their resumes. 0ome of 
them are not even high school graduates. 9hey resort to all kinds of cheap gimmickry, hoping to
 provide entertainment for free. 9hey should not be called candidates7 they should be called clowns.
In the 3hilippines, politics is dominated by two kinds of clowns) rich clowns7 and poor 
clowns hoping to become rich. Fortunately, we are at the cusp of a new ominous wave of change in
the political beach. 9his wave is called the social media. In the 3hilippines, nobody knows how to
control or manage social media. =ich clowns used to bribe press and broadcast (ournalists so that
they could gain added illegal advantage over their competitors. ut now, the rich clowns are
 beginning to discover that it is not possible to bribe the leaders, much less, all the netizens in
cyberspace. If the first +dsa revolution was a ?Perox revolution, and if +dsa & was a ?text  2
revolution, then the next revolution against political corruption should be called the ?Get  1
revolution.   st
9he ideal L3 student always gives the world a shock. I ask each one of you to give the  C
 e
mindless political candidates a shock, by demoting 9>, which used to be the king of political  n
  tu
advertising, and instead elevating as political campaign weapons the tablet and the smart phone.
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In terms of social network use, the 3hilippines is ranked among the top countries. 9his could  p
 be the precursor of the participatory democracy of the future. Facebook is the premier social media
 p
  in
service in the world. 9witter is an online social networking and micro1blogging service. /ou9ube  e
 s
 provides a forum for the distribution of video content, particularly eyewitness features of political  a
 protests. Facebook, 9witter, and /ou9ube are the so1called big three social media services. 9hese
 n
 d
services enable large numbers of people to be easily and inexpensively contacted via a variety of     ht
services.  e
0ocial media lowers traditional socio1economic barriers to commanding the spotlight. 9he
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 power of the rich politicians becomes more porous and the political warlords have less control. It
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has been said that text messaging, Facebook, 9witter, /ou9ube, and the Internet have given rise to a 1       

reservoir of political energy. igital technologies enforce the formation and activities of civil
society groups) mobs, movements, and civil society organizations.

CHALLENGE TO UP STUDENTS

9he ideal L3 student is not interesting per se. :hat is interesting is what the ideal student
does with his life after graduation from L3. ;s a rule, any L3 graduate will always be characterized
 by academic excellence and by the courage to take social (ustice to the next level. If you are to serve
your nation, I am here to testify that it will be a rough, contentious, and spirit1crushing (ourney.
ut as a true L3 graduate, I insist that I have a role to perform. 9his role is to stand as one of 
gazillion bricks in the cathedral of governance. Go one will remember me if I suddenly drop dead
tomorrow.
ut generations after you and me, would be able to put behind them the culture of 
corruption, and build a new shining nation with leaders who are neither dazzled by the material
world, nor confused about their purpose in life.
2ence, I have risen from my sickbed to issue you this challenge) For Bod’s sake, save this
country.
Lse social media during this three1month campaign period to ensure that our people shall be
led to choose deserving national leaders. ;llow me to make some recommendations on how to
weaponize social media against the corrupt, the clueless, and the clowns. I am paraphrasing from an
article in the Get issued by -raft *edia igital and written by rian onahue.
:eaponize social media during the campaign by providing content that not only informs, but
also entertains and motivates. /ou need to develop skills in creative design, emotionally riveting
visuals, and content that inspires action. :e can not weaponize by simply issuing a statement, a
newsletter, or a Facebook post. :e need to enlist the work of more graphic designers, creative
writers, videographers, and musicians.
:eaponize social media during the campaign by embracing targeted messaging strategies.
/ou cannot rely on single1issue national messaging. /ou have to send custom messages to specific
audiences online. It is said that in today’s digital age, data is the most precious commodity. 2ook up
with math students in the iliman campus. ;sk our math scholars to build algorithms for matching
data. 9his will develop demographic models that will help you to identify valuable voter behavior.
For example, refer to Facebook <penBraph.
:eaponize social media during the political campaign by delivering content so engaging  2
that individual netizens will be motivated to share it. I see in the current campaign that the most
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egregious error of the candidates is that they treat social media as if it were 9> or radio, where they
simply transfer information to the masses. 9he strength of the web is information sharing among
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social netizens.
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:eaponize social media in the political campaign by accepting that the future of political   yr
warfare will take place online. For example, a comparative database that provides information on  L
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each candidate’s age, residence, highest academic degree, and highest professional achievement,  p
would be a sufficient counterbalance to the tendency of the low middle1class voter to sell his vote or 
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to vote for the cute personality.  e
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0ocial media should be used as a showcase for intangible movement or energy, and a  a
medium of information to motivate people to vote for or against a particular candidate.
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C!,+u$i!  e
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I share one unbreakable linkage with you. ;t one time I was your age and like all L3
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students, I wanted to change the world. *aybe I have. ut the world also changed me. Gow I am 1       

old enough to have seen the world and have all my illusions shattered.
;m I disillusioned5 Go, because as the poet said)

9hough much is taken, much abides7 and though

:e are not now that strength which in old days
*oved earth and heaven, that which we are, we are7
<ne e4ual temper of heroic hearts,
*ade weak by time and fate, but strong in will
9o strive, to seek, to find, and not to yield.

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UNIT 4 !ther 21st Century Literature
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  in

from the Philippines

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2LOG POST:  Bakit !ga Ba "aging !akaupo Si Mabini# *)    ht
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L!ur& &e -e)ra  W
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A*!ut t(e Aut(!r: 1       

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

2A9IT NGA 2A LAGING NA9AUPO SI #A2INI?

from $his is a Crazy Planets #http)DDwww.spot.phDthis1is1a1crazy1planets$
!ourd de >eyra

“3hen forced to pick between truth and legend, print 

the legend1 > Cohn Ford

*as natutuwa ako na ang pinag1uusapan natin

ngayon ay ganito@at hindi lang pinag1uusapan kundi
 pinupuri@pelikula, na walang superstar, walang
celebrity endorser, walang nakakasulasok sa pagka1
obvious na product placement, at higit sa lahat,
walang kinalaman sa mga kabit, sirena, aswang, pilit
na pagpapatawa, pang1iinsulto sa tao base sa kanyang
 pisikal na anyo o kapansanan #Awag lang sanang
 pagtripan si *abini$. *abuti’t nagkataon na nagkaisa
ang lahat sa opinyon at panlasa. <r at least until the
next 0tar -inema, uh, masterpiece comes along.
3uwede naman pala. 0a mga producers at sa
direktor ng pelikula, congratulations at hindi ninyo
 pinilit na magpakita ng superhero movie. :alang kilig
moments #puwera lang kung kinikilig ka sa ulong  2
sumasabog$, walang kinompromisong mga sitwasyon  1
o mga pagkakataong mag1exploit ng eksena a la 0eiko Films. 3uwede naman pala.   st
2igit sa lahat, mas nakakatuwang isipin na nagkaroon ng panibagong interes sa history.  C
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2indi siguro singlaki ng audience ng ;ldub, pero we have to start somewhere.  n
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0a totoo lang/ ag a$a)$a)a g Pi+i'ia$ a) $u"a$a"*u+at $a "ga arater at e$ea
  yr
a "a$ !tr!*er$)a+/ "a$ $(!,ig/ "a$ "a(a+a)/ "a$ "a&ug!/ "a$ aaa*a+i1.  Ggayon  L
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naiisip ko na lang) paano nagagawang tanggalin ng mga guro ang pawis, libag at libog sa pagtuturo  p
ng history. Ua $igur! a) itigi+ a ag 'ag(a(aa' g '!$iti*!g i$'ira$)! $a aaraa; 
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"a+i*a a +ag ug ag +e$)! a) i1a$ag u+iti ag "ga "a+i. 0iguro Awag na ring ituring  e
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na mga perpektong superhero o mga santo ang mga “bayani natin. 3angalawa, Awag ikahon ang  a
kasaysayan sa pag1memorize ng mga petsa, pangalan, at lugar.
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Pagata'!$ "a!!& g 'e+iu+a at "ag'a+a'aa/ $aa ag $u"u!& a (a*ag a)    ht
ag "ag*a$a g a$a)$a)a.  e
Inamin naman ng pelikula sa simula) paghahalo1halo ng “fact and “fiction. 0a dulo naman
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ay may muling paalala na ang ilang bahagi ng pelikula ay kumuha ng inspirasyon mula sa aklat ni
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>ivencio Cose, The ise and +all of Antonio !una #%J&$. ago natin husgahan ang mga bagay1 1       

 bagay, &a'at $a*i(ig ag a+at i 3!$e a) i$ag *er$)! +ag g "ga 'ag)a)ari. Ag
a$a)$a)a a) *iu*u! g "ara"ig u1et!/ ara"i(a &it! a) "agaa$a+ugat.
0ukatin naman natin ngayon ang ilang eksena sa pelikula gamit ang ilang references,
 pangunahin dito ang libro ni A+re&! 2. Sau+! na  /milio Aguinaldo2 Generalissimo and 'resident 
of the +irst 'hilippine epublic #%JH', 3hoenix 3ublishing 2ouse$. ilang honorary -aviteOo,
obvious naman ang tono ng chapter na “;ntonio !una) eath by Invitation. 0a chapter na ito rin
ay isa1isang tinitibag ni 0aulo ang mga salaysay ni Cose.
Q. SI AGUINALDO 2A TALAGA ANG NAG4UTOS NA PATAYIN SI LUNA?
;1 “Grabe, ganun pala si Aguinaldo6 *ukhang magkakaroon ng mga susunod na
henerasyon na ganap na negatibo ang tingin sa taong ito@parang anak sa labas ni !ucifer ang
unang pangulo ng republika. akit ka pa magpapaka19arantino5 0a totoo lang, dapat may gumawa
ng gangster film na base sa buhay ng unang presidente ng 3ilipinas na hindi si += +(ercito. *ala1
*ichael -orleone na karakter si ;guinaldo #panoorin niyo rin ang /l 'residente ni *ark *eily para
may paghahambing$.
;t malamang, lalo pang titindi ang pagkamuhi pag nakita mo ito)

0o sa mapanghusgang mundo ng social media,

ang instant na hirit ay “-<!!;<=;9<=Q 9otoo na
noong panahon ng 2apon, $i Aguia+&! ag i$a $a
"ara"ig Fi+i'i! a i'rie$eta ag $ari+i a
'a"uua ag 'u''et g!ver"et  #kasama dito si
enigno ;4uino, 0r., lolo ni Kris at 31Goy7 si Cose 3.
!aurel ang pinili ng mga 2apon$.
ukod pa diyan, hanggang ngayon, tingin ng
kasaysayan na may bahid ng dugo ni onifacio ang mga
kamay ni ;guinaldo. 0a 3act of iak1na1ato noong
%HJ, binenta niya rin daw ang =ebolusyon laban sa
mga Kastila sa halagang H, pesos #Kalahati raw
nito ay kanyaQ$.
%JE6 namatay si ;guinaldo. Isipin niyo na lang)
inabutan niya ang eatles.
0abi ng isang historyador, isang malaking
 pagkakamali ni ;guinaldo ay ang mabuhay nang  2
matagal. ;t higit sa lahat, apo niya si Coseph +milio
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“9raffic is Got Fatal ;baya.  C
Pa(i1atig $a 'e+iu+a a $i Aguia+&! ta+aga ag ag4ut!$ g 'ag'ata) a) Lua. Per!  e
"arii it!g itiaggi i Aguia+&! !!g *u(a) 'a $i)a <i*ag u$a'a ag $a "aga'ati& a
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2!ia,i!=.   yr
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0a isang panayam sa historyador na si 9eodoro ;goncillo, &e'e$a i Aguia+&!: 9ug  p
gu$t! i)a ra1 i'a'ata) $i Lua/ ag &a+i4&a+i a"ag "ag4ut!$ $a i$ag a1a+ a *u"ari+ $a
 p
  in
gita g &ig"aa at $i$i(i ag "ga 9a!.  Gasa kumbento rin sa -abanatuan ang pamilya  e
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;guinaldo@bakit naman daw siya mag1uutos ng katayan dito5 #apat ring banggitin na  a
nagkasigawan si >ivencio Cose at si 9eodoro ;goncillo sa isang conference dati.$
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;rgumento ng aklat ni 0aulo) “;fter !una had insulted Aguia+&!/ t(e "a 1(!" a++    ht
Cavite>!$ i&!+i7e&/ uttering Aderogatory wordsA in the course of his verbal tussle with uencamino,  e
what could he expect from the 3residential Buards5 #a) ! t(e$e guar&$ (a& *ee 1it(
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Aguia+&! $i,e t(e &a) (e *e,a"e teniente abanderado  ! 9a1it/ eve *e!re Lua 1a$
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arre$te& a& *ai$(e& t! S'ai/ a& !ug(t t(e ee");t(e S'aiar&$ i t(e *egiig a& 1       

+ater t(e A"eri,a$;,!tiu!u$+) a& "!$t ! t(e ti"e 1it(!ut 'a).

;no nga ba raw ang sabi ng imbestigasyon5 “9he result of the official investigation showed
that t(e Lua i++ig 1a$ !t 're"e&itate& as alleged by ;le(andrino, nor the result of a trap laid
 by the autonomists, as claimed by Cose, *ut a $i"'+e ar"e& ,+a$( *et1ee Lua a& t(e 9a1it
"e 1(!/ a,tig ! 'ri"itive i$ti,t$/ !ug(t *a, t! re'e+ t(e !r"er@$ aggre$$i!. It 1a$ a
u!rtuate ,a$e ! i&i$,i'+ie ! t(e 'art ! 9a1it $!+&ier$. 
0a totoo lang, wala ni isang record na nakakita ng notoryus na telegramang nagpapunta kay
!una sa -abanatuan. Nag4&e) &i $i Aguia+&! a ag'a&a+a $i)a g te+egra"a. 3ero malaking
 bagay ang mga dokumentong ipinautos na kunin ni uencamino mula sa bangkay ni !una. ;no nga
kaya ang nilalaman ng mga papel na yun5
0ino ang nag1utos5 *araming naging personal na kaaway ni !una. Sa&a"a"a ag
"ga '!$i*+eg "a$ter"i& a "a) "!ti*!. 2indi lang sila Felipe uencamino at 3edro 3aterno,
hindi lang si 9omas *ascardo at 3edro Canolino.
9ug "er! "ag ai+agag $i$i(i $a 'aga"ata) i At!i! Lua/ 1a+a ag i*a
$igur! u&i $i At!i! Lua ri "i$"!.  0inulat ni Gick Coa4uin sa  A ?uestion of Heroes, I 
,(ara,ter i$ &e$ti) t(e At!i! Lua 1a$ (i$ !1 vi!+et ate.B
3ero ayon sa interview ng historian na si ;ntonio ;bad sa kanyang interbyu kay 3edro
Canolino #played by Ketchup +usebio$ ag'ai, +ag &a1 $i)a a)a i)a +ag ataga $i Lua .
;kala niya ay sasaktan siya. 3ero hanep din sa panic@ (i&i *a*a*a $a  ag $ugat g (eera+
#kasi nga naman ay pinagtulungan siya ng mga taga1Kawit$.
0iya nga pala, baka sakaling pag1initan niyo si Ketchup kapag nakasalubong ninyo, heto ang
hitsura ng totoong 3edro Canolino alyas 3edrong Kastila.

@%i Antonio Abad habang kinakapanayam

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

Q. GANOON 2A TALAGA 9A4

HENYO SI ANTONIO LUNA?

;. T(e Greate$t geera+ ! t(e

P(i+i''ie rev!+uti!B  sabi ng historian  2
na si Bregorio Waide. T(e *e$t geera+
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ever 'r!&u,e& *) t(e 1ar agai$t t(e
A"eri,a$/B sabi naman ng kapwa
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heneral na si Cose ;le(andrino #na nakasama rin ni =izal sa elgium$. 3ero may pambasag naman si
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9eodoro ;goncillo) Si At!i! Lua ra1 a) t(e (er! 1(! ever 1! a *att+e.B 3aano nga ba   yr
naman siya magiging “greatest or “best kung wala nga naman siyang ipinanalo kahit isa5  L
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Fifteen years old siya nang grumadweyt sa ;teneo with honors. 0a edad na %J sa kanyang  p
second year sa L09 ay nanalo ng premyo ang kanyang scientific paper. 0a edad na &% siya ay nag1
 p
  in
aral sa arcelona ng pharmacy. 2abang nagsusulat para sa !a %olidaridad sa alyas na “9aga1Ilog,  e
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contributor din siya sa iba’t1ibang scientific (ournals.  a
-hemist sa municipal laboratory ng *aynila si ;ntonio !una nung pumutok ang
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=ebolusyon nung %HJE. Baya ni =izal, itinakwil ni !una ang =ebolusyon ng %HJE at nag1chuchu pa    ht
noon sa mga sangkot sa Katipunan. ;ng resulta) maraming nakulong at binitay #at damay din daw  e
kahit mismong si =izal$. 3ero ang kuwento ni ;le(andrino, nagawa lang daw yun ni !una dahil
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tinorture siya ng mga Kastila at sinabihan kunwari na ikinanta na rin siya ng mga kababayan niya.
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+h pikon nga. 1       

3ero dahil mataas ang estado sa lipunan ay ipina1deport@kasama ang utol na si Cuan@sa
0pain at doon ikinulong. 3ero pagkatapos ay nagbasa nang nagbasa tungkol sa military science sa
maraming library sa +uropa. In short, self1taught military man si !una. :ala pa naman kasing 3*;
noon.
ukod sa pagiging siyentipiko, fencer, sharpshooter, at (ournalist, si 2eneral ;ntonio !una
ay ang premyadong gitarista noong panahon niya. Wa+ag (e)! $a &ig"aa a 1a+ag $iig $a
ata1a. Si #a! 8e&!g at $i H! C(i #i( a) "ga "a(u(u$a) a "aata.  *ay isang eksena
sa pelikula nagpapakita ng dunong sa musika ng direktor) habang tumugtog ng gitara si !una, at
nakaharap sa bilog na bilog na buwan #“!una nga eh@get it5$, kasabay ng kaskas at bagsak ng
kuwerdas ay ang tila pagsabog ng kanyon sa kanyang imahinasyon.
*aganda ang metafora o metaphor na ginamit ng Gational ;rtist na si Gick Coa4uin sa
kanyang sanaysay kay !una. ilang mahusay na chemist, ang hangad niya ay hubog, porma, at
synthesis o yung pagsasanib ng iba’t ibang sangkap at elemento. *alas lang niya) ang kemikal na
sinubukan niyang hawakan ay maligalig at sumabog sa mismong mga kamay niya.
*ay mga tumawag kay !una na baliw. 3ero may kasabihan din nga) T(ere i$ a t(i +ie
*et1ee geiu$ a& "a&e$$. 3ikon at mainitin daw ang ulo ng 2eneral at ang kanyang kapatid.
Kung ganito nga naman ang mga sundalo mo@sino ba naman ang hindi masisira ang ulo5
*araming napabilib nang i1recruit ni !una para sa revolutionary army ang mga beteranong
opisyal na nagsilbi sa ilalim ng mga Kastila, kasama na ang mga nasa preso. Gung mga panahong
yun, sabi ni Gick Coa4uin, ay wala pa tayong pambansang hukbo kundi mga pinagtagpi1tagping
mga grupo na kung ngayon ay tipong private armed group sa iba1ibang rehiyon. 0i !una ang nag1
ambisyong pag1isahin ang mga ito, isa sa mga unang hakbang ay magkaroon ng iisang uniporme
 para sa lahat.
Q. 9UPAL NGA 2A TALAGA SI LUNA?
;. Pu1e&eg $a*i(i a "a$)a&!g ar!4r!"ati,i7e ag 'agigig $trit! i Lua. O
$a "ga 'aa(! ga)! a$i a 'arag 1a+ag i ,!tr!+ a) (ia(aa' ati ag i$ag
"ag+a+atag g 'aga+a(atag &i$i'+ia. Per! $a &a"i ag "ga *ia&tri' i)a/ (i&i a"a
ataataag "a) "ag(igati $a a)a.
3ero heto ang ilan sa mga mga kuwento)
*aghagupit ka ba naman ng mga pamilya para pababain mula sa tren@sa harap mismo ng
 presidente.
0inampal ni !una si Felipe uencamino, 0ecretary of Foreign ;ffairs, na 88 anyos na noong
%HJJ. 0i !una ay '' lang. Lnang nilabag raw ni !una ang kaugaliang 3inoy tungkol sa paggalang  2
sa mga nakakatanda@at mas mabigat pa ito dahil ginawa rin sa harap ng 3angulo ng 3ilipinas.
 1
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Isipin mong si ;ntonio 9rillanes o ;lan 3eter -ayetano na sinampal si ;lberto del =osario sa harap
ni 31Goy #kung tutuusin, kung meron mang dapat sampalin sa kabinete ay si Coseph ;baya para sa
 C
 e
kapalpakan ng *=9$.
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agdag pa) *ay pinabaril siyang -hinese sa ocaue, ulacan na walang paglilitis. *ay   yr
 pinapatay daw siyang Frenchman na nagngangalang “on *arrais. 0abi ni *abini ay nag1utos  L
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daw si !una sinumang hindi sumunod sa kanyang utos ay babarilin na walang trial1trial. *arami rin  p
siyang pinahuli at tinaggalan ng armas. Har$( ra1 ta+aga ag "ga "et(!&$ g (eera+.
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Q. TOTOO NGA 2ANG NAGPIPISTA SI #ASCARDO AT 3U#A43AC9SON NG  e
 s
TSI9S SI 3ANOLINO NOONG HU#IHINGI SI LUNA NG REINFORCE#ENTS?  a
;. 0a eksenang pagsuway ng hukbong Kawit ni -apt. 3edro Canolino a.k.a. 3edrong Kastila)
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*ay instructions daw na sa presidente lang mismo susundin@at sabi ni 0aulo ay posibleng    ht
ag"u+a ra1 it! $a te+egra"ag 'iee g "ga e$'i)ag *a)ara g A"eria!. ;ng mga  e
sundalo ni Canolino ay naka puwesto na sa area malapit sa bakbakan #totoong giyera, sa 9uliahan, sa
 W
may alintawak, hindi bakbakan sa kama gaya ng pinakita sa pelikula$. ;ng resulta, dinisarmahan
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ni !una ang mga taga1Kawit. Si)e"'re/ "a+ai ra1 ag '!$i*i+i&a& a a'a(i)a ag "ga it!/ 1       

a "ara"i $a ai+a a) *etera! a <i$ag i$)u &i a$i a ag "ga *etera! g uag '(a$e
g Re*!+u$)! g 6 a) i*a ag turig $a "ga *ig+ag $u"u+'!t +ag "u+a ug $aa;i$a
a rit! $i Lua=.
Kathang1isip din malamang ang eksenang pagpiga ni !una sa etits ni Canolino.
Kay 9omas *ascardo naman #siya yung dinalhan ng kabaong$, mas intriguing ang dahilan)
 posibleng babaeng taga13ampanga raw ang tunay na ugat ng kanilang hidwaan. Buwaping daw
itong si *ascardo at ang description ni 0aulo sa dating school teacher ay “a young, energetic
 brigadier general na may “charming personality that made him irresistible to the young ladies.
ukod pa diyan, mahigit &8 na engkwentro na ang pinanalo niya laban sa mga Kastila at lagi pang
sugatan.
Sa"ata+ag ag ta1ag a) Lua g "ga a'1a Pi!) $a E$'a)a a) cafre.B 2indi
siguro dahil sa bigote niya pero dahil sa ugali niya.
9rivia) abroad, "uti ag "ag&u1e+! $i 3!$e Ri7a+ at At!i! Lua &a(i+ $a i$ag
t$ia$ a aggaga+ag Ne++ie 2!u$tea&. uti na lang at hindi natuloy. Kung hindi ay walang
!uneta ngayon.
Q. TOTOO NGA 2ANG NAGPLANO SI LUNA NG 9UDETA LA2AN 9AY
AGUINALDO?
;. #a) a*aggit ra1 $i Lua a "a(ia at i&e,i$ive $i Aguia+&!;a t!t!! a"a
at i+ag *e$e$ a it!g a'atua)a. 0uggestion ni !una bago pa ganap na pumutok ang Fil1;m
:ar) bakbakan na natin ang mga ;merikano habang konti pa lang sila. 3ayo rin ni !una na magtayo
ng defense line mula Kalookan to Govaliches at humukay ng mga trenches. :alang nangyari.
3inakita sa pelikula na plano niyang magtayo ng baluarte sa hilagang !uzon at gumamit
estratehiyang guerilla. ;nyare5 Gganga. 9ug aiig +ag &a1 $i+a a) Lua !! 'a +ag/ a)
(i&i a iai+aga 'ag u"ari'a$ $i Aguia+&! at $i+a Greg!ri! De+ Pi+ar $a C!r&i++era a
'arag "ga &aga.
9ug aiig +ag $i+a Aguia+&! $a 'a)! !! i Lua a $agu'ai ag "ga
'u1er$ag A"eria! (a*ag 'u1e&e 'ag ta+ui/ "a+a"ag i*ag i*a ag ta&(aa ati
ga)!. :hat if5 0a ibang usapan, what if ;guinaldo captured *anila on that fateful period na
 puwedeng1puwedeng na sanang sakupin ng mga 3inoy ang Intramuros noong Cune1Culy %HJH5 :hat
if !una was not murdered5 3uro ?what1if what1if.? Ika nga ng mga historyador) There are no ifs in
history1 T(ere i$ ! I@ i tea". 2ut t(ere i$ a I@ i Aguia+&! a& Cavite.
Q. #GA TRAYDOR NGA 2A TALAGA SA 2AYAN SINA PEDRO PATERNO AT FELIPE
2UENCA#INO?  2
Tia1ag $i 2ue,a"i! g i$ag (i$t!r)a&!r a 'er(a'$ t(e P(i+i''ie$@ !re"!$t
 1
  st
$tu&et a,tiviti$t.B Gung siya ay &' years old na law student pinangunahan niya ang isang kilusan
na ilipat sa gobyerno ang pamamahala ng Lnibersidad de 0anto 9omas mula sa mga frayle. -lerk 
 C
 e
lang si *abini noon sa isang opisina sa *aynila, ginagalang na abogado na si uencamino. Goong
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%J&H, nanumpa siya sa ngalan ng iyos at kanyang mga magulang na wala siyang kinalaman sa   yr
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 pagpatay kay !una at nakiusap pa kay ;guinaldo na maglabas ng statement na si uencamino ay  p
inosente. 3ero hanggang namatay na lang si ;guinaldo noong %JE6 ay hindi ito nangyari.
 p
  in
Ibang usapan si 3aterno. 9inawag dati ni ;mbeth <campo si 3edro 3aterno na numero  e
 s
unong balimbing. 9odo1puri sa mga Kastila, kumita pa sa 3act of iak1na1ato #nagdemand pa na  a
gawing duke ng *aynila plus pension$, at nung dumating ang mga Kano, biglang nagbago rin ang
 n
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allegiance.    ht
Q. SINA2I 2A TALAGA NG NANAY NI AGUINALDO NA SI DOA TRINIDAD  e
ANG NAGALAW PA 2A YAN?B
 W
;. 3ahiwatig ng napaka1insensitibong hirit na ito ay alam ng nanay ni ;guinaldo ang
 o
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 planong pagpatay kay !una. Per! air *a ag *er$)! a it!? Gra*e a"a ag "agigig tigi 1       

g "ga $u$u!& 'ag (eera$)! $a 'a"i+)a Aguia+&!;'arag #a$! a"i+). 0a bersiyon

ni ;goncillo, ang tanong ng matandang babae ay) “ $akit niyo pinatay ang Heneral4 Hindi niyo ba
 siya kilala4
Q. TE9A NGA #UNA. SO SAAN 2A TALAGA GALING ANG 9UWENTONG SI
AGUINALDO ANG #ASTER#IND SA PAGPAPATU#2A 9AY LUNA?
;. 0i ;guinaldo ang nag1appoint kay !una na 0ecretary of :ar na may ranggong lieutenant
general. 9utol dito si *abini. 3arang lumalabas din na si !una ang ikalawang
 pinakamakapangyarihan sa gobyerno, sunod lang kay ;guinaldo. Isa rin si *abini na bumubulong
kay ;guinaldo na Awag magtiwala kay !una. “If !una is not good for the army, the less he will be
for the office, because he is a despot, sabi dati ni *abini. Lmangal din si *abini na hindi raw
kumukonsulta si !una sa gobyerno tungkol sa mga plano niya. ;t dito rin malamang nag1ugat ang
mga haka1haka na nagbabalak si !una na magtayo ng sariling gobyerno. *arami pang hirit si
*abini versus the Beneral, akala mo ay selosang misis ni ;guinaldo.
Per! t(ree )ear$ ater/ "ag4ii*a ag t!! i #a*ii sa kanyang !a evolucion +ilipina
na sinulat habang exiled sa Buam #iba pa ang Buam noon. 3uro malaria$. “Kalabisang sabihin na
agtagu"'a) $aa ag Re*!+u$)! ug $a (a+i' a 'iata) i Aguia+&! $i Lua a) *u!g
aa)a(ag $iu'!rta(a a +a"ag i)a it!...u'ag $irai $i Lua/ ia$aga'a i
Aguia+&! ag "i$"!g "ga a1a+ a ia$tig! i Lua &a(i+ $a 'ag+a*ag $a &i$i'+ia. 9ug
ga)!/ 'iata) i Aguia+&! ag &i$i'+ia/ 1ia$a ag a)ag $ari+ig $a&ata(a.
2u"ag$a ag Re*!+u$)! $a 'ag*ag$a i Lua/ ang matatag na tagapagtaguyod nito, at kay
;guinaldo nabubunton ang lahat ng kasiraang puri sa pagbagsak. Translation2 #ichael #1
)oroa8
0umama raw ang loob ni *abini dahil nawala siya sa gobyerno ni ;guinaldo na pinaboran
ang mga “autonomistang sina 3aterno et al. I $(!rt/ *itter +ag $i #a*ii/ at sabi ni Coa4uin,
“1a$ u$ig t(e &ea& Lua t! +!g Aguia+&!.B
Q. SO ANONG GUSTONG PALA2ASIN NITONG NAPA9AHA2ANG
ARTI9ULONG ITO?
;. 3uwede sigurong sabihin na 1a+ag *i&a at 1a+ag !tra*i&a $a  Heneral !una1 ;t
kadasalan, ganun din sa kasaysayan ng Filipinas, &e'e&e ug $i! ag aguu1et!. La(at/
'u1e&eg *i&a/ +a(at &i 'u1e&eg !tra*i&a.  Ika nga ng imortal na kasabihan) “2istory is
written by the victors. :arning din ni Beorge 0antayana) T(!$e 1(! &! !t re"e"*er t(e 'a$t
are ,!&e"e& t! re'eat it.B *aganda rin na pinag1uusapan natin ang mga ganitong paksa, na
hindi lang sa loob ng classroom.  2
0a sariling atin naman) Ag (i&i "aru!g +u"ig! $a 'iagga+iga..."ag"ag.
 1
  st
Q. 2A9IT NGA 2A TALAGANG HINDI TU#ATAYO SI #A2INI SA 2UONG  C
PELI9ULA?  e
;. *abuti pa, manood na lang tayo ng ;ldub.
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NEW GENRES: Pik%up "ines  p
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%ide note6  a
W(at i$ a Pi,4u' Lie?
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; Pi,4u' Lie is a conversation opener to express a personAs    ht
admiration, love or any romantic intent to another person. It has been popular 
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nowadays especially among teenagers. 0ome use pick up lines (ust to humor   o
their friends. <ftentimes, 9agalog pick up lines are sent through text messages    rld
1       
or posted on userAs and pages.
3ick1up lines range from straightforward conversation openers such as
introducing oneself, providing information about oneself, or asking someone
about their likes and common interests, to more elaborate attempts
including flattery or humour .

5J PIC94UP LINES
from the Internet

6.
</) !angit na ba to5
BI=!) akit5
</) 3ara ka kasing anghel ehh

5.
</) *anhole ka ba5
BI=!) akit5
</) ;ng bilis ko kasing nahulog sayo eh

K.
</) 2orror *ovie ka ba5
BI=!) akit5
</) Kasi pag nakikita kita bumibilis ang tibok ng puso ko.

.
</) 3wede bang iturn1off na lang yung ilaw5
BI=!) akit5
</) 3ara tayo na lng ang mag1<G.

J.
</) 0ana posporo ka at posporo din ako.
BI=!) akit5
</) 3ara *;9-2 tayo.
 2
 1
  st
.  C
</) *iss, alam mo, gusto sana kitang ipa1pulis.  e
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BI=!) akit5   tu
</) Kasi ninakaw mo ang puso ko.   yr
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.   in
</) 3inaglihi ka ba sa keyboard5  e
 s
BI=!) akit5  a
</) 9ype kasi kita eh.
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.  e
</) 0ana mga letra na lang tayo.
 W
 o
BI=!) akit5    rld
</) 3ara I can put L and I together. 1       

.
</) Gakalunok ka ba ng kwitis5
BI=!) akit5
</) Kasi pag ngumingiti ka, may spark.

6.
</) *iss, dictionary ka ba5
BI=!) akit5
</) Kasi you give meaning to my life.

66.
</) alawang multo ka ba5
BI=!) akit5
</) Kasi B2<0919:< kita.

65.
</) ;lam mo ba may kamukha ka5
BI=!) 0ino5
</) Kamukha mo yung future wife ko.

6K.
</) Busto ko ng *;BGL*5
BI=!) akit5
</) 3ara ako ang *;BGL*ber one sa puso mo.

6.
</) 3+I-; ka ba5
BI=!) akit5
</) 3+I-;ang maging girlfriend5

6J.
</) ;nu pinag kaiba ng halaman at ikaw55  2
BI=!) ;nu55
 1
  st
</) ;ng halaman naka tanim sa paso. Ikaw naka tanim sa 3L0< ko.  C
 e
 n
6.   tu
</) 0ana hindi ka buwan.   yr
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BI=!) akit5  p
</) 3ara hindi mo ko iwan pagdating ng araw.
 p
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6.  e
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</) !umaki ka ata5  a
BI=!) 2a5 akit5
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</) Kasi dati hanggang balikat lang kita. Ggayon nasa isip na kita.    ht
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6.
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</) !umiit ka ata5
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BI=!) akit5 1       

</) Kasi noon hanggang uluhan kita, ngayon nasa puso na kita.

6.
</) 2indi ka ba napapagod5
BI=!) akit5
</) Kanina ka pa kasi tumatakbo sa isip ko.

5.
</) ;lam mo mukha kang inodoro.
BI=!) akit naman5
</) 0a tuwing nakikita kasi kita para akong taeng nahuhulog saAyo.

56.
</) Lnggoy ka ba5
BI=!) akit5
</) Kasi umakyat ka na nga sa isip ko, sumabit ka pa sa puso ko.

55.
</) 3inapasabi ni +ddie *ahal ka niya.
BI=!) 0inong +ddie5
</) +ddie ako.

5K.
</) Kung bola ka sa basketball, hinding1hindi kita masu1shoot.
BI=!) akit5
</) !agi kasi kitang mami1miss eh.

5.
</) ;nong gusto mong view5 front view, side view or back view5
BI=!) akit5
</) Kasi, ako I !ove /ou.

5J.  2
</) Kung akoAy magtitinda, lahat ng paninda ko, ibebenta ko nang mura sa lahat ng tao lalo na sa
 1
  st
 babae. 3ero maliban lang saAyo.
BI=!) akit5
 C
 e
</) Kasi saAyo lang ako magmamahal.
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NARRATI-E PROSE: $ell the Sky *) Lui$ 9atig*a  e
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A*!ut t(e Aut(!r:
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!uis Coa4uin Katigbak was a Filipino award1winning writer and music critic. 2e was a  W
resident writer for 3L!3 *agazine, a columnist for 9he 3hilippine 0tar , and an associate editor   o
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for +s4uire 3hilippines. 1       
2e was a graduate of the Lniversity of the 3hilippines #L3$. From being a mathematics
ma(or, he shifted to creative writing.
Katigbak was a recipient of four 3alanca awards, a 3hilippine Braphic prize, and a /oung
;rtistsA Brant from the Gational -ommission for -ulture and the ;rts #G--;$. 2is books Happy
 /ndings, a collection of short stories7 and The "ing of .othing to Do, a collection of essays, were
nominated in the Gational ook ;wards by the *anila -ritics -ircle. 2is last book ?ear istance?
was released in *arch &%E.
2e has been hospitalized since ecember &%8 for complications from diabetes. ; series of 
 benefit events were held in Canuary &%E for him. ; fundraising exhibit had been held in lanc
Ballery in Katipunan in February to help cover his hospital expenses. <n ;pril %, he suffered an
“extensive stroke and the doctor stated that recovery was no longer possible. 2e passed away on
& ;pril &%E at the age of 6%.

TELL THE S9Y

!uis Katigbak 

9here is something wrong with the sky again today, and once again the city has shifted. I
feel a small coldness snake itself up from my heart and through my throat. 9he unpleasant tingle
settles in my mouth, and I tell myself to get ready for work.
<nce, when I was a child, my mother took me with her on a visit to inondo to consult with
a fortuneteller of accurate and unflinching visions. 0he talked to him for 4uite some time about her 
 business ventures, her brothers and sisters, and her gradually disintegrating marriage, while I sat on
a chair that was too high for me and swung my legs back and forth with increasing fre4uency and
vigor. ;t some point, my mother swatted me on the back of the head and told me to be still.
 Got long after that, the consultation came to an end, and she stood up and thanked the
fortuneteller profusely. I can no longer remember what he looked like at all@when I try, all I can
see is a dark vagueness, an indentation in existence shaped like a child’s1eye view of a grown1up@ 
 but I remember what he told me as we were on our way out of the room. “/ou have eight stories,
he said. “Lse them well.
9here are stories inside everyone, of course7 some are like caged birds of varying hues, some
like ripe, slimy pods ready to burst at a touch. *ost people have no idea how many they contain.
0ome people think that they have limitless tales when, really, they recount the same one over and
over with insipid variations, tales of 3eople1think1I’m1cool or Bod1I’m1so1wasted1in1this1country or   2
 1
:ell1I1showed her. Go one ever notices. 0ome people actually do have a large and wonderful   st
variety of stories within them, and@whenever one is released@it sparks and dazzles and hangs in  C
the air for a slow moment, like a ecember1sky firework.  e
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9he fortuneteller told me that I have eight, and I have never forgotten. I used two of them in   tu
grade school) one to get me out of trouble and one to cheer myself up. 9he first one was told to an   yr
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initially skeptical priest at the -atholic school I was attending, and involved the matter of several  p
missing library books. ;s I spun my story, a lie of exceptional intricacy, I could see the doubt drain
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slowly from his gaze, and feel the story slip away from me@I knew then that it would save me  e
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from punishment, but that I would never be able to use it again.  a
9he second story came to me on a particularly gray morning when the routine of school
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weighed so heavy on me that I felt as if I would split open in tears on the morning bus ride. 9hen it    ht
came to me) I was not riding to school but to an apocalyptic war zone7 I was no student, but a  e
soldier. *y classmates were fellow pawns in a never1ending conflict. +very lesson threatened our 
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lives7 every brief snack break was a blessing. In my mind, the history of the war was laid out, and
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our insignificant part in it was clear and unchanging. 9his scenario transformed my hatred of the 1       

day1to1day into a sort of ragged heroism. <nce established, it filled me and sustained me, more
vivid than any daydream, until I entered high school.
In high school I used another story, this time to win the heart of my first love) a story of luck 
and destiny and ever1afters, naturally. It was worth it (ust for the look on her face as we danced
together during one of the school1organized parties. I would never see such innocent longing and
admiration again. I knew our love would die within less than a year, but given the choice, I would
waste that story on her again and again.
I used three stories in college@the circumstances and motivations behind two of them, I no
longer care to recall. *y sixth story was a particularly convincing rumor I started online, that spread
with great swiftness through a certain sub1network of concerned parties and resulted in the
shutdown of two websites and the subse4uent unemployment of about a dozen people. ;t the time, I
gloried in the power of a well1twisted and strategically placed untruth and, admittedly, even now,
the thought brings a crooked smile to me.
I was working at my first (ob when I used my seventh story. I was awakened in the middle
of the night by a frantic call from the housemate of a friend who lived nearby. 9his friend of mine
had downed a bottle of pills in an attempted suicide. I helped rush her to the hospital and waited
while they pumped her stomach in the emergency room. ;fterwards, I sat by her hospital bed and
held her hand. I told her a story about a girl whose eyes would shed rose petals instead of tears, a
girl for whom life was a labyrinth instead of a straight line. 0he gripped my hand tight as I
recounted how this girl eventually learned to navigate the twists and turns of her maze and
appreciate their intricacies. 0oon after, she fell into a deep and dreamless sleep.
I knew I was down to my last story, and I wondered if I had used up too many, too soon.
9hat was three years ago. 0ince then, I’ve had two more (obs@neither of them especially fulfilling
 @and the world has changed for the stranger.
!ittle things at first, corner1of1my1eye things. !ike light glinting off ob(ects in a manner that
seemed off, somehow. <r the occasional sense that the sky was fouled by something other than
 pollution, like a presence inexorably eating into its blankness. <r the way an arrangement of 
 buildings I would always pass while riding the *=9 in the morning would seem to shift, to subtly
change order. Go one else seemed to notice. I chalked this all up to my inade4uate sense of spatial
relationships, to a possible need for a visit to an ophthalmologist.
It got worse. I started seeing people as other things, things that weren’t people. It’s difficult
to explain. I would be talking to my boss, for instance, a tall and (ovial man, and then I would see
something@like an image superimposed on his actual appearance@a balloon, say, saffron1colored.  2
<r I would be arguing with the head of our 2uman =esources department, and be aware of a kind of 
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 blackened spiral shape floating where his face should be, an ink1stained thing coiled in upon itself. I
supposed they were hallucinations. I read up on neurological case studies and thought that I had
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found a name for my condition upon stumbling upon <liver 0acks’ account of a man who mistook 
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I’ve almost gotten used to it by now, though day by day it gets a little worse. !ast night  p
when I was looking at myself in the mirror after a shower, my reflection shifted and reassembled
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itself. I saw something undeniably grotes4ue and yet at the same time deeply appealing) a sort of   e
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chimera, with a child’s arms and face, which for a body had a roughly ovoid shape with a snaky tail.  a
I was revulsed and fascinated in e4ual measure, and could not look away. 9he patchwork creature
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looked like I felt inside) half1formed, immature, somewhat ridiculous. It was then that I realized that    ht
I was not exactly hallucinating@but more like I’m seeing hidden things, secret and unsettling  e
truths.
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9onight I ride the *=9 home as usual while trying not to look out the windows or at my
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fellow passengers. From the station, I start walking to where I can get a (eepney ride, passing a 1       

shopping center and a s4uatters’ area, wondering as I walk if I’m going mad.
/ou’re not going mad, the fortuneteller tells me.
I look up and see a vague darkness, an indentation in existence. I can’t make out his face.
2e’s blocky, sketchy, indistinct. ut his voice is clear and unwavering.
It’s the world that’s gone wrong, he assures me. It’s shaky and wobbly and will soon come
apart. :hat you’ve been seeing are glimpses of a grand machine that will soon break down.
2e goes on to say) ;ll of everything is an unfurling and an unraveling, a binding and a
weaving. It’s all cycles. 9hings turn in on themselves and blossom outwards into other things.
eginnings into endings into beginnings.
ut the cycle needs to be fed, he explains. <therwise it slows and stutters and fails.
I stare at him as he says all this. Go one else notices us. ;ll at once I’m tired and nervous,
 but I know what is needed.
It’s all I have left, I tell him. I know, he says.
*y last story.
:ho do I tell it to5 I ask. /ou can tell it to the air, he says. /ou can tell it to the firmament.
2e asks) ;re you willing5
/es, I whisper, and that small affirmative sound seems to rise up and make a space for itself 
in the night sky.
0o I start to tell my tale. ;nd, as I do, an understanding comes upon me . . .
I understand that this, my final and eighth story, is my life itself@and as I mouth the ending,
I feel my heart beat, beat, stop.

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1       

POETRY: $oys *) Ge"i! A*a&

A*!ut t(e Aut(!r:
GM"i! He$! A*a& is a literary critic from -ebu, 3hilippines. 2is family moved to
*anila when his father, ;ntonio ;bad, was offered professorships at Far +astern Lniversity and
the Lniversity of the 3hilippines.   2e earned his .;. +nglish from the Lniversity of the
3hilippines in %JE6 and 3h.. in +nglish literature from the Lniversity of -hicago in %J. 2e
served the Lniversity of the 3hilippines in various capacities) as 0ecretary of the Lniversity,
0ecretary of the oard of =egents, >ice 3resident for ;cademic ;ffairs and irector of the L.3.
Institute of -reative :riting. For many years, he also taught +nglish,
comparative literature and creative writing at L.3. iliman.
;bad co1founded the 'hilippine !iterary Arts )ouncil   #3!;-$ which published )aracoa, a
 poetry (ournal in +nglish. 2is other works include +ugitive /mphasis #poems, %J'$7 In Another 
 !ight #poems and critical essays, %JE$7 A +ormal Approach to !yric 'oetry #critical theory,
%JH$7 The %pace $etween #poems and critical essays, %JH8$7 'oems and 'arables #%JHH$7 Inde< to
 +ilipino 'oetry in /nglish, CEF-CFE #with +dna Wapanta *anlapaz, %JHH$ and %tate of 
 'lay  #letter1essays and parables, %JJ$. 2e edited landmark anthologies of Filipino poetry in
+nglish, among them #an of /arth #%JHJ$, A .ative )learing   #%JJ'$ and A Habit of %hores2
 +ilipino 'oetry and 0erse from /nglish, Es to the Es #%JJJ$.
9he Lniversity of the 3hilippines has elevated ;bad to the rank of niversity 'rofessor , the
highest academic rank awarded by the university to an exemplary faculty member. 2e currently sits
on the oard of ;dvisers of the L.3. Institute of -reative :riting and teaches creative  2
writing as /meritus niversity 'rofessor  at the -ollege of ;rts and !etters, L.3. iliman.
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In &J, he became the first Filipino to receive the coveted 3remio Feronia
in =ome, Italy under the foreign author category.
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TOYS   yr
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Bemino ;bad  p
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 Gow our boys have such toys  e
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as my brother and I never dreamed7  a
id the same spirit stir our make1believe5
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/et outdoor was where we took its measure.    ht
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ut how could I wish it were otherwise
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for them, and would it be wise
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since other kids inhabit the same 4uarry 1       

where P1men wage their fantastic wars5

Indeed we knew the hot spill of blood,

with slingshots searched the bushes and trees,
 but also knew ourselves pierced
where the world’s songs first were made.

ut those video games, those robots,

armaments of glory, sirens of terror,
must root their eyes in our politics
and scavenge for hope in the world’s rubble.

0omething’s amiss, or toys perhaps

have changed their meaning.
In the overflood of their kind,
they’ve lost their round of seasons.

It may be the same with the world’s

weather, but in our time,
there was one season for kites
when the wind seemed to make the sky rounder7

9here was another, for marbles and rubber bands,

the earth firmer, the blaze of sunshine brighter7
and yet another, for tops and wheels,
as streetwise we vied for dusty prizes.

;nd when the rains came,

and the skies fell with the thunderclap,
how we would run in drenched nakedness
to dare a lightning race to the edge of time.

ut how shall I travel to my boys’ heart  2

and break their dreadnought of heroes,
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and find, as when light breaks,
the pieces of their manhood whole5
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<, their heroes create them,   yr
 but if they could invent their games  L
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and stage their future, might they not  p
surprise the hero with their fate5
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NEW GENRES: &ugot "ines

%ide note6
W(at i$ a Hug!t Lie?
9he term “(ug!t is a Filipino word which means to draw or to pull
out. 9he usage of the hashtag “Xhugot became popular  not so long ago and is
usually used along with song lyrics, a 4uote, etc. that the person tweeting
relates to7 “Xhugot means the accompanying words draw emotions out of 
himDher.
2ugot. Lsually words with potentially and personally deep sentimental
or emotional undertones. ecause feelings come from ?deep within? so you
have had to ?hugot? your emotions first ?from deep within? before you
wouldAve actually blurted them out in somehow emotionally undertoned words
 @ subconsciously or otherwise.

HUGOT LINES
from the Internet

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suntukan.
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*alabo na talaga ang mata ko. 3wede ba humingi sa iyo ng kahit konting pagtingin5  2
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Kung pangit ka mahilig kang mag1selfie, sabihin mo na lang lahat ng pictures mo ay wacky.  C
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:ala naman talagang pangit, sadyang nasobrahan lang ako sa ganda   tu
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-up noodles ka ba5  p
akit5
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Kasi gusto kitang buhusan ng kumukulong tubig.  e
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;ng taong nagmamahal nang tunay ay parang matalinong estudyante
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Kapag -rush, -rush !ang :ag Kang *ahuhulog. *asasaktan Ka !ang.
X;ww
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0a panahon ngayon mas tumatagal na ang utang kaysa sa relasyon. )
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Kung 2indi *o *aiwasan *ag *ahal, Iwasan *o Galang *aging 9anga.
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Busto mo ng sparks5 Isaksak mo yung tinidor nyo sa outlet tapos wag mong bibitawang haliparot
ka.
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B:;3<.  2
1111*insan may Birlfriend.
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1111*adalas may oyfriend.
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0a !ove pag nasaktan ka, parang *co lang.   yr
0akit na di mo *cmcmcmcKakalimutan.  L
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Kung nahihirapan ka na.
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umili ka nalang ng sprite.  e
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*;B3;K;9<9<< K;Q  a
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Iiwan mo lang pala ako. 0ana naman nagsabi ka manlang para kahit papaano nakapag ready naman    ht
ako.  e
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-rush kita , -rush *o 0ya , *ay -rush 0yang Iba . ;no to5 3;B2;GB; Gg *ga 9;GB; 5
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 Gung nagawa mo kong lokohin, yun ang *;!I. 3ero para ulitin mo, hindi na yun *;!I. *;/
0;KI9 ka naQ

ESSAY: A &eritage of S'allness *) Ni, 3!aui

A*!ut t(e Aut(!r:
Ni,!"e&e$ #rue7 3!au  #*ay 6, %J% " ;pril &J, &6$ was a "ilipino writer,
historian and (ournalist, best known for his short stories and novels in the +nglish language. 2e also
wrote using the pen name Qui0a! &e #ai+a. Coa4uYn was conferred the rank and title of Gational
;rtist of the 3hilippines for !iterature.
Coa4uYn represented the 3hilippines at the International 3+G -ongress in 9okyo in %J8, and
was appointed as a member of the *otion 3ictures commission under presidents iosdado
*acapagal and Ferdinand +. *arcos.
;fter being honored as Gational ;rtist, Coa4uin used his position to work for intellectual
freedom in society. 2e secured the release of imprisoned writer CosZ F. !acaba. ;t a ceremony on
*ount *akiling attended by First !ady Imelda *arcos,   Coa4uYn delivered an invocation
to #ariang #akiling , the mountainAs mythical maiden. Coa4uYn touched on the importance of 
freedom and the artist. ;fter that, Coa4uYn was excluded by the *arcos regime as a speaker at
important cultural events.
Coa4uYn died of cardiac arrest in the early morning of ;pril &J, &6, at his home in 0an
Cuan, *etro *anila. 2e was then editor of 'hilippine Graphic magazine, where he worked with
Cuan 3. ayang, the magazineAs first publisher. Coa4uYn was also publisher of its sister 
 publication, #irror 3eekly, a women’s magazine, and wrote the column “0mall eer for 
the 'hilippine Daily In=uirer  and Isyu, an opinion tabloid.
 2
A HERITAGE OF S#ALLNESS  1
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 Gick Coa4uin  C
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0ociety for the Filipino is a small rowboat) the barangay. Beography for the Filipino is a
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small locality) the barrio. 2istory for the Filipino is a small vague saying) matanda pa kay mahoma   yr
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noong  peacetime. +nterprise for the Filipino is a small stall) the  sari-sari. Industry and production  p
for the Filipino are the small immediate searchings of each day) isang kahig, isang tuka. ;nd
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commerce for the Filipino is the smallest degree of retail) the tingi.  e
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:hat most astonishes foreigners in the 3hilippines is that this is a country, perhaps the only  a
one in the world, where people buy and sell one stick of cigarette, half a head of garlic, a dab of 
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 pomade, part of the contents of a can or bottle, one single egg, one single banana. 9o foreigners    ht
used to buying things by the carton or the dozen or pound and in the large economy sizes, the  e
ex4uisite transactions of 3hilippine tingis cannot but seem !illiputian. 0o much effort by so many
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for so little. !ike all those children risking neck and limb in the traffic to sell one stick of cigarette
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at a time. <r those grown1up men hunting the sidewalks all day to sell a puppy or a lantern or a pair  1       

of socks. 9he amount of effort they spend seems out of all proportion to the returns. 0uch folk are,
obviously, not enough. !aboriousness (ust can never be the e4ual of labor as skill, labor as audacity,
labor as enterprise.
9he Filipino who travels abroad gets to thinking that his is the hardest working country in
the world. y six or seven in the morning we are already up on our way to work, shops and markets
are open7 the wheels of industry are already agrind. ;broad, especially in the :est, if you go out at
seven in the morning you’re in a dead1town. +verybody’s still in bed7 everything’s still closed up.
;ctivity doesn’t begin till nine or ten" and ceases promptly at five p.m. y six, the business sections
are dead towns again. 9he entire cities go to sleep on weekends. 9hey have a shorter working day, a
shorter working week. /et they pile up more mileage than we who work all day and all week.
Is the disparity to our disparagement5
:e work more but make less. :hy5 ecause we act on such a pygmy scale. ;broad they
would think you mad if you went in a store and tried to buy (ust one stick of cigarette. 9hey don’t
operate on the scale. 9he difference is greater than between having and not having7 the difference is
in the way of thinking. 9hey are accustomed to thinking dynamically. :e have the habit, whatever 
our individual resources, of thinking poor, of thinking petty.
Is that the explanation for our continuing failure to rise"that we buy small and sell small,
that we think small and do small5
;re we not confusing timidity for humility and making a virtue of what may be the worst of 
our vices5 Is not our timorous clinging to smallness the bondage we must break if we are ever to
inherit the earth and be free, independent, progressive5 9he small must ever be prey to the big.
;ldous 2uxley said that some people are born victims, or “murderers. 2e came to the 3hilippines
and thought us the “least original of people. Is there not a relation between his two terms5
<riginality re4uires daring) the daring to destroy the obsolete, to annihilate the petty. It’s cold
comfort to think we haven’t developed that kind of “murderer mentality.?
ut till we do we had best stop talking about ?our heritage of greatness for the national
heritage is" let’s face it" a heritage of smallness.
2owever far we go back in our history it’s the small we find"the nipa hut, the barangay, the
 petty kingship, the slight tillage, the tingi trade. ;ll our artifacts are miniatures and so is our folk 
literature, which is mostly proverbs, or dogmas in miniature. ;bout the one big labor we can point
to in our remote past are the rice terraces"and even that grandeur shrinks, on scrutiny, into
numberless little separate plots into a series of layers added to previous ones, all this being the
accumulation of ages of small routine efforts #like a colony of ant hills$ rather than one grand labor   2
following one grand design. :e could bring in here the nursery diota about the little drops of water 
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that make the mighty ocean, or the peso that’s not a peso if it lacks a centavo7 but creative labor,
alas, has sterner standards, a stricter hierarchy of values. *any little efforts, however perfect each in
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itself, still cannot e4ual one single epic creation. ; galleryful of even the most charming statuettes is
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 bound to look scant beside a 3ieta or *oses by *ichelangelo7 and you could stack up the best short   yr
stories you can think of and still not have enough to outweigh a mountain like 3ar and 'eace.  L
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9he depressing fact in 3hilippine history is what seems to be our native aversion to the large  p
venture, the big risk, the bold extensive enterprise. 9he pattern may have been set by the migration.
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:e try to e4uate the odyssey of the migrating barangays with that of the 3ilgrim, Father of ;merica,  e
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 but a glance of the map suffices to show the differences between the two ventures. <ne was a  a
voyage across an ocean into an unknown world7 the other was a going to and from among
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neighboring islands. <ne was a blind leap into space7 the other seems, in comparison, a mere    ht
crossing of rivers. 9he nature of the one re4uired organization, a sustained effort, special skills,  e
special tools, the building of large ships. 9he nature of the other is revealed by its vehicle, the
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 barangay, which is a small rowboat, not a seafaring vessel designed for long distances on the
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avenues of the ocean. 1       

9he migrations were thus self1limited, never moved far from their point of origin, and clung
to the heart of a small known world7 the islands clustered round the *alay 3eninsula. 9he
movement into the 3hilippines, for instance, was from points as next1door geographically as orneo
and 0umatra. 0ince the 3hilippines is at heart of this region, the movement was toward center, or,
one may say, from near to still nearer, rather than to farther out. Cust off the small brief circuit of 
these migrations was another world) the vast mysterious continent of ;ustralia7 but there was
significantly no movement towards this terra incognita. It must have seemed too perilous, too
unfriendly of climate, too big, too hard. 0o, ;ustralia was con4uered not by the fold next door, but
 by strangers from across two oceans and the other side of the world. 9hey were more enterprising,
they have been rewarded. ut history has punished the laggard by setting up over them a :hite
;ustralia with doors closed to the crowded *alay world.
9he barangays that came to the 3hilippines were small both in scope and size. ; barangay
with a hundred households would already be enormous7 some barangays had only ' families, or 
less. 9hese, however, could have been the seed of a great society if there had not been in that a fatal
aversion to synthesis. 9he barangay settlements already displayed a 3hilippine characteristic) the
tendency to petrify in isolation instead of consolidating, or to split smaller instead of growing. 9hat
within the small area of *anila ay there should be three different kingdoms #9ondo, *anila and
3asay$ may mean that the area wa originally settled by three different barangays that remained
distinct, never came together, never fused7 or it could mean that a single original settlement7 as it
grew split into three smaller pieces.
3hilippine society, as though fearing bigness, ever tends to revert the condition of the
 barangay of the small enclosed society. :e don’t grow like a seed, we split like an amoeba. 9he
moment a town grows big it become two towns. 9he moment a province becomes populous it
disintegrates into two or three smaller provinces. 9he excuse offered for divisions i always the
alleged difficulty of administering so huge an entity. ut 3hilippines provinces are microscopic
compared to an ;merican state like, say, 9exas, where the local government isn’t heard complaining
it can’t efficiently handle so vast an area. :e, on the other hand, make a confession of character 
whenever we split up a town or province to avoid having of cope, admitting that, on that scale, we
can’t be efficient7 we are capable only of the small. 9he decentralization and barrio1autonomy
movement expresses our craving to return to the one unit of society we feel ade4uate to) the
 barangay, with its ' to a hundred families. ;nything larger intimidates. :e would deliberately limit
ourselves to the small performance. 9his attitude, an immemorial one, explains why we’re finding it
so hard to become a nation, and why our pagan forefathers could not even imagine the task. Got +  2
 pluribus, unum is the impulse in our culture but <ut of many, fragments. Foreigners had to come
 1
  st
and unite our land for us7 the labor was far beyond our powers. Breat was the King of 0ugbu, but he
couldn’t even control the tiny isle across his bay. Federation is still not even an idea for the tribes of 
 C
 e
the Gorth7 and the *oro sultanates behave like our political parties) they keep splitting off into
 n
  tu
 particles.   yr
 L
   it
 e
  ra
  tu
 r
  m  m
  h  t    ht
 e  e
 P  P
 h  h
  li    il
ecause we cannot unite for the large effort, even the small effort is increasingly beyond us.   p   i    p i
9here is less to learn in our schools, but even this little is protested by our young as too hard. 9he
 p  p
  i  n   in
falling line on the graph of effort is, alas, a recurring pattern in our history. <ur artifacts but repeat a  e  e
 s  s
refrain of decline and fall, which wouldn’t be so sad if there had been a summit decline from, but  a  a
the evidence is that we start small and end small without ever having scaled any peaks. Lsed only to
 n  n
 d  d
the small effort, we are not, as a result, capable of the sustained effort and lose momentum fast. :e   h  t    ht
have a term for it) ningas cogon.  e
Bo to any exhibit of 3hilippine artifacts and the items that from our “cultural heritage but
confirm three theories about us, which should be stated again.
First) that the Filipino works best on small scale"tiny figurines, small pots, filigree work in
gold or silver, decorative arabes4ues. 9he deduction here is that we feel ade4uate to the challenge of 
the small, but are cowed by the challenge of the big.
0econd) that the Filipino chooses to work in soft easy materials"clay, molten metal, tree
searching has failed to turn up anything really monumental in hardstone. +ven carabao horn, an
obvious
obvious material
material for native craftsmen,
craftsmen, has not been used to any extent
extent remotely comparable
comparable to the
use of ivory in the ivory countries. 9he deduction here is that we feel e4ual to the materials that
yield but evade the challenge of materials that resist.
9hird) that having mastered a material, craft or product, we tend to rut in it and don’t move
on to a next phase, a larger development, based on what we have learned. In fact, we instantly lay
down even what mastery we already posses when confronted by a challenge from outside of 
something more masterly, instead of being provoked to develop by the threat of competition. Faced
 by the challenge of -hinese porcelain, the native art of pottery simply declined, though porcelain
should have been the next phase for our pottery makers. 9here was apparently no effort to steal and
master the arts of the -hinese. 9he excuse offered here that we did not have the materials for the
techni4ues for the making of porcelain"unites in glum brotherhood yesterday’s pottery makers and
today’s would be industrialists. 9he native pot got buried by -hinese porcelain as 3hilippine
tobacco is still being buried by the blue seal.
<ur cultural history, rather than a cumulative development, seems mostly a series of dead
ends. <ne reason is a fear of moving on to a more complex phase7 another another reason is a fear of tools.
 Gative pottery, for instance, somehow never got far enough to grasp the principle of the wheel.
 Geither did native agriculture ever reach the point of discovering the plow for itself, or even the
idea of the draft animal, though the carabao was handy. :heel and plow had to come from outside
 because we always
a lways stopped short
shor t of technology, 9his stoppage at a certain level is the recurring fate
of our arts and crafts.
9he santo everybody’s collecting now are charming as legacies, depressing as indices, for 
the art of the santero was a small art, in a not very demanding medium) wood. 2aving achieved
 perfection in it, the santero was faced by the challenge of o f proving he could achieve e4ual perfection
on a larger
larger scale and in more difficult
difficult materials)
materials) hardstone, marble, bronze. 9he challenge
challenge was not
met. !ike the pagan potter before him, the santero stuck to his tiny rut, repeating his little
 perfections over and over. 9he iron law of o f life is) evelop or decay. 9he art
a rt of the santero did not
advance7 so it declined. Instead of moving onto a harder material, it retreated to a material even
easier than wool) 3laster"and plaster has wrought the death of relax art.
<ne could go on and on with this litany.  2  2
3hilippine movies started 8 years ago and, during the T's, reached a certain level of 
 1  1
  t  s   st
 proficiency, where it stopped and has rutted ever since looking more and more primitive as the rest
of the cinema world speeds by on the way to new frontiers. :e have to be realistic, say local movie
 C  C
 e  e
 producers we’re in this business not to make art but money. ut even from fr om the business viewpoint,
 n  n
  t  u   tu
they’re not “realistic at all. 9he true businessman ever seeks to increase his market and therefore  y  r   yr
 L  L
   it    it
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   a r   ra
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 r  r
  m  m
  h  t    ht
 e  e
 P  P
 h  h
  li    il
ever tries to improve his product. usiness dies when it resigns itself, as local movies have done, to   p   i    p i
a limited market.
 p  p
  i  n   in
;fter more than half a century of writing in +nglish, 3hilippine !iterature in that medium is  e  e
 s  s
still identified with the short story. 9hat small literary form is apparently as much as we feel e4ual  a  a
to. ut by limiting ourselves less and less capable even of the small thing"as the fate of the pagan
 n  n
 d  d
 potter and the -hristian santero should have warned us. It’ no longer as obvious today that the   h  t    ht
Filipino writer has mastered the short story form.  e
It’s two decades since the war but what were mere makeshift in postwar days have petrified
into institutions like the (eepney, which we all know to be uncomfortable and inade4uate, yet cannot
get
get rid
rid of, becau
becausese the
the wowoululdd mean
mean to tack
tackle
le the
the probl
problem
em of mode
moderni
rnizi
zing
ng our syst
system
emss of 
transportation"a problem we think so huge we hide from it in the comforting smallness of the
 (eepney. ; small solution to a huge problem"do we deceive ourselves into thinking that possible5
9he (eepney hints that we do, for the (eepney carrier is about as ade4uate as a spoon to empty a river 
with.
:ith the population welling, and land values rising, there should be in our cities, an upward
thrust in architecture, but we continue to build small, in our timid two1story fashion. <h, we have
excuses. 9he land is soft) earth4uakes are fre4uent. ut *exico -ity, for instance, is on far 
swampier land and *exico -ity is not a two1story town. 0an Francisco and 9okyo are in worse
earth4uake belts, but 0an Francisco and 9okyo reach up for the skies. Isn’t our architecture another 
expression of our smallness spirit5 9o build big would pose problems too big for us. 9he water 
 pressure, for example, would have to be improved"and it’s hard enough to get water on the ground
floor flat and frail, our cities indicate our disinclination to make any but the smallest effort possible.
It wouldn’t be so bad if our aversion for bigness and our clinging to the small denoted a
 preference for 4uality over bulk7 but the little things we take forever to do too often turn out to be
worse than the mass1produced article. <ur couturiers, for instance, grow even limper of wrist when,
after waiting months and months for a pin [a weaver to produce a yard or two of the fabric, they
find they have to discard most of the stuff because it’s so sloppily done. Foreigners who think of 
 pushing 3hilippine fabric
fab ric in the world market give up in despair
des pair after experiencing our inability to
deliver in 4uantity. <ur proud apologia is that mass production would ruin the “4uality of our 
 products. ut 3hilippine crafts might be roused from the doldrums if forced to come up to mass1
 production standards.
It’s easy enough to 4uote the :est against itself, to cite all those :estern artists and writers
who rail against the cult of bigness and mass production and the “bitch goddess success7 but the
arguments against technological progress, like the arguments against nationalism, are possible only
to those who have already gone through that stage so successfully
successfully they can now afford to revile it.
9he rest of us can only crave to be big enough to be able to deplore bigness.
For the present all we seen to be able to do is ignore pagan evidence and blame our inability
to sustain the big effort of our colonizers) they crushed our will and spirit, our initiative and
originality. ut colonialism is not uni4uely our ordeal but rather a universal experience. <ther 
nations went under the heel of the con4ueror but have not spent the rest of their lives whining. :hat
 people were more trod under than the Cews5 ut each have been a thoroughlythoro ughly crushed nation get up
and
and concon4u
4uere
eredd new
new wo worlrlds
ds inst
instea
ead.
d. 9he
9he Gorma
Gormann con
con4u
4uest
est of +ngl
+nglan
andd wa
wass foll
follow
owed
ed by a
sub(ugation very similar to our experience, but what issued from that sub(ugation were the will to  2  2
empire and the verve of a new language.
 1  1
  t  s   st
If it be true that we were enervated by the loss of our primordial freedom, culture and
institutions, then the native tribes that were never under 0pain and didn’t lose what we did should be
 C  C
 e  e
showing a stronger will and spirit, more initiative and originality, a richer culture and greater 
 n  n
  t  u   tu
 progress, than the -hristian Filipino. o they5 ;nd this favorite apologia of ours gets further blasted  y  r   yr
when we consider a people who, alongside us, suffered a far greater trampling yet never lost their   L  L
   it    it
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   a r   ra
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  m  m
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enterprising spirit. <n the contrary, despite centuries of ghettos and programs and repressive   p   i    p i
measures and racial scorn, the -hinese in the 3hilippines clambered to the top of economic heap
 p  p
  i  n   in
and are still right up there when it comes to the big deal. 0houldn’t they have long come to the  e  e
 s  s
conclusion #as we say we did$ that there’s no point in hustling and laboring and amassing wealth  a  a
only to see it wrested away and oneself punished for rising5
 n  n
 d  d
;n honest reading of our history should rather force us to admit that it was the colonial years   h  t    ht
that pushed us toward the larger effort. 9here was actually an advance in freedom, for the  e
unification of the land, the organization of towns and provinces, and the influx of new ideas, started
our liberation from the rule of the petty, whether of clan, locality or custom. ;re we not vexed at the
hinterlander
hinterlander still
still bound by primordial
primordial terrors and taboos5 o we not say we have to set him “free
through education5 Freedom, after all is more than a political condition7 and the colonial lowlander" 
especially a person like, say, =izal"was surely more of a freeman than the uncon4uered tribesman
up in the hills. ;s wheel and plow set us free from a bondage to nature, so town and province
liberated us from the bounds of the barangay.
9he liberation can be seen (ust by comparing our pagan with our -hristian statuary. :hat
was static and stolid in the one becomes, in the other, dynamic motion and expression. It can be read
in the rear of architecture. Gow, at last, the Filipino attempts the massive"the stone bridge that
unites, the irrigation dam that gives increase, the adobe church that identified. If we have a “heritage
of greatness it’s in these labors and in three epic acts of the colonial period7 first, the defense of the
land
land duri
during
ng two
two cent
centuri
uries
es of siege
siege77 second
second,, the
the 3ropa
3ropagan
ganda
da *ovem
*ovemen ent7
t7 and the
the thir
third,
d, the
the
=evolution.
9he first, a heroic age that profoundly shaped us, began %E with the 81year war with the
utch and may be said to have drawn to a close with the ritish invasion of %E&. 9he :ar with the
utch is the most under1rated event in our history, for it was the Breat :ar in our history. It had to
 be pointed out that the 3hilippines, a small colony practically abandoned to itself, yet held at bay for 
half a century the mightiest naval power in the world at the time, though the utch sent armada
after armada, year after year, to con4uer the colony, or by cutting off the galleons that were its links
with ;merica, starve the colony to its knees. :e rose so gloriously to the challenge the impetus of 
spirit sent us spilling down to orneo and the *oluccas and Indo1-hina, and it seemed for a
moment we might create an empire. ut the tremendous effort did create an elite vital to our history)
the -reole19agalog13ampango principalia 1 and ruled it together during these centuries of siege, and
which would which was the nation in embryo, which defended the land climax its military career 
with the war of resistance against the ritish in the %EE’s. y then, this elite already deeply felt
itself a nation that the government it set up in acolor actually defined the captive government in
*anila as illegitimate. From her flows the heritage that would flower in *alolos, for centuries of 
heroic effort had bred, in 9agalog and the 3ampango, a habit of leadership, a lordliness of spirit.
9hey had proved themselves capable of the great and sustained enterprise, destiny was theirs. ;n
analyst of our history notes that the sun on our flag has eight rays, each of which stands for a
9agalog or 3ampango province, and the the 9agalogs and 3ampangos at iak1na1ato ?assumed the
representation of the entire country and, therefore, became in fact the 3hilippines.
From the field of battle this elite would, after the ritish war, shift to the field of politics, a
significant move7 and the 3ropaganda, which began as a -reole campaign against the 3eninsulars,
would turn into the nationalist movement of =izal and el 3ilar. 9his second epic act in our history  2  2
seemed a further annulment of the timidity. ; man like =izal was a deliberate rebel against the cult
 1  1
  t  s   st
of the small7 he was so various a magus because he was set on proving that the Filipino could tackle
the big thing, the complex (ob. 2is novels have epic intentions7 his poems sustain the long line and
 C  C
 e  e
go against Barcia >illa’s more characteristically 3hilippine dictum that poetry is the small intense
 n  n
  t  u   tu
line.  y  r   yr
 L  L
   it    it
 e  e
   a r   ra
  t  u   tu
 r  r
  m
   ht
 e
 P
 h
    ili
:ith the =evolution, our culture is in dichotomy. 9his epic of %HJE is indeed a great effort"   p
 but by a small minority. 9he 9agalog and 3ampango had taken it upon themselves to protest the
 p
  in
grievances of the entire archipelago. *oreover, within the movement was a clash between the two  e
 s
strains in our culture"between the propensity for the small activity and the will to something more  a
ambitious. onifacio’s Katipunan was large in number but small in scope7 it was a rattling of bolos7
 n
 d
and its post fiasco efforts are little more than amok raids in the manner the Filipino is said to excel    ht
in. #;n observation about us in the last war was that we fight best not as an army, but in small  e
informal guerrilla outfits7 not in pitched battle, but in rapid hit1and1run raids.$ <n the other hand,
 W
there was, in -avite, an army with officers, engineers, trenches, plans of battle and a complex
 o
   rld
organization 1 a =evolution unlike all the little uprisings or mere raids of the past because it had 1       

risen above tribe and saw itself as the national destiny. 9his was the highest we have reached in
nationalistic effort. ut here again, having reached a certain level of achievement, we stopped. 9he
=evolution is, as we say today, ?unfinished.?
9he trend since the turn of the century, and especially since the war, seems to be back to the
tradition of timidity, the heritage of smallness. :e seem to be making less and less effort, thinking
ever smaller, doing even smaller. 9he air droops with a feeling of inade4uacy. :e can’t cope7 we
don’t respond7 we are not rising to challenges. 0o tiny a land as ours shouldn’t be too hard to
connect with transportation 1 but we get crushed on small (eepneys, get killed on small trains, get
drowned in small boats. !arger and more populous cities abroad find it no problem to keep
themselves clean 1 but the simple matter of garbage can create a ?crisis in the small city of *anila.
<ne ;merican remarked that, after seeing *anila’s chaos of traffic, he began to appreciate how his
city of !os ;ngeles handles its far, far greater volume of traffic. Is building a road that won’t break 
down when it rains no longer within our powers5 Is even the building of sidewalks too herculean of 
task for us5
<ne writer, as he surveyed the landscape of shortages@no rice, no water, no garbage
collectors, no peace, no order@gloomily mumbled that disintegration seems to be creeping upon us
and groped for /eat’s terrifying lines)

9hings fall apart7 the center cannot hold)

*ere anarchy is loosedS

2ave our capacities been so diminished by the small efforts we are becoming incapable even
to the small things5 <ur present problems are surely not what might be called colossal or 
insurmountable"yet we stand helpless before them. ;s the population swells, those problems will
expand and multiply. If they daunt us now, will they crush us then5 9he prospect is terrifying.
<n the Feast of Freedom we may do well to ponder the 3arable of the 0ervants and the
9alents. 9he enterprising servants who increase talents entrusted to them were rewarded by their 
!ord7 but the timid servant who made no effort to double the one talent given to him was deprived
of that talent and cast into the outer darkness, where there was weeping and gnashing of teeth)

“For to him who has, more shall be given7 but from him who has not, even the little he has
shall be taken away.?
 2
 1
  st
 C
 e
 n
  tu
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 L
   it
 e
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  tu
 r
  m  m
  h  t    ht
 e  e
 P  P
 h  h
  li    il
  p   i    p i
 p  p
  i  n   in
 e  e
 s  s
 a  a
 n  n
 d  d
  h  t    ht
 e

UNIT 5 Development of World Literature

W!r+& +iterature  is sometimes used to refer to the sum total of the world’s national
W!r+& +iterature
literatures, but usually it refers to the circulation of works into the wider world beyond their country
of origin. <ften used in the past primarily for masterpieces of :estern
of :estern +uropean literature, world
literature, world
lite
literat
rature
ure today
today is incr
increa
easi
singl
nglyy seen
seen in glob
global
al cont
contex
ext.
t. =ead
=eaders
ers toda
todayy have
have acce
access
ss to an
unprecedented range of works from around the world in excellent translations, and since the mid1
%JJs a lively debate has grown up concerning both the aesthetic and the political values and
limitations of an emphasis on global processes over national traditions.

#EDIE-
#EDIE-A
AL LITERATURE
LITERATURE
#e&ieva+ +iterature is a broad sub(ect, encompassing essentially all written works available
in +urope
in +urope and
 and beyond during the *iddle ;ges #that
;ges #that is, the one thousand years from the fall
the fall of the
:estern =oman +mpire ca.
+mpire ca. ; 8 to the beginning
beginning of the Florentine
Florentine =enaissance
 =enaissance in
 in the late %8th
century$. 9he literature of this time was composed of religious writings as well as secular  works.
 works.
Cust as in modern literature, it is a complex and rich field of study, from the utterly sacred to the
exuberantly profane, touching all points in1between. :orks of literature are often grouped by place
of origin, language, and genre.
0ince !atin was the language of the =oman -atholic -hurch, which
dominated :estern and
:estern and -entral +urope,
+urope, and since the -hurch was virtually the only source of 
education,
education, !atin was a common
common language
language for medieval
medieval writings,
writings, even in some parts of +urope that
were
we re never
never =o=oma
maniz
nized
ed.. 2o
2oweweve
ver,
r, in +aster
+asternn +urope
+urope,, the
the infl
influe
uenc
ncee of the +aster
+asternn =oman
=oman
+mpire and
and the
the +astern
+astern <rthodo
<rthodoxx -hu
-hurch
rch made
 made Breek and <ld -hurch
-hurch 0lavon
0lavonic
ic the domina
dominantnt
written languages.
 2  2
 1  1
9he common people continued to use their respective
respective vernaculars.
vernaculars. ; few examples, such as   t  s   st
the <ld +nglish $eowulf , the *iddle
the *iddle 2igh Berman  .ibelungenlied , the *edieval Breek  Digenis  Digenis  C  C
 Acritas, the <ld +ast 0lavic Tale of IgorJs )ampaign, and the <ld
the <ld French )hanson
)hanson de oland , are
 e  e
 n  n
well known to this day. ;lthough the extant versions of these epics are
epics are generally considered the
  t  u   tu
works of individual #but anonymous$
anonymous$ poets, there is no doubt that they are based on their peoples  y  r
 L
  yr
 L
   it    it
 e  e
   a r   ra
  t  u   tu
 r  r
  m  m
  h  t    ht
 e  e
 P  P
 h  h
  li    il
olde
olderr oral
oral trad
tradit
itio
ions
ns.. -eltic tradraditions have ave surviv vived in the lais of lais of *arie de France,   p   i    p i
the #abinogion and the ;rthurian cycles. cycles. ;nother host of vernacular literature has survived in
 p  p
  i  n   in
the <ld Gorse literature and
literature and more specifically in the 0aga literature of  Iceland.  Iceland.  e  e
 s  s
9he invention of biography can be attributed to this time period. It had such ancient  a  a
forebears as 3lutarch s 'arallel !ives and 0uetonius
 and 0uetonius s !ives of the TwelveTwelve )aesars.
 n  n
 d  d
9heological works were the dominant form of literature typically found in libraries during   h  t    ht
the *iddle ;ges. -atholic
;ges. -atholic clerics
 clerics were the intellectual center of society in the *iddle ;ges, and it is  e
their literature that was produced
prod uced in the greatest 4uantity
4u antity..
-ountless hymns
-ountless hymns survi surviveve from
from this
this time
time periperiod
od #bot
#bothh liturgical and parali
paralitur
turgic
gical$
al$.. 9he
liturgy itself was not in fixed form, and numerous competing missals set out individual conceptions
of the order of the mass. mass. =eligious scholars such as ;nselm of -anterbury, -anterbury, 9homas ;4uinas, ;4uinas,
and 3ierre
3ierre ;b ;bZla
Zlard
rd wrote
wrote length
lengthyy theological and and philosophical
 philosophical trea
treatitise
ses,
s, ofte
oftenn atte
attemp
mptiting
ng to
recon
reconcicile
le the
the teac
teachi
hings
ngs of the the Breek
Breek and =o =oma mann pag
paganan autho
authors rs with
with the
the dodoct
ctri
rine
ness of thethe
-hurch. 2agiographies
-hurch. 2agiographies,, or ?lives of the saints?, were also fre4uently written, as an encouragement
to the devout and a warning to others.
9he Golden !egend of Cacobus de >oragine reached such popularity that, in its time, it was
repo
reportrted
edly
ly read
read more ore oft often than han the ible.
ible. Fran
Franci
ciss of ;ssis ssisii was a pro prolific poet, and
his Franciscan followers
Franciscan followers fre4uently wrote poetry themselves as an expression of their piety. Dies
 Irae and %tabat #ater  are   are two of the most powerful !atin poems on religious sub(ects. Boliardic
 poetry #four1line
 poetry #four1line stanzas of satiric verse$ was an art form used by some clerics to express dissent.
9he only widespread religious writing that was not produced by clerics were the mystery plays) plays)
growing out of simple tableaux re1enactments
tableaux re1enactments of a single iblical scene, each mystery play became
its village s expression of the key events in the ible. ible. 9he text of these plays was often controlled by
local guilds,
guilds, and mystery plays would be performed regularly on set feast1days, often lasting all day
long and into the night.
uring the *iddle ;ges, the Cewish  Cewish  population of +urope also produced a number of 
outstanding writers. *aimonides
writers. *aimonides,, born in -ordoba, 0pain, 0pain, and =ashi,
=ashi, born in 9royes,
9royes, France,
France, are
two of the best1known and most influential of these Cewish authors.
0ecular  literature
 literature in this period was not produced in e4ual 4uantity as religious literature, but
much has survived and we possess today a rich corpus. 9he sub(ect of ?courtly ?courtly love?
love? became
important in the %%th century, especially in the =o
=omamancncee lang
langua
uagegess #in
the French,
French, 0panish,
0panish, Balician13ortuguese,
Balician13ortuguese, -atalan,-atalan, 3roven\al languages,
 3roven\al languages, most notably$ and Breek ,
where the traveling singers@ troubadourstroubadours @made a living from their songs. 9he writings of the
trou
trouba
badou
dours
rs are
are often
often assoc
associaiate
tedd with
with unre4
unre4ui uite
tedd longi
longing,
ng, but thisthis is no nott entir
entirel
elyy accu
accurat
ratee
#see aubade, for
aubade, for instance$. In Bermany, the *innes]nger  continued  continued the tradition of the troubadours.
In addition to epic poems in the Bermanic tradition tradition #e.g. $eowulf  and  and .ibelungenlied $, $, epic
 poems in the tradition of the chanson de geste #e.g. The %ong of oland  and   Digenis Acritas which
 and  Digenis
deal with the *atter
the *atter of France and
France and the ;critic songs respectively$
songs respectively$ and courtly romances in the
tradition of the roman courtois, which deal with the *atter of ritain an ritain andd the *atter of =ome, =ome,
achieved great and lasting popularity. 9he roman courtois is distinguished from the chanson de
 geste not only by its sub(ect matter, but also by its emphasis on love and chivalry rather than acts of 
war.
3oliti
3olitical
cal poetry
poetry wa wass writ
writtetenn also
also,, espe
especicial
ally
ly towa
toward
rdss the
the end end of this this peri
period
od,, and
and  2  2
the goliardic form saw use by secular writers as well as clerics. 9ravel literature was highly popular 
 1  1
  t  s   st
in the *iddle
*iddle ;ges, as fantastic
fantastic accounts of far1off
far1off lands #fre4uently
#fre4uently embellished
embellished or entirely
entirely false$
entertained a society that, in most cases, limited people to the area in which they were born. #ut
 C  C
 e  e
note the importance of  pilgrimages,
 pilgrimages, especially to 0antiago
to 0antiago de -ompostela,
-ompostela, in medieval times, also
 n  n
  t  u   tu
witnessed by the prominence of  Beoffrey  Beoffrey -haucer s -anterbury
 -anterbur y 9ales$.
9ales$.  y  r   yr
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   it    it
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   a r   ra
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  h  t    ht
 e  e
 P  P
 h  h
  li    il
9he most prominent authors of Cewish secular
Cewish secular poetry in the *iddle ;ges were 0olomon ibn   p   i    p i
Babirol and
Babirol and /ehuda 2alevi,
2alevi, both of whom were also renowned religious poets.
 p  p
  i  n   in
 e  e
 s  s
RENAISSANCE LITERATURE  d  d
 a  a
 n  n

Reai$$a,e +iterature refe

Reai$$a,e +iterature refers
rs to +uropea
+uropeann litera
literatur
turee wh
whiich wa wass infl
influe
uenc
nceded by the   h  t    ht
inte
intell
llec
ectu
tual
al and
and cult
cultur
uralal tend
tendenenci
cies
es asso
associ
ciat
ated
ed with
with the
the =ena
=enais issa
sanc
nce.
e. 9he
9he lite litera
ratu
ture
re of 
 e
the Reai$$a,e was written by within the general movement of the =enaissance which =enaissance which arose in
%6th1century Italy and continued until the %Eth century while being diffused into the western world.
It is characterized by the adoption of a humanist philosophy and the recovery of the classical
literature of ;nti4uity. It benefited from the spread of printing in the latter part of the %8th century.
For the writers of the =enaissance, Breco1=oman inspiration was shown both in the themes of their 
writing and in the literary forms they used. 9he world was considered from an anthropocentric
 perspective. 3latonic ideas were revived and put to the service of  -hristianity.  -hristianity. 9he search for 
 pleasures of the senses and a critical
c ritical and
a nd rational spirit completed the ideological panorama of the
 period. Gew literary genres such as the essay #*ontaigne$ *ontaigne$ and new metrical forms such as the
sonnet #3etrarch
#3etrarch$$ and 0penserian stanza made
stanza made their appearance.
9he
9he impa
impact
ct of the the =ena
=enais issa
sanc
ncee vari
varied
ed acro
across
ss the
the cont
contin
inen
ent7
t7 coun
countr trie
iess that
that we were
re
 predominantly -atholic or
-atholic or 3rotestant expe experi
rien
ence
cedd the
the =ena
=enaisissa
sanc
ncee diff
differ
eren
entl
tlyy. ;reasreas wh wher
eree
the <rthodox -hurch was
-hurch was culturally dominant, as well as those areas of +urope under  Islamic rule  Islamic rule
were more or less outside its influence. 9he period focused on self1actualization and one s ability to
accept what is going on in one s life.
9he earliest =enaissance literature appeared in Italy in the %6th century7 ante, 3etrarch,
occ
o ccac
acci
cio,
o, *ach
*achiaiave
vell
llii and
and ;riost
riostoo are notab
notable
le exam
example
pless of Ital
Italia
iann =ena
=enais issan
sancece writ
writers
ers..
From Italy thethe infl
influe
uence
nce of the the =enai
=enaissa
ssance
nce sprea
spreadd at diff
differe
erent
nt time
timess to othe
otherr coun
countr trie
iess and
continued to spread around +urope
around +urope through
 through the %th century. 9he +nglish =enaissance and the
=enaissance in 0cotland date from the late %8th century to the early %th century. In northern
+uro
+urope pe the
the schol
scholar
arly
ly writ
writin
ings
gs of +rasm
+rasmus,us, the
the play
playss of %hakespeare, the poems of /dmund 
%penser  and
 and the writings of %ir 'hilip %idney may be considered =enaissance in character.
9he creation of the printing
the printing press #using movable type$ by Cohannes Butenberg in Butenberg in the %66
encouraged authors to write in their local vernacular  instead  instead of Breek or !atin classical
!atin classical languages,
languages,
thus widening the reading audience and promoting the spread of =enaissance ideas.

EARLY #ODERN LITERATURE

Ear+
Ear+)) #!&e
#!&er r +itera turre succeeds *edi
teratu *edieveval
al lite
literat
rature
ure,, and in +urope in
 particular =enaissance literature.
literature.
In +urope, the +arly *odern period lasts roughly from %88 to %8, spanning thearo4uethe aro4ue
 period and
 period and ending with the ;ge
the ;ge of +nlightenment and
+nlightenment and the wars of the French =evolution. 9he
=evolution. 9he +arly
*odern period in 3ersia corresponds
3ersia corresponds to the rule of the 0afavid dynasty. In
dynasty. In Capan,
Capan, the ?+arly *odern
 period? #+do period$
period$ is taken to last down to %HEH #the beginning of Industrialization during
the *ei(i period$,
period$, in India
in India,, the *ughal era lasts
era lasts until the establishment of the ritish =a( in
=a( in %H8.  2  2
9he <ttoman +mpire undergoes
+mpire undergoes various attempts of modernization from %H&H #9anzimat#9anzimat$.
$.
 1  1
  t  s   st
-hinese
-hinese literature
literature of the Uing dynasty remains
dynasty remains mostly unaffected by +uropean influence,
and effects of modernization that would lead up to the Gew
the Gew -ulture *ovement become
*ovement become visible only
 C  C
 e  e
form the !ate Uing period in the %HJs.
 n  n
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; new spirit of science and investigation in +urope was part of a general upheaval in human  p
understanding, which began with the discovery of the Gew world in %6J& and continues through the
 p
  in
subse4uent centuries, even up to the present day.  e
 s
9he form of writing now commonplace across the world@the novel @originated from the  a
early modern period and grew in popularity in the next century. efore the modern novel became
 n
 d
established as a form there first had to be a transitional stage when ?novelty? began to appear in the    ht
style of the epic poem.  e
3lays for entertainment #as opposed to religious enlightenment$ returned to +uropeAs stages
 W
in the early modern period. :illiam 0hakespeare is the most notable of the early modern
 o
   rld
 playwrighters, but numerous others made important contributions, including 3ierre 1       

-orneille, *oli^re, Cean =acine, 3edro -alder_n de la arca, !ope de >ega and -hristopher 
*arlowe. From the %Eth to the %Hth century commedia dellAarte performers improvised in the streets
of Italy and France. 0ome -ommedia dellAarte plays were written down. oth the written plays and
the improvisation were influential upon literature of the time, particularly upon the work of *oli^re.
0hakespeare drew upon the arts of (esters and strolling players in creating new style comedies. ;ll
the parts, even the female ones, were played by men #en travesti$ but that would change, first in
France and then in +ngland too, by the end of the %th century.
9he earliest work considered an opera in the sense the work is usually understood dates from
around %8J. It is Dafne, #now lost$ written by Cacopo 3eri for an elite circle of 
literate Florentine humanists who gathered as the ?-amerata?.
*iguel de -ervantesAs Don ?ui<ote de la #ancha has been called ?the first novel? by many
literary scholars #or the first of the modern +uropean novels$. It was published in two parts. 9he
first part was published in %E8 and the second in %E%8. It might be viewed as a parody of !e #orte
dJArthur   #and other examples of the chivalric romance$, in which case the novel form would be the
direct result of poking fun at a collection of heroic folk legends. 9his is fully in keeping with the
spirit of the age of enlightenment which began from about this time and delighted in giving a
satirical twist to the stories and ideas of the past. It is worth noting that this trend toward satirising
 previous writings was only made possible by the printing press. :ithout the invention of  mass1
 produced copies of a book it would not be possible to assume the reader will have seen the earlier 
work and will thus understand the references within the text. In the %Hth century aniel
efoe and Conathan 0wift wrote famous novels.
9he %Eth century saw outstanding epic poems of 9or4uato 9asso and !uYs de -am`es. !ater 
the most well1known poets were Cuana InZs de la -ruz, Cohn *ilton and ;lexander 3ope. In
turn Cean de !a Fontaine and -harles 3errault are appreciated for their  fables.
9he early %Hth century sees the conclusion of the aro4ue period and the incipient ;ge of 
+nlightenment with authors such as Immanuel Kant, >oltaire, Cean1Cac4ues =ousseau or Botthold
+phraim !essing. +uropean cultural influence begins to spread to other continents, notably +do
 period Capan, with notable authors of the period including Leda ;kinari and 0ant Kyden. +arly
;merican literature appears towards the end of the century, e.g. with 9he 3ower of 0ympathy by
:illiam 2ill rown #%HJ$. 9he late %Hth century in Bermany sees the beginning =omantic
#Govalis$ and 0turm und rang #Boethe und 0chiller$ movements.

6t( CENTURY LITERATURE  2
 1
  st
Literature ! t(e 6t( ,etur) refers to world literature produced during the %Jth century.  C
9he range of years is, for the purpose of this article, literature written from #roughly$ %JJ to %J.
 e
 n
*any of the developments in literature in this period parallel changes in the visual arts and other 
  tu
aspects of %Jth1century culture.   yr
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!iterary realism is the trend, beginning with mid nineteenth1century French literature and  p
extending to late1nineteenth1 and early1twentieth1century authors, toward depictions of 
 p
  in
contemporary life and society as it was, or is. In the spirit of general ?realism,? realist authors opted  e
 s
for depictions of everyday and banal activities and experiences, instead of a romanticized or   a
similarly stylized presentation.
 n
 d
Beorge +liotAs novel #iddlemarch stands as a great milestone in the realist tradition. It is a    ht
 primary example of nineteenth1century realismAs role in the naturalization of the burgeoning  e
capitalist marketplace.
 W
:illiam ean 2owells was the first ;merican author to bring a realist aesthetic to the
 o
   rld
literature of the Lnited 0tates. 2is stories of %H8s oston upper1crust life are highly regarded 1       

among scholars of ;merican fiction. 2is most popular novel, The ise of %ilas !apham, depicts a
man who, ironically, falls from materialistic fortune by his own mistakes. 0tephen -rane has also
 been recognized as illustrating important aspects of realism to ;merican fiction in the
stories #aggie2 A Girl of the %treets and The ;pen $oat 1
2onorZ de alzac is often credited with pioneering a systematic realism in French literature,
through the inclusion of specific detail and recurring characters. Fyodor ostoyevsky, !eo
9olstoy, Bustave Flaubert, and Ivan 9urgenev  are regarded by many critics as representing the
zenith of the realist style with their unadorned prose and attention to the details of everyday life. In
Berman literature, %Jth1century realism developed under the name of ?3oetic =ealism? or 
?ourgeois =ealism,? and ma(or figures include 9heodor Fontane, Bustav Freytag, Bottfried
Keller , :ilhelm =aabe, ;dalbert 0tifter , and 9heodor 0torm.MEN !ater ?realist? writers
included enito 3Zrez Bald_s, Buy de *aupassant, ;nton -hekhov, CosZ *aria de +\a de
Uueiroz, *achado de ;ssis, olesaw 3rus and, in a sense, mile Wola, whose naturalism is often
regarded as an offshoot of realism.

5t( CENTURY LITERATURE
Literature ! t(e 5t( century refers to world literature produced during the &th century
#%J% to &$.
In terms of the +uro1;merican tradition, the main periods are captured in the bipartite
division, *odernist literature and 3ostmodern literature, flowering from roughly %J to %J6 and
%JE to %JJ respectively, divided, as a rule of thumb, by :orld :ar II. 9he somewhat malleable
term of ,!te"'!rar) +iterature is usually applied with a post1%JE cutoff point.
;lthough these terms #modern, contemporary and postmodern$ are most applicable to
:estern literary history, the rise of globalization has allowed +uropean literary ideas to spread into
non1:estern cultures fairly rapidly, so that ;sian and ;frican literatures can be included into these
divisions with only minor 4ualifications. ;nd in some ways, such as in 3ostcolonial literature,
writers from non1:estern cultures were on the forefront of literary development.
9echnological advances during the &th century allowed cheaper production of books,
resulting in a significant rise in production of popular literature and trivial literature, comparable to
the similar developments in music. 9he division of ?popular literature? and ?high literature? in the
&th century is by no means absolute, and various genres such as detectives or science
fiction fluctuate between the two. !argely ignored by mainstream literary criticism for the most of 
 2
 1
the century, these genres developed their own establishments and critical awards7 these include   st
the .ebula Award #since %JE8$, the $ritish +antasy Award #since %J%$ or the #ythopoeic  C
 Awards #since %J%$.
 e
 n
9owards the end of the &th century, electronic literature developed due to the development
  tu
of hypertext and later the :orld :ide :eb.   yr
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9he Gobel 3rize in !iterature was awarded annually throughout the century #with the  p
exception of %J%6, %J%H, %J'8 and %J6"%J6'$, the first laureate #%J%$ being 0ully 3rudhomme.
 p
  in
9he Gew /ork 9imes est 0eller list has been published since %J6&.  e
 s
9he best1selling literary works  of the &th century are estimated to be The !ord of the  a
 ings #%J86D88, %8 million copies$, Harry 'otter and the 'hilosopherJs %tone #%JJ, %& million
 n
 d
copies$ and And Then There 3ere .one #%J'J, %%8 million copies$. The !ord of the ings was also    ht
voted ?book of the century? in various surveys. 'erry hodan #%JE% to present$ proclaimed as the  e
 best1selling book series, with an estimated total of % billion copies sold.
 W
 o
   rld
56$t CENTURY LITERATURE 1       

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

 2
 1
  st
 C
 e
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 p
 p
  in
 e
 s
 a
 n
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   ht
 e
 W
 o
   rld
1       

st
UNIT 6 21  Century World Literature
SHORT STORY: $he Proble' of Susan *) Nei+ Gai"a
%ide note6
De,!$tru,ti! is a literary techni4ue which involves identifying the
contradictions within a text’s claim to have a single, stable meaning, and
showing that a text can be taken to mean a variety of things that differ 
significantly from what it purports to mean. 9he following story is the
author’s spin after the events of -0 !ewis’ The )hronicles of .arnia  series
involving one of the main characters, 0usan 3evensie.

A*!ut t(e Aut(!r:

Nei+ Ri,(ar& #a,9i! Gai"a  #born Nei+ Ri,(ar& Gai"a , % Govember %JE$ is an
+nglish author of short fiction, novels, comic books, graphic novels, audio theatre, and films. 2is
notable works include the comic book series The %andman and novels %tardust , American
Gods, )oraline, and The Graveyard $ook . 2e has won numerous awards, including
the 2ugo, Gebula, and ram 0toker awards, as well as the Gewbery and -arnegie medals. 2e is the
first author to win both the Gewbery and the -arnegie medals for the same work, The Graveyard 
 $ook   #&H$. In &%', The ;cean at the /nd of the !ane was voted ook of the /ear in the
ritish Gational ook ;wards.

THE PRO2LE# OF SUSAN  2

 1
from +ragile Things   st
 Geil Baiman  C
 e
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%he has the dream again that night1
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 In the dream, she is standing, with her brothers and her sister, on the edge of the battlefield1  p
 p
 It is summer, and the grass is a peculiarly vivid shade of green2 a wholesome green, like a cricket    in
 pitch or the welcoming slope of the %outh Downs a s you make your way north from the coast1 There  e
 s
are bodies on the grass1 .one of the bodies are human she can see a centaur, its throat slit, on the  a
 grass near her1
 n
 d
The horse half of it is a vivid chestnut1 Its human skin is nut-brown from the sun1 %he finds    ht
herself staring at the horse5s penis, wondering about centaurs mating, imagines being kissed by that   e
bearded face1 Her eyes flick to the cut throat, and the sticky red-black pool that surrounds it, and 
 W
 o
 she shivers1    rld
 +lies bu about the corpses1 1       

The wildflowers tangle in the grass1 They bloomed yesterday for the first time in7how long4
 A hundred years4 A thousand4 A hundred thousand4 %he does not know1
 All this was snow, she thinks, as she looks at the battlefield1
Kesterday, all this was snow1 Always winter, and never )hristmas1
 Her sister tugs her hand, and points1 ;n the brow of the green hill they stand, deep in
conversation1 The lion is golden, his arms folded behind his back1 The witch is dressed all in white1
 ight now she is shouting at the lion, who is simply listening1 The children cannot make out any of 
their words, not her cold anger, nor the lion5s thrum-deep replies1 The witch5s hair is black and 
 shiny, her lips are red1
 In her dream she notices these things1
They will finish their conversation soon, the lion and the witch7
9here are things about herself that the professor despises. 2er smell, for example. 0he
smells like her grandmother smelled, like old women smell, and for this she cannot forgive herself,
so on waking she bathes in scented water and, naked and towel1dried, dabs several drops of -hanel
toilet water beneath her arms and on her neck. It is, she believes, her sole extravagance.
9oday she dresses in her dark brown dress suit. 0he thinks of these as her interview clothes,
as opposed to her lecture clothes or her knocking1about1he1house clothes. Gow she is in retirement,
she wears her knocking1about1the1house clothes more and more. 0he puts on lipstick.
;fter breakfast, she washes a milk bottle, places it at her back door. 0he discovers that the
nextdoor’s cat has deposited a mouse head and a paw, on the doormat. It looks as though the mouse
is swimming through the coconut matting, as though most of it is submerged. 0he purses her lips,
then she folds her copy of yesterday’s Daily Telegraph, and she folds and flips the mouse head and
the paw into the newspaper, never touching them with her hands.
9oday’s Daily Telegraph is waiting for her in the hall, along with several letters, which she
inspects, without opening any of them, then places on the desk in her tiny study. 0ince her 
retirement she visits her study only to write. Gow she walks into the kitchen and seats herself at the
old oak table.
2er reading glasses hang about her neck on a silver chain, and she perches them on her nose
and begins with the obituaries.
0he does not actually expect to encounter anyone she knows there, but the world is small,
and she observes that, perhaps with cruel humor, the obituarists have run a photograph of 3eter 
urrell1Bunnas he was in the early %J8s, and not at all as he was the last time the professor had
seen him, at a  !iterary #onthly -hristmas party several years before, all gouty and beaky and  2
trembling, and reminding her of nothing so much as a caricature of an owl. In the photograph, he is
 1
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very beautiful.
2e looks wild, and noble.
 C
 e
0he had spent an evening once kissing him in a summer house) she remembers that very
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clearly, although she cannot remember for the life of her in which garden the summer house had   yr
 belonged.  L
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It was, she decides, -harles and Gadia =eid’s house in the country. :hich meant that it was  p
 before Gadia ran away with that 0cottish artist, and -harles took the professor with him to 0pain,
 p
  in
although she was certainly not a professor then. 9his was many years before people commonly went  e
 s
to 0pain for their holidays7 it was an exotic and dangerous place in those days. 2e asked her to  a
marry him, too, and she is no longer certain why she said no, or even if she had entirely said no. 2e
 n
 d
was a pleasant1enough young man, and he took what was left of her virginity on a blanket on a    ht
0panish beach, on a warm spring night. 0he was twenty years old, and had thought herself so oldS  e
9he doorbell chimes, and she puts down the paper, and makes her way to the front door, and
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opens it.
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2er first thought is how young the girl looks. 1       

2er first thought is how old the woman looks. “3rofessor 2astings5 she says. “I’m Breta
-ampion. I’m doing the profile on you. For the !iterary )hronicle1
9he older woman stares at her for a moment, vulnerable and ancient, then she smiles. It’s a
friendly smile, and Breta warms to her. “-ome in, dear, says the professor. “:e’ll be in the sitting
room.
“I brought you this, says Breta. “I baked it myself. 0he takes the cake tin from her bag,
hoping its contents hadn’t disintegrated en route. “It’s a chocolate cake. I read on1line that you liked
them.
9he old woman nods and blinks. “I do, she says. “2ow kind. 9his way.
Breta follows her into a comfortable room, is shown to her armchair, and told, firmly, not to
move. 9he professor bustles off and returns with a tray, on which are teacups and saucers, a teapot,
a plate of chocolate biscuits, and Breta’s chocolate cake.
9ea is poured, and Breta exclaims over the professor’s brooch, and then she pulls out her 
notebook and pen, and a copy of the professor’s last book, A ?uest for #eanings in )hildren5s
 +iction, the copy bristling with 3ost1it notes and scraps of paper. 9hey talk about the early chapters,
in which the hypothesis is set forth that there was originally no distinct branch of fiction that was
only intended for children, until the >ictorian notions of the purity and sanctity of childhood
demanded that fiction for children be madeS
“:ell, pure, says the professor.
“;nd sanctified5 asks Breta, with a smile.
“;nd sanctimonious, corrects the old woman. “It is difficult to read The 3ater $abies
without wincing.
;nd then she talks about ways that artists used to draw children@as adults, only smaller,
without considering the child’s proportions@and how the Brimms’ stories were collected for adults
and, when the Brimms realized the books were being read in the nursery, were bowdlerized to make
them more appropriate. 0he talks of 3errault’s “0leeping eauty in the :ood, and of its original
coda in which the 3rince’s cannibal ogre mother attempts to frame the 0leeping eauty for having
eaten her own children, and all the while Breta nods and takes notes, and nervously tries to
contribute enough to the conversation that the professor will feel that it is a conversation or at least
an interview, not a lecture.
“:here, asks Breta, “do you feel your interest in children’s fiction came from5
9he professor shakes her head. “:here do any of our interests come from5 :here does your 
interest in children’s books come from5  2
Breta says, “9hey always seemed the books that were most important to me. 9he ones that
 1
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mattered. :hen I was a kid, and when I grew. I was like ahl’s #atilda71 :ere your family great
readers5
 C
 e
“Got reallyS. I say that, it was a long time ago that they died. :ere killed. I should say.
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“;ll your family died at the same time5 :as this in the war5   yr
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“Go, dear. :e were evacuees, in the war. 9his was in a train crash, several years after. I was  p
not there.
 p
  in
“Cust like in !ewis’s .arnia  books, says Breta, and immediately feels like a fool, and an  e
 s
insensitive fool. “I’m sorry. 9hat was a terrible thing to say, wasn’t it5  a
“:as it, dear5
 n
 d
Breta can feel herself blushing, and she says, “It’s (ust I remember that se4uence so vividly.    ht
In The !ast $attle1 :here you learn there was a train crash on the way back to school, and everyone  e
was killed. +xcept for 0usan, of course.
 W
9he professor says, “*ore tea, dear5 and Breta knows that she should leave the sub(ect, but
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she says, “/ou know, that used to make me so angry. 1       

“:hat did, dear5

“0usan. ;ll the other kids go off to 3aradise, and 0usan can’t go. 0he’s no longer a friend of 
 Garnia because she’s too fond of lipsticks and nylons and invitations to parties. I even talked to my
+nglish teacher about it, about the problem of 0usan, when I was twelve.
0he’ll leave the sub(ect now, talk about the role of children’s fiction in creating the belief 
systems we adopt as adults, but the professor says, “;nd tell me, dear, what did your teacher say5
“0he said that even though 0usan had refused 3aradise then, she still had time while she
lived to repent.
“=epent what4
“Got believing, I suppose. ;nd the sin of +ve.
9he professor cuts herself a slice of chocolate cake. 0he seems to be remembering. ;nd then
she says, “I doubt there was much opportunity for nylons and lipsticks after her family was killed.
9here certainly wasn’t for me. ; little money@less than one might imagine@from her parents’
estate, to lodge and feed her. Go luxuriesS
“9here must have been something else wrong with 0usan, says the young (ournalist,
“something they didn’t tell us. <therwise she wouldn’t have been damned like that@denied the
2eaven of further up and further in. I mean, all the people she had ever cared for had gone on to
their reward, in a world of magic and waterfalls and (oy. ;nd she was left behind.
“I don’t know about the girl in the books, says the professor, “but remaining behind would
also have meant that she was available to identify her brothers’ and her little sister’s bodies. 9here
were a lot of people dead in that crash. I was taken to a nearby school@it was the first day of term,
and they had taken the bodies there. *y older brother looked okay. !ike he was asleep. 9he other 
two were a bit messier.
“I suppose 0usan would have seen their bodies, and thought, they’re on holidays now. 9he
 perfect school holidays. =omping in meadows with talking animals, world without end.
“0he might have done. I only remember thinking what a great deal of damage a train can do,
when it hits another train, to the people who were traveling inside. I suppose you’ve never had to
identify a body, dear5
“Go.
“9hat’s a blessing. I remember looking at them and thinking, 3hat if I5m wrong, what if it5s
not him after all4 *y younger brother was decapitated, you know. ; god who would punish me for 
liking nylons and parties by making me walk through that school dining room, with the flies, to
identify +d, wellShe’s en(oying himself a bit too much, isn’t he5 !ike a cat, getting the last ounce  2
of en(oyment out of a mouse. <r a gram of en(oyment, I suppose it must be these days. I don’t
 1
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know, really.
0he trails off. ;nd then, after some time, she says, “I’m sorry dear. I don’t think I can do any
 C
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more of this today. 3erhaps if your editor gives me a ring, we can set a time to finish our 
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conversation.   yr
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Breta nods and says of course, and knows in her heart, with a peculiar finality, that they will  p
talk no more.
 p
  in
9hat night, the professor climbs the stairs of her house, slowly, painstakingly, floor by floor.  e
 s
0he takes sheets and blankets from the airing cupboard, and makes up a bed in the spare bedroom,  a
at the back. It is empty but for a wartime austerity dressing table, with a mirror and drawers, an oak 
 n
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 bed, and a dusty applewood wardrobe, which contains only coathangers and a cardboard box. 0he    ht
 places a vase on the dressing table, containing purple rhododendron flowers, sticky and vulgar.  e
0he takes from the box in the wardrobe a plastic shopping bag containing four old
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 photographic albums. 9hen she climbs into the bed that was hers as a child, and lies there between
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the sheets, looking at the black1and1white photographs, and the sepia photographs, and the handful 1       

of unconvincing color photographs. 0he looks at her brothers, and her sister, and her parents, and
she wonders how they could have been that young, how anybody could have been that young.
;fter a while she notices that there are several children’s books beside the bed, which
 puzzles her slightly, because she does not believe she keeps books on the bedside table in that room.
 Gor, she decides, does she usually have a bedside table there. <n the top of the pile is an old
 paperback book@it must be more than forty years old) the price on the cover is in shillings. It
shows a lion, and two girls twining a daisy chain into its mane.
9he professor’s lips prickle with shock. ;nd only then does she understand that she is
dreaming, for she does not keep those books in the house. eneath the paperback is a hardback, in
its (acket, of a book that, in her dream, she has always wanted to read)  #ary 'oppins $rings in the
 Dawn, which 3. !. 9ravers had never written while alive.
0he picks it up and opens it to the middle, and reads the story waiting for her) Cane and
*ichael follow *ary 3oppins on her day off, to 2eaven, and they meet the boy Cesus, who is still
slightly scared of *ary 3oppins because she was once his nanny, and the 2oly Bhost, who
complains that he has not been able to get his sheet properly white since *ary 3oppins left, and
Bod the Father, who says, “9here’s no making her do anything. Got her.%he5s *ary 3oppins.
“ut you’re Bod, said Cane. “/ou created everybody and everything. 9hey have to do what
you say.
“Got her, said Bod the Father once again, and he scratched his golden beard flecked with
white. “I didn’t create her1 %he5s *ary 3oppins.
;nd the professor stirs in her sleep, and afterward dreams that she is reading her own
obituary. It has been a good life, she thinks, as she reads it, discovering her history laid out in black 
and white.
+veryone is there. +ven the people she had forgotten.
Breta sleeps beside her boyfriend, in a small flat in -amden, and she, too, is dreaming.
 In the dream, the lion and the witch come down the hill together1
%he is standing on the battlefield, holding her sister5s hand1 %he looks up at the golden lion,
and the burning amber of his eyes1 9He5s not a tame lion, is he4: she whispers to her sister, and 
they shiver1
The witch looks at them all, then she turns to the lion, and says, coldly, 9I am satisfied with
the terms of our agreement1 Kou take the girls2 for myself, I shall have the boys1:
%he understands what must have happened, and she runs, but the beast is upon her before
 she has covered a doen paces1  2
 1
The lion eats all of her e<cept her head, in her dream1 He leaves the head, and one of her    st
hands, *ust as a housecat leaves the parts of a mouse it has no desire for, for later, or as a gift1 %he  C
wishes that he had eaten her head, then she would not have had to look1 Dead eyelids cannot be  e
 n
closed, and she stares, unflinching, at the twisted thing her brothers have become1 The great beast    tu
eats her little sister more slowly, and, it seems to her, with more relish and pleasure than it had    yr
eaten her but then, her little sister had always be en its favorite1  L
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 $eing dead, the eyes in the head on the grass cannot look away1 $eing dead, they miss  p
 p
nothing1 And then does the lion amble over to the head on the grass and devour it in its huge mouth,   in
crunching her skull in its powerful *aws, and it is then, only then, that she wakes1  e
 s
2er heart is pounding. 0he tries to wake her boyfriend, but he snores and grunts and will not  a
 be roused.
 n
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 It5s true, Breta thinks, irrationally, in the darkness. %he grew up1 %he carried on1 %he didn5t     ht
die1  e
0he imagines the professor, waking in the night and listening to the noises coming from the
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old applewood wardrobe in the corner) to the rustlings of all these gliding ghosts, which might be
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mistaken for the scurries of mice or rats, to the padding of enormous velvet paws, and the distant, 1       

dangerous music of a hunting horn.

0he knows she is being ridiculous, although she will not be surprised when she reads of the
 professor’s demise. Death comes in the night, she thinks, before she returns to sleep. !ike a lion1
The white witch rides naked on the lion5s golden back1 Its mule is spotted with fresh,
 scarlet blood1 Then the vast pinkness of its tongue wipes around its face, and once more it is
 perfectly clean1

POETRY: What Must Be Said  *) Gter Gra$$

A*!ut t(e Aut(!r:
Gter Wi+(e+" Gra$$  #%E <ctober %J& " %' ;pril &%8$ was a Berman novelist, poet,
 playwright, illustrator, graphic artist, sculptor, and recipient of the %JJJ Gobel 3rize in !iterature.
2e was born in the Free -ity of anzig #now Bdask , 3oland$. ;s a teenager, he served as
a drafted soldier from late %J66 in the :affen100, and was taken prisoner of war  by L.0. forces at
the end of the war in *ay %J68. 2e was released in ;pril %J6E. 9rained as a stonemason and
sculptor, Brass began writing in the %J8s. In his fiction, he fre4uently returned to the anzig of his
childhood.
Brass is best known for his first novel, The Tin Drum #%J8J$, a key text in +uropean magic
realism. It was the first book of his anzig 9rilogy, the other two being )at and #ouse and Dog 
Kears. 2is works are fre4uently considered to have a left1wing political dimension, and Brass was
an active supporter of the 0ocial emocratic 3arty of Bermany #03$. The Tin Drum was adapted
as a film of the same name, which won both the %JJ 3alme dA<r and the ;cademy ;ward for est
Foreign !anguage Film. In %JJJ, the 0wedish ;cademy awarded him the Gobel 3rize in !iterature,
 praising him as a writer ?whose frolicsome black fables portray the forgotten face of history?.

WHAT #UST 2E SAID

 #9ranslated by reon *itchell$
Bnter Brass

:hy have I kept silent, held back so long,

on something openly practised in  2
war games, at the end of which those of us
 1
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who survive will at best be footnotes5  C
 e
ItAs the alleged right to a first strike
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that could destroy an Iranian people   yr
sub(ugated by a loudmouth  L
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and gathered in organized rallies,  p
 because an atom bomb may be being
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developed within his arc of power.  e
 s
 a
/et why do I hesitate to name
 n
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that other land in which    ht
for years " although kept secret "   e
a growing nuclear power has existed
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 beyond supervision or verification,
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sub(ect to no inspection of any kind5 1       

9his general silence on the facts,

 before which my own silence has bowed,
seems to me a troubling, enforced lie,
leading to a likely punishment
the moment itAs broken)
the verdict ?;nti1semitism? falls easily.

ut now that my own country,

 brought in time after time
for 4uestioning about its own crimes,
 profound and beyond compare,
has delivered yet another submarine to Israel,
#in what is purely a business transaction,
though glibly declared an act of reparation$
whose speciality consists in its ability
to direct nuclear warheads toward
an area in which not a single atom bomb
has yet been proved to exist, its feared
existence proof enough, IAll say what must be said.

ut why have I kept silent till now5

ecause I thought my own origins,
tarnished by a stain that can never be removed,
meant I could not expect Israel, a land
to which I am, and always will be, attached,
to accept this open declaration of the truth.

:hy only now, grown old,

and with what ink remains, do I say)
IsraelAs atomic power endangers
an already fragile world peace5
ecause what must be said  2
may be too late tomorrow7
 1
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and because " burdened enough as Bermans " 
we may be providing material for a crime
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that is foreseeable, so that our complicity
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will not be expunged by any   yr
of the usual excuses.  L
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;nd granted) IAve broken my silence
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 because IAm sick of the :estAs hypocrisy7  e
 s
and I hope too that many may be freed  a
from their silence, may demand
 n
 d
that those responsible for the open danger     ht
we face renounce the use of force,  e
may insist that the governments of 
 W
 both Iran and Israel allow an international authority
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free and open inspection of  1       

the nuclear potential and capability of both.

 Go other course offers help

to Israelis and 3alestinians alike,
to all those living side by side in enmity
in this region occupied by illusions,
and ultimately, to all of us.
NO-EL: $he "ife of Pi <a e%,er't= Ya #arte+
%ide note6
T(e Y!ug A&u+t <YA= Literature
Y!ug a&u+t i,ti! or )!ug a&u+t +iterature #YA$ is fiction published
for readers in their youth. 9he age range for young adult fiction is
sub(ective0ome sources claim it ranges from ages %&1%H, while authors and
readers of ?young teen novels? often define it as written for those aged %8 to
the early &s. 9he terms young adult novel, (uvenile novel, teenage
fiction, young adult book, etc., refer to the works in this category.

A*!ut t(e Aut(!r:

Ya #arte+  #born &8 Cune %JE'$ is a 0panish1born -anadian author best known for 
the *an ooker 3rize1winning novel !ife of 'i , a X% international bestseller published in more than
8 territories. It has sold more than %& million copies worldwide and spent more than a year on the
estseller !ists of the .ew Kork Times and The Globe and #ail , among many other bestseller 
lists. It was adapted to the screen and directed by ;ng !ee, garnering four <scars #the most for the
event$ including est irector and won the Bolden Blobe ;ward for est <riginal 0core.
*artel is also the author of the novels The High #ountains of 'ortugal , $eatrice and 0irgil 
and %elf , the collection of stories The +acts $ehind the Helsinki occamatios, and a collection of 
letters to the prime minister of -anada, CEC !etters to a 'rime #inister . 2e has won a number of 
literary prizes, including the &% 2ugh *ac!ennan 3rize for Fiction and the && ;sianD3acific
;merican ;ward for !iterature.  2
2e lives in 0askatoon, 0askatchewan with the writer ;lice Kuipers and their four children.
 1
  st
;lthough his first language is French, /ann *artel writes in +nglish) ?+nglish is the language in  C
which I best express the subtlety of life. ut I must say that French is the language closest to my  e
 n
heart. ;nd for this same reason, +nglish gives me a sufficient distance to write.   tu
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THE LIFE OF PI  p
 p
#an excerpt$
  in
/ann *artel
 e
 s
 a
 n
I was alone and orphaned, in the middle of the 3acific, hanging on to an oar, an adult tiger in
 d
front of me, sharks beneath me, a storm raging about me. 2ad I considered my prospects in the light    ht
of reason, I surely would have given up and let go of the oar, hoping that I might drown before
 e
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 being eaten. ut I don’t recall that I had a single thought during those first minutes of relative  o
safety. I didn’t even notice daybreak. I held on to the oar, I (ust held on, Bod only knows why.    rld
1       
9he elements allowed me to go on living. 9he lifeboat did not sink. =ichard 3arker kept out
of sight. 9he sharks prowled but did not lunge. 9he waves splashed me but did not pull me off.
I watched the ship as it disappeared with much burbling and belching. !ights flickered and
went out. I looked about for my family, for survivors, for another lifeboat, for anything that might
 bring me hope. 9here was nothing. <nly rain, marauding waves of black ocean and the flotsam of 
tragedy.
9he darkness melted away from the sky. 9he rain stopped.
I could not stay in the position I was in forever. I was cold. *y neck was sore from holding
up my head and from all the craning I had been doing. *y back hurt from leaning against the
lifebuoy. ;nd I needed to be higher up if I were to see other lifeboats.
In the morning I could not move. I was pinned by weakness to the tarpaulin. +ven thinking
was exhausting. I applied myself to thinking straight. ;t length, as slowly as a caravan of camels
crossing a desert, some thoughts came together.
I thought of sustenance for the first time. I had not had a drop to drink or a bite to eat or a
minute of sleep in three days. Finding this obvious explanation for my weakness brought me a little
strength.
=ichard 3arker was still on board. In fact, he was directly beneath me. Incredible that such a
thing should need consent to be true, but it was only after much deliberation, upon assessing various
mental items and points of view, that I concluded that it was not a dream or a delusion or a
misplaced memory or a fancy or any other such falsity, but a solid, true thing witnessed while in a
weakened, highly agitated state. 9he truth of it would be confirmed as soon as I felt well enough to
investigate.
2ow I had failed to notice for two and a half days a 681pound engal tiger in a lifeboat
twenty1six feet long was a conundrum I would have to try to crack later, when I had more energy.
9he feat surely made =ichard 3arker the largest stowaway, proportionally speaking, in the history of 
navigation. From tip of nose to tip of tail he took up over a third of the length of the ship he was on.
/ou might think I lost all hope at that point. I did. ;nd as a result I perked up and felt much
 better. :e see that in sports all the time, don’t we5 9he tennis challenger starts strong but soon loses
confidence in his playing. 9he champion racks up the games. ut in the final set, when the
challenger has nothing left to lose, he becomes relaxed again, insouciant, daring. 0uddenly he’s
 playing like the devil and the champion must work hard to get those last points. 0o it was with me.
9o cope with a hyena seemed remotely possible, but I was so obviously outmatched by =ichard
3arker that it wasn’t even worth worrying about. :ith a tiger aboard, my life was over. 9hat being
settled, why not do something about my parched throat5
 2
 1
I believe it was this that saved my life that morning, that I was 4uite literally dying of thirst.   st
 Gow that the word had popped into my head I couldn’t think of anything else, as if the word itself   C
were salty and the more I thought of it, the worse the effect. I have heard that the hunger for air 
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exceeds as a compelling sensation the thirst for water. <nly for a few minutes, I say. ;fter a few
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minutes you die and the discomfort of asphyxiation goes away. :hereas thirst is a drawn1out affair.   yr
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!ook) -hrist on the -ross died of suffocation, but 2is only complaint was of thirst. If thirst can be  p
so taxing that even Bod Incarnate complains about it, imagine the effect on a regular human. It was
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enough to make me go raving mad. I have never known a worse physical hell than this putrid taste  e
 s
and pasty feeling in the mouth, this unbearable pressure at the back of the throat, this sensation that  a
my blood was turning to a thick syrup that barely flowed. 9ruly, by comparison, a tiger was nothing.
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;nd so I pushed aside all thoughts of =ichard 3arker and fearlessly went exploring for fresh    ht
water.  e
9he divining rod in my mind dipped sharply and a spring gushed water when I remembered
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that I was on a genuine, regulation lifeboat and that such a lifeboat was surely outfitted with
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supplies. 9hat seemed like a perfectly reasonable proposition. :hat captain would fail in so 1       

elementary a way to ensure the safety of his crew5

:hat ship chandler would not think of making a little extra money under the noble guise of 
saving lives5 It was settled. 9here was water aboard. ;ll I had to do was find it.
:hich meant I had to move. I made it to the middle of the boat, to the edge of the tarpaulin.
It was a hard crawl. I felt I was climbing the side of a volcano and I was about to look over the rim
into a boiling cauldron of orange lava. I lay flat. I carefully brought my head over. I did not look 
over any more than I had to. I did not see =ichard 3arker. 9he hyena was plainly visible, though. It
was back behind what was left of the zebra. It was looking at me.
I was no longer afraid of it. It wasn’t ten feet away, yet my heart didn’t skip a beat. =ichard
3arker’s presence had at least that useful aspect. 9o be afraid of this ridiculous dog when there was
a tiger about was like being afraid of splinters when trees are falling down. I became very angry at
the animal. “/ou ugly, foul creature, I muttered. 9he only reason I didn’t stand up and beat it off 
the lifeboat with a stick was lack of strength and stick, not lack of heart.
id the hyena sense something of my mastery5 id it say to itself, “0uper alpha is watching
me@ I better not move5 I don’t know. ;t any rate, it didn’t move. In fact, in the way it ducked its
head it seemed to want to hide from me. ut it was no use hiding. It would get its (ust deserts soon
enough.
=ichard 3arker also explained the animals’ strange behavior. Gow it was clear why the
hyena had confined itself to such an absurdly small space behind the zebra and why it had waited so
long before killing it. It was fear of the greater beast and fear of touching the greater beast’s food.
9he strained, temporary peace between <range Cuice and the hyena, and my reprieve, were no
doubt due to the same reason) in the face of such a superior predator, all of us were prey, and normal
ways of preying were affected. It seemed the presence of a tiger had saved me from a hyena@ 
surely a textbook example of (umping from the frying pan into the fire.
ut the great beast was not behaving like a great beast, to such an extent that the hyena had
taken liberties. =ichard 3arker’s passivity, and for three long days, needed explaining. <nly in two
ways could I account for it) sedation and seasickness. Father regularly sedated a number of the
animals to lessen their stress. *ight he have sedated =ichard 3arker shortly before the ship sank5
2ad the shock of the shipwreck@ the noises, the falling into the sea, the terrible struggle to swim to
the lifeboat@ increased the effect of the sedative5 2ad seasickness taken over after that5 9hese
were the only plausible explanations I could come up with.
I lost interest in the 4uestion. <nly water interested me.
I took stock of the lifeboat.  2
It was three and a half feet deep, eight feet wide and twenty1six feet long, exactly. I know
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 because it was printed on one of the side benches in black letters. It also said that the lifeboat was
designed to accommodate a maximum of thirty1two people. :ouldn’t that have been merry, sharing
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it with so many5 Instead we were three and it was awfully crowdedS
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It seems orange@ such a nice 2indu color@ is the color of survival because the whole  p
inside of the boat and the tarpaulin and the life (ackets and the lifebuoy and the oars and most every
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other significant ob(ect aboard was orange. +ven the plastic, beadless whistles were orange.  e
 s
9he words Tsimtsum  and  'anama were printed on each side of the bow in stark, black,  a
roman capitals.
 n
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I did not grasp all these details@ and many more@ right away. 9hey came to my notice    ht
with time and as a result of necessity. I would be in the direst of dire straits, facing a bleak future,  e
when some small thing, some detail, would transform itself and appear in my mind in a new light. It
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would no longer be the small thing it was before, but the most important thing in the world, the
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thing that would save my life. 9his happened time and again. 2ow true it is that necessity is the 1       

mother of invention, how very true.

ut that first time I had a good look at the lifeboat I did not see the detail I wanted. 9he
surface of the stern and side benches was continuous and unbroken, as were the sides of the
 buoyancy tanks. 9he floor lay flat against the hull7 there could be no cache beneath it. It was certain)
there was no locker or box or any other sort of container anywhere. <nly smooth, uninterrupted
orange surfaces.
*y estimation of captains and ship chandlers wavered. *y hopes for survival flickered. *y
thirst remained.
;nd what if the supplies were at the bow, beneath the tarpaulin5 I turned and crawled back. I
felt like a dried1out lizard. I pushed down on the tarpaulin. It was tautly stretched. If I unrolled it, I
would give myself access to what supplies might be stored below. ut that meant creating an
opening onto =ichard 3arker’s den.
9here was no 4uestion. 9hirst pushed me on.
I unrolled it a little. Immediately I was rewarded. 9he bow was like the stern7 it had an end
 bench. ;nd upon it, (ust a few inches from the stem, a hasp glittered like a diamond. 9here was the
outline of a lid. *y heart began to pound. I unrolled the tarpaulin further. I peeked under. 9he lid
was shaped like a rounded1out triangle, three feet wide and two feet deep. ;t that moment I
 perceived an orange mass. I (erked my head back. ut the orange wasn’t moving and didn’t look 
right. I looked again. It wasn’t a tiger. It was a life (acket. 9here were a number of life (ackets at the
 back of =ichard 3arker’s den.
; shiver went through my body. etween the life (ackets, partially, as if through some
leaves, I had my first, unambiguous, clear1headed glimpse of =ichard 3arker. It was his haunches I
could see, and part of his back. 9awny and striped and simply enormous. 2e was facing the stern,
lying flat on his stomach. 2e was still except for the breathing motion of his sides. I blinked in
disbelief at how close he was. 2e was right there, two feet beneath me. 0tretching, I could have
 pinched his bottom. ;nd between us there was nothing but a thin tarpaulin, easily got round.
“Bod preserve meQ Go supplication was ever more passionate yet more gently carried by
the breath. I lay absolutely motionless.
I had to have water. I brought my hand down and 4uietly undid the hasp. I pulled on the lid.
It opened onto a locker.
I looked down between my legs. I thought I would faint for (oy. 9he open locker glistened
with shiny new things. <h, the delight of the manufactured good, the man1made device, the created
thingQ 9hat moment of material revelation brought an intensity of pleasure@ a heady mix of hope,  2
surprise, disbelief, thrill, gratitude, all crushed into one@ une4ualled in my life by any -hristmas,
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 birthday, wedding, iwali or other gift1giving occasion. I was positively giddy with happiness.
*y eyes immediately fell upon what I was looking for. :hether in a bottle, a tin can or a
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carton, water is unmistakably packaged. <n this lifeboat, the wine of life was served in pale golden
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cans that fit nicely in the hand. Drinking 3ater  said the vintage label in black letters. H' +oods !td .   yr
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were the vintners. FEE ml  were the contents. 9here were stacks of these cans, too many to count at a  p
glance.
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:ith a shaking hand I reached down and picked one up. It was cool to the touch and heavy. I  e
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shook it. 9he bubble of air inside made a dull glub glub glub sound. I was about to be delivered  a
from my hellish thirst. *y pulse raced at the thought. I only had to open the can.
 n
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I paused. 2ow would I do that5    ht
I had a can@ surely I had a can opener5 I looked in the locker. 9here was a great 4uantity of   e
things. I rummaged about. I was losing patience. ;ching expectation had run its fruitful course. I
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had to drink now@or I would die. I could not find the desired instrument. ut there was no time for 
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useless distress. ;ction was needed. -ould I pry it open with my fingernails5 I tried. I couldn’t. *y 1       

teeth5 It wasn’t worth trying. I looked over the gunnel. 9he tarpaulin hooks. 0hort, blunt, solid. I
kneeled on the bench and leaned over. 2olding the can with both my hands, I sharply brought it up
against a hook. ; good dint. I did it again. ;nother dint next to the first. y dint of dinting, I
managed the trick. ; pearl of water appeared. I licked it off. I turned the can and banged the
opposite side of the top against the hook to make another hole. I worked like a fiend. I made a larger 
hole. I sat back on the gunnel. I held the can up to my face. I opened my mouth. I tilted the can.
*y feelings can perhaps be imagined, but they can hardly be described. 9o the gurgling beat
of my greedy throat, pure, delicious, beautiful, crystalline water flowed into my system. !i4uid life,
it was. I drained that golden cup to the very last drop, sucking at the hole to catch any remaining
moisture. I went, “;hhhhhhQ tossed the can overboard and got another one. I opened it the way I
had the first and its contents vanished (ust as 4uickly. 9hat can sailed overboard too, and I opened
the next one. :hich, shortly, also ended up in the ocean. ;nother can was dispatched. I drank four 
cans, two liters of that most ex4uisite of nectars, before I stopped. /ou might think such a rapid
intake of water after prolonged thirst might upset my system. GonsenseQ I never felt better in my
life. :hy, feel my browQ *y forehead was wet with fresh, clean, refreshing perspiration. +verything
in me, right down to the pores of my skin, was expressing (oy.
; sense of well being 4uickly overcame me. *y mouth became moist and soft. I forgot
about the back of my throat. *y skin relaxed. *y (oints moved with greater ease. *y heart began to
 beat like a merry drum and blood started flowing through my veins like cars from a wedding party
honking their way through town. 0trength and suppleness came back to my muscles. *y head
 became clearer. 9ruly, I was coming back to life from the dead. It was glorious, it was glorious. I tell
you, to be drunk on alcohol is disgraceful, but to be drunk on water is noble and ecstatic. I basked in
 bliss and plenitude for several minutes.
; certain emptiness made itself felt. I touched my belly. It was a hard and hollow cavity.
Food would be nice now. ; masala dosai with a coconut chutney@ hmmmmmQ +ven better)
oothappamQ 2*****Q <hQ I brought my hands to my mouth@ I!IQ 9he mere thought of the
word provoked a shot of pain behind my (aws and a deluge of saliva in my mouth. *y right hand
started twitching. It reached and nearly touched the delicious flattened balls of parboiled rice in my
imagination. It sank its fingers into their steaming hot flesh... It formed a ball soaked with sauceSIt
 brought it to my mouthSI chewedS<h, it was ex4uisitely painfulQ
I looked into the locker for food. I found cartons of 0even <ceans 0tandard +mergency
=ation, from faraway, exotic ergen, Gorway. 9he breakfast that was to make up for nine missed
meals, not to mention odd tiffins that *other had brought along, came in a half1kilo block, dense,  2
solid and vacuum1packed in silver1colored plastic that was covered with instructions in twelve
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languages. In +nglish it said the ration consisted of eighteen fortified biscuits of baked wheat,
animal fat and glucose, and that no more than six should be eaten in a twenty1four1hour period. 3ity
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about the fat, but given the exceptional circumstances the vegetarian part of me would simply pinch
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its nose and bear it.   yr
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;t the top of the block were the words Tear here to open and a black arrow pointing to the  p
edge of the plastic. 9he edge gave way under my fingers. Gine wax1paper1wrapped rectangular bars
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tumbled out. I unwrapped one. It naturally broke into two. 9wo nearly s4uare biscuits, pale in color   e
 s
and fragrant in smell. I bit into one. !ord, who would have thought5 I never suspected. It was a  a
secret held from me) Gorwegian cuisine was the best in the worldQ 9hese biscuits were amazingly
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good. 9hey were savory and delicate to the palate, neither too sweet nor too salty. 9hey broke up    ht
under the teeth with a delightful crunching sound. *ixed with saliva, they made a granular paste  e
that was enchantment to the tongue and mouth. ;nd when I swallowed, my stomach had only one
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thing to say) 2allelu(ahQ
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9he whole package disappeared in a few minutes, wrapping paper flying away in the wind. I 1       

considered opening another carton, but I thought better. Go harm in exercising a little restraint.
;ctually, with half a kilo of emergency ration in my stomach, I felt 4uite heavy.
I decided I should find out what exactly was in the treasure chest before me. It was a large
locker, larger than its opening. 9he space extended right down to the hull and ran some little ways
into the side benches. I lowered my feet into the locker and sat on its edge, my back against the
stem. I counted the cartons of 0even <cean. I had eaten one7 there were thirty1one left. ;ccording to
the instructions, each 81gram carton was supposed to last one survivor three days. 9hat meant I
had food rations to last me@ '% x '@ J' daysQ 9he instructions also suggested survivors restrict
themselves to half a liter of water every twenty1four hours. I counted the cans of water. 9here were
%&6. +ach contained half a liter. 0o I had water rations to last me %&6 days. Gever had simple
arithmetic brought such a smile to my face.
:hat else did I have5 I plunged my arm eagerly into the locker and brought up one
marvelous ob(ect after another. +ach one, no matter what it was, soothed me. I was so sorely in need
of company and comfort that the attention brought to making each one of these mass1produced
goods felt like a special attention paid to me. I repeatedly mumbled, “9hank youQ 9hank youQ 9hank 
youQ
It was =ichard 3arker who calmed me down. It is the irony of this story that the one who
scared me witless to start with was the very same who brought me peace, purpose, I dare say even
wholeness.
I had to tame him. It was at that moment that I realized this necessity. It was not a 4uestion
of him or me, but of him and me. :e were, literally and figuratively, in the same boat. :e would
live@ or we would die@together. 2e might be killed in an accident, or he could die shortly of 
natural causes, but it would be foolish to count on such an eventuality. *ore likely the worst would
happen) the simple passage of time, in which his animal toughness would easily outlast my human
frailty. <nly if I tamed him could I possibly trick him into dying first, if we had to come to that
sorry business.
ut there’s more to it. I will come clean. I will tell you a secret) a part of me was glad about
=ichard 3arker. ; part of me did not want =ichard 3arker to die at all, because if he died I would be
left alone with despair, a foe even more formidable than a tiger. If I still had the will to live, it was
thanks to =ichard 3arker. 2e kept me from thinking too much about my family and my tragic
circumstances. 2e pushed me to go on living. I hated him for it, yet at the same time I was grateful.
I am grateful. It’s the plain truth) without =ichard 3arker, I wouldn’t be alive today to tell you my
story.  2
I looked around at the horizon. idn’t I have here a perfect circus ring, inescapably round,
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without a single corner for him to hide in5 I looked down at the sea. :asn’t this an ideal source of 
treats with which to condition him to obey5 I noticed a whistle hanging from one of the life (ackets.
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:ouldn’t this make a good whip with which to keep him in line5 :hat was missing here to tame
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=ichard 3arker5 9ime5 It might be weeks before a ship sighted me. I had all the time in the world.   yr
=esolve5 9here’s nothing like extreme need to give you resolve. Knowledge5 :as I not a  L
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zookeeper’s son5 =eward5 :as there any reward greater than life5 ;ny punishment worse than  p
death5 I looked at =ichard 3arker. *y panic was gone. *y fear was dominated. 0urvival was at
 p
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hand.  e
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;nd so it came to be)  a
3lan Gumber 0even) Keep 2im ;live.
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1       

POETRY: Casa *) Rig!*ert! G!7+e7

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

CASA
=igoberto Bonzlez

I am not your mother, I will not be moved

 by the grief or gratitude of men
who weep like orphans at my door.
I am not a church. I do not answer
 prayers but I never turn them down.

-ome in and kneel or sit or stand,

the burden of your weight wonAt lessen
no matter the length of your admission.  2
9ell me anything you want, I have to listen  1
 but donAt expect me to respond   st
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when you tell me you have lost your (ob  n
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or that your wife has found another love
or that your children took their laughter   yr
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to another town. /ou feel alone and empty5  p
-olor me surprisedQ I didnAt notice they were gone.
 p
  in
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espite the row of faces pinned like medals  a
to my walls, I didnAt earn them.
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9he scratches on the wood are not my scars.    ht
If thereAs a smell of spices in the air  e
 blame the trickery of kitchens
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or your sad addiction to the yesterdays 1       

that never keep no matter how much you believe

they will. I am not a time capsule.
I do not value pithy things like locks
of hair and milk teeth and ticket stubs

and promise rings@mere particles

of dust IAd blow out to the street if I could
sneeze. 9ake your high school (ersey
and your womanAs wedding dress away
from me. 0entimental hoarding bothers me.

0o off with you, old couch that cries

in coins as it gets dragged out to the porch.
Farewell, cold bed that breaks its bones
in protest to eviction or foreclosure or
whatever launched this grim parade

of exits. I am not a pet. I do not feel

abandonment. 0ometimes I donAt even see you
come or go or stay behind. *y windows
are your eyes not mine. If you should die
inside me IAll leave it up to you to tell

the neighbors. 0hut the heaters off

I do not fear the cold. IAm not the one
who shrinks into the corner of the floor 
 because whatever made you think
this was a home with warmth isnAt here

to sweet1talk anymore. onAt look at me

that way, IAm not to blame. I granted
nothing to the immigrant or exile
that I didnAt give a bordercrosser or a native  2
 born. I am not a prize or a wish come true.
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I am not a fairytale castle. 9hough I
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used to be, in some distant land inhabited
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 by dreamers now extinct. :ho knows   yr
what happened there5 In any case, good  L
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riddance, grotes4ue fantasy and mirth.  p
 p
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0o long, wall1to1wall disguise in vulgar  e
 s
suede and chintz. 9ake care, you fool,  a
and donAt forget that I am (ust a house,
 n
 d
a structure without soul for those whose    ht
 patron saints are longing and despair.  e
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1       

WE2TOON: $he (od of &igh Shool <a e%,er't= *) Par 

Y!g40e
%ide note6
W(at are We*t!!$?
We*t!! #2angul) 웹 툰 $ is a term used to describe 0outh
Korean webcomics or manhwa  that are published online. 9he Korean web
 portal aum created a webtoon service in &', as did Gaver in &6.
M%N 9hese services regularly release webtoons that are available for free.
;ccording to avid :elsh of loomberg, comics account for a 4uarter of all
 book sales in 0outh Korea, while more than ' million Korean users paid to
access online manhwa and % million users read free webcomics..

A*!ut t(e Aut(!r:

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

THE GOD OF HIGH SCHOOL

#an excerpt$
3ark /ong1(e

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