10

English 10
Quarter 3  Module 3

Compose an Independent
Critique

VANESSA L. ABUBO
Developer
Department of Education Cordillera Administrative Region

Department of Education • Cordillera Administrative Region

ii
 Republic of the Philippines
DEPARTMENT OF EDUCATION
Cordillera Administrative Region
SCHOOLS DIVISION OF CAR
Wangal, La Trinidad, Benguet

Published by
Learning Resource Management and Development System

COPYRIGHT NOTICE
2020

Section 9 of Presidential Decree No. 49 provides:

“No copyright shall subsist in any work of the Government of the

Philippines. However, prior approval of the government agency of office
wherein the work is created shall be necessary for exploitation of such work
for profit.”

This material has been developed for the implementation of K-12

Curriculum through the DepEd Schools Division of Baguio City –
Curriculum Implementation Division (CID). It can be reproduced for
educational purposes and the source must be acknowledged. Derivatives of
the work including creating an edited version, an enhancement or a
supplementary work are permitted provided all original work is
acknowledged and the copyright is attributed. No work may be derived from
this material for commercial purposes and profit.

iii
 PREFACE

This module is a project of the DepEd Schools Division of Baguio City

through the Curriculum Implementation Division (CID) which is in response
to the implementation of the K to 12 Curriculum.

This Learning Material is a property of the Department of Education,

Schools Division of Baguio City. It aims to improve students’ academic
performance specifically in English.

Date of Development : January 2021

Resource Location : DepEd Schools Division of Baguio City
Learning Area : English
Grade Level : 10
Learning Resource Type : Module
Language : English
Quarter/Week : Q3/W3
Learning Competency/Code : Compose an independent critique of a
chosen selection

iii
English– Grade 10
Alternative Delivery Mode
Quarter 3 – Module 3: Writing an Independent Critique

Republic Act 8293, section 176 states that: No copyright shall subsist in
any work of the Government of the Philippines. However, prior approval of the
government agency or office wherein the work is created shall be necessary for
exploitation of such work for profit. Such agency or office may, among other things,
impose as a condition the payment of royalties.

Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand

names, trademarks, etc.) included in this book are owned by their respective
copyright holders. Every effort has been exerted to locate and seek permission to
use these materials from their respective copyright owners. The publisher and
authors do not represent nor claim ownership over them.

Published by the Department of Education

Secretary: Leonor Magtolis Briones
Undersecretary: Diosdado M. San Antonio
Assistant Secretary: Alma Ruby C. Torio

Development Team of the Module

Writers: Vanessa L. Abubo
Editor:
Illustrator:
Layout Artist:
Management Team: Regional Director: Estela L. Cariño, EdD, CESO IV
CLMD Chief: Carmel F. Meris
Regional EPS-LRMDS: Ethielyn Taqued, EdD
Regional ADM Coordinator: Edgar H. Madlaing
CID Chief: Juliet H. Sannad, EdD
Division EPS-LRMDS: Loida C. Mangangey, PhD
Division ADM Coordinator:

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 TABLE OF CONTENTS

COPYRIGHT NOTICE...................................................................................iii
PREFACE....................................................................................................iii
ACKNOWLEDGEMENT..................................Error! Bookmark not defined.
TABLE OF CONTENTS..................................................................................v
What I Need to Know....................................................................................1
What I Know................................................................................................2
What’s In......................................................................................................4
What’s New..................................................................................................5
Activity: Remember Me...........................................................................5
What Is It.....................................................................................................5
What’s More.................................................................................................8
Activity: Critique’s Critique....................................................................8
What I Have Learned....................................................................................9
Activity: Acros-tique...............................................................................9
What I Can Do...........................................................................................10
Activity: Critic’s Circle..........................................................................10
Assessment..............................................................................................111
Additional Activity....................................................................................122
Activity: Second Opinion....................................................................122
ANSWER KEY...........................................................................................133
REFERENCES..........................................................................................144

v
 Lesson Compose an Independent Critique
1 of a Chosen Selection

What I Need to Know

Hello learner! This module was designed and written with you in
mind. Primarily, its scope is to help you compose a well-written critique of a
short story.

While going through this module, you are expected to:

1. identify the common elements of a narrative;
2. evaluate sample critiques about works of fiction; and
3. write an in-depth evaluation of a story in the form of a critique.
Now, here is an outline of the different parts of your learning module.
The descriptions will guide you on what to expect on each part of the
module.

Icon Label Description

What I need to This states the learning objectives that you
know need to achieve as you study this module.

What I know This is to check what you already know

about the lesson on this module. If you
answered all the questions here correctly,
then you may skip studying this module.
What’s In This connects the current lesson with a
topic or concept necessary to your
understanding.
What’s New This introduces the lesson to be tackled
through an activity.

What Is it This contains a brief discussion of the

learning module lesson. Think of it as the
lecture section of the lesson.
What’s More These are activities to check your
understanding and to apply what you have
learned from the lesson.
What I have This generalizes the essential ideas tackled
Learned from this module.

What I Can Do This is a real life application of what you

have learned.

Post-Assessment This is an evaluation of what you have

learned from this learning material.

1
Additional Activity This is an activity that will strengthen and
fortify your knowledge about the lesson.

2
 What I Know

Activity #1: Multiple Choice

Choose the letter of the best answer, and write it on a separate sheet of
paper.
1. Which of these terms is often used interchangeably with the word
“critique”?
A. Summary B. Synopsis C. Review D. Report
2. Which statement is not true about a critique?
A. It is a purely opinionated piece of writing about a story, novel,
film, etc.
B. It is usually done by experts or people with considerable
knowledge about the work.
C. It does not place emphasis on giving recommendations to
possible readers or viewers.
D. It is an in-depth evaluation or assessment of a piece of work
such as a short story or film.
3. Which of these story elements is not tackled in a critique?
A. Characterization B. Conflict C. Plot D. None of the above
4. Which of these is not an appropriate subject for critical analysis?
A. Films B. Novels C. Speeches D. Short
Stories
5. What information or details is usually included in a critique’s
introduction?
A. structure of the plot
B. authenticity of the conflict
C. significance of the dialogues
D. background or summary of the selection
6. Which of these questions should be asked when analyzing the
characters in a narrative?
A. Do we know enough about them to make them interesting and
relatable?
B. Are there equal number of male and female characters?
C. Who among the characters is likeable and who is not?
D. Why is the protagonist not a superhero material?
7. What detail can a critic use best to support his/her evaluation of a
story?
A. Opinions of those who read the story
B. Quotes from the story itself
C. Statements of the author
D. Reviews of other critics

For numbers 8-11, write TRUE if the statement is correct, and FALSE if
not.
________ 8. Critiques may follow different formats but they generally
have the same content or foci.

3
 ________ 9. A critique is intended primarily to point out the faults or
flaws in work.
________ 10. It is alright to not give a summary of the story critiqued
because the readers are most likely familiar with it
already.
________ 11. A critic is encouraged to write “I think…” or “In my
opinion…” in his/her critical essay.

For numbers 12-15, identify the correct order of these steps in writing a
critique by assigning the numbers 1 to 4.
_____ 12. Give recommendations as needed.
_____ 13. Give a short summary of the story.
_____ 14. Give an overall evaluation of the story.
_____ 15. State your analysis of the setting, characterization, plot, etc.

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 What’s In

How would you know which books are a good read, or

what movies are worth your time and money? You would probably ask
your friends for any recommendation, or browse the internet for
stories or flicks that received good reviews. It could also be that before
you watch a film on YouTube, you would first read the series to
comments and decide whether to continue watching or not.
Other people’s evaluation of these creative works matter,
especially when we cannot easily decide on what to read or view. Their
evaluation or judgement of a material can come in the form of a
simple comment that is highly opinionated, or in something more
formal and informative such as a review or a critique.
Often used interchangeably, a review and a critic are both an
evaluation of a work such as books and films. However, these two are
different things; they only share the same components. According to
Shailesh Yadav (2017), a review is an assessment about a recent
work, which generally aims to promote or recommend that work to
other readers, viewers or consumers. A critique, on the other hand, is
a more in-depth evaluation which is not aimed at promoting a
particular work. Also, the subject does not have to be recently
released or published.
As a consumer of various stories (be it printed or online) and
movies, you need to be informed and be critical about what you read
and watch. And while it is good to read existing critiques and reviews
about what is trending, it is also necessary for you to be able to write
your own critique of the materials or texts that you are reading.

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 What’s New
Activity #2: REMEMBER ME?
Read the following sentences taken from Anton Chekhov’s “A Day in
the Country,” and identify what narrative element they are. Write your
answer on a separate sheet of paper
CHARACTERIZATION PLOT SETTING
THEME CONFLICT DIALOGUE

1. Every act of kindness is an expression of love.

2. A dark leaden-colored mass is creeping over the sky towards the sun.
In a minute there will be a spurt of May rain and a real storm will
begin.
3. Terenty is a tall old man with a thin, pock-marked face, very long legs,
and bare feet, dressed in a woman’s tattered jacket, looking with
drowsy eyes.
4. Terenty and Fyokla’s feet are covered with lumps of heavy, wet clay. It
is slippery and difficult to walk, but Terenty strides on more and more
rapidly. The weak little beggar-girl is breathless and ready to stop.
5. “It’s terrible how it is thundering,” the boy says again, rubbing his
hand.

What Is It

A critique is an in-depth evaluation of a story, novel, film, etc.

for the purpose of giving its reading public an insight into the
material. Although a critique share the same root with the word
“criticize,” it does not mean that the write-up merely points out the
faults or flaws in a story or film. Instead, a critique seeks to shed light
about the content of a “text” (the story, novel, song, movie etc.) in
order to help future readers or viewers understand better the material
that they are reading or viewing.
Critical essays about texts are indeed very important in helping
us make sense of what we just read or viewed. At times, it can also
inform our decisions on what other good materials we can read or
watch next. But what are the elements that make a critique so
informative? And what aspects of a story or movie are assessed or
studied by a critic?
Critiques contain a careful evaluation mainly on the following
elements of a narrative: characterization, setting, conflict, plot,
dialogue, theme and style. These aspects, as well as the manner that

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they were presented in the material, are studied so that the critic can
come up with a valid evaluation on whether or not the material is
good, beautiful, or significant especially for the viewers or consumers.
In assessing the said elements, there are certain questions that
the critic should ask. David Farland (2017) and other critics
enumerated some questions one might use to judge a story, or other
narratives:
Setting: How well was the setting developed? Does it appeal to more
than one of the senses? Does it inform or connect to other aspects of
the story such as character development and narrative style?
Characterization: How well-drawn are the characters in the story?
Do we know enough about them (life, attitudes, some type of history,
etc.) to make them interesting and relatable? Are there unnecessary
characters?
Conflict and Plot: Is there a conflict in the story? Is the plot
interesting, original and well-developed? Are there unnecessary and
confusing subplots?
Theme: How well does the story speak to the readers? Does it raise
questions about life, or provide profound insights?
Style: How distinctive or unique is the writing style? Are there literary
devices or techniques used? Is it purposeful? Does the style remind
you of any other authors you have read?
Having the answer to all these questions does not mean that the
critique is complete. There are other minor yet necessary details to
include, and everything must be properly organized into a cohesive
essay. Here is a simple structure to follow in organizing the contents.

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 Mention the name of the author and the title of the work.
Give a brief summary, including a description, background or context of
the work.
Introduct- Indicate the elements you want to examine, and state the purpose of
ion your critique.

Give a systematic and detailed assessment of the different elements of

the work, but make sure that your discussion and judgement will be
supported by specific details such as quotes or examples from the work
itself. (This is the main bulk of the critical essay, and it may run for
Body more than three paragraphs.)

State your overall assessment of the story’s value, worth, and

significance (both positive and negative).
Conclu- Give recommendations for improvement if necessary.
sion

Finally, here are some parting reminders that budding critics need to
take note of when writing:
 Avoid introducing your ideas by stating “I think” or “In my opinion”
because this weakens the analysis.
 Always introduce the work. Do not assume that the reader knows
what you are writing about and that you don’t need to mention some
details anymore.
 To be able to write a good critique and help readers understand the
story, you yourself should know well what you are writing about.

Now, go over this sample critique which is part of your English 10

Learner’s Material “Celebrating Diversity through World Literature.” Read the
essay, and reflect if it is informative, in-depth and comprehensive enough to

SAMPLE CRITIQUE
“Lee” published by Crime Factory (Posted by Abdulat 8/10/2008 12:46:00PM)

I recently finished a fiction anthology called “Lee.” The book features seventeen
short stories, all written by crime writers and inspired by Lee Marvin — his life, his
movies. The stories flow in chronological order with the first taking place in 1944 and
the last in 1987, just after Lee died. Frankly, I thought the concept was a little goofy,
and I didn’t really expect the book to be that good. I bought it only because its
publisher, Crime Factory, had published two of my short stories. I liked what they’d
done in their journal, and figured I’d check out what else they’ve brought to the world.
I am happy to admit that I was very wrong. Not only is every story in the
collection really good, but it turns out that the concept really worked. In a word, the
book rocks! It was fun to see how the different authors tackled the task of writing a
Lee Marvin-inspired story. I particularly liked the stories: “1966: Just Swell,”
“Cameron Ashley,” “1967: The Gun Hunter.” Eric Beetner’s novel The Devil Doesn’t
Want Me has now moved up to number three on my reading list, which hopefully
means I’ll get to it in June.
I feel good that in my own little way I’m associated with these writers
tangentially. 8
Finishing “Lee” has also made me more interested in Lee Marvin’s movies. I
watched The Man who Shot Liberty Valence during a film class in college and was
blown away by his performance, but I don’t think I’d seen another one of his movies.
And I consider myself something of an old film buff, but I took a step forward
be a critique. Let’s try to critique this sample critique based on the
concepts previously presented.
 Does it mention the background and summary of the text? Yes, but it
is not enough to inform the readers what “Lee” is all about.
 Are the narrative elements extensively evaluated? No. There was no
evident attempt to analyze the plot, characters, and others. What is
obvious are the writer’s personal reactions to “Lee” and his failure to
support his judgement about the material. In other words, this sample
critique fails to make an in-depth evaluation of the text; hence, it is
really not informative.
 What would be the overall evaluation of this critique? It certainly has
many areas that need to be improved. The writer seems very familiar
with the material, and he could do a better critique of it.

What’s More
Activity #3: A CRITIQUE’S CRITIQUE
Read text in the box, and then answer the questions that follow. Write
your answers on a separate sheet of paper.

“The Duplicate War: A Review” by David Lowe

Critique by Robert Keating

(1)The most valuable portion of any critique is “What I didn’t like and
why.” (2)Unfortunately, there’s not much wrong with The Duplicate War: A
Review. (3)I will try to be as specific as possible with my praise so you’ll know
what you did right.
(4)The vehicle of an opera review to tell your tale is an excellent one.
(5)I have seen this approach before and it is very effective as long as it keeps
moving. (6)Your tale moved at a brisk (but not rushed) pace.
(7) “The photograph of his father in the wheelchair that had brought him
back from Vietnam could be dusted…” (8) The paragraph this line appears in
is an excellent example of characterization by setting; and the line I
referenced is the wonderful little which completes the scene and sheds a little
light on who Scott is.
(9) “The networks showed the tape over and over; he sat up drinking
strong coffee and watched Michael every hour until dawn.” (10)I think that
amending this line to end “…and watched Michael die every hour until dawn”
willUnder
____1. add impact
whatand help
genre isjustify Scott’s actions
the critiqued later.
material?
(11)This
A. Fantasy is an excellent
B. Comedy storyC. Drama see publication.
and should D. Science(12)It is on
fiction
par What
____2. with what I see
is the in theassessment
overall short scienceof fiction markets.
the critic about the material?
A. Positive B. Negative C. Ambivalent D. Not stated
____3. Which paragraphs clearly show the critic’s overall judgment?
A. 1 and 2 B. 2 and 3 C. 3 and 4 D. 1 and 5
____4. What story element was assessed in paragraph 2?
A. Plot B. Setting C. Characterization D. Theme
____5. What detail in a critic was sentence #10 an example of?

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 A. Summary C. Recommendation
B. Evidence D. Evaluation
____6. What is evidently lacking in this critique if it intends to inform
readers?
A. Summary C. Recommendation
B. Evidence D. Evaluation
____7. Which of the following is one of the good points in the essay?
A. The critic gave positive evaluation of the material.
B. The critic showed knowledge about the context of the material.
C. Specific examples from the text itself were mentioned in the
discussion.
D. All the things that the readers need to know about the text were
mentioned.
8-10. Based on what you learned from the lesson, how can this critique be
improved? (Answer in no more than three meaningful sentences.)
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________

What I Have Learned

Activity #4: ACROS-TIQUE
Complete the acrostics of the word “CRITIQUE” by writing
important points about the topic. Write in complete sentence for each
letter. (The first and the last letters have given as example, but you
may change them if you wish to.)

C — Critiques are informative and objective evaluation of a work.

R

E — Evaluations are coupled with examples from the material itself.

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 What I Can Do
Activity #5: CRITIC’S CIRCLE
Read the short story on page 15 of this module, and then do a critical
analysis of it. Your critique will be rated based on the given rubric. Follow
this simplified format for your essay.
 Introduction: Mention the name of the author and the title of the work. Give a
brief summary of the work, and then indicate the elements you want to
examine, as well as the purpose of your critique.
 Body: Choose only three of the narrative elements discussed, and make sure to
cite specific examples to support your analysis or evaluation.
 Conclusion: State your overall assessment of the story’s value, worth, and
significance (both positive and negative). Give recommendations for
improvement if necessary.
Needs
Criteria Very Good (4-5) Good (3)
Improvement (2)
Introduction All the contents The contents are The introduction lacks
required are present, complete, but the the required content,
and the summary is summary could have and the summary is
well-written. It is been written better. poorly outlined. It is
attention-grabbing. not catchy at all.
Analysis There is excellent There is good There is insufficient
evaluation of the evaluation of the attempt to present the
text’s strengths and text’s strengths and weaknesses or
weaknesses. Clarity, weaknesses. strengths of the text.
originality and depth However, clarity, Also, the output
of thought about the originality and depth shows superficial
topic are also evident. of thought seem thinking about the
lacking. topic.
Supporting There is coherent Coherent The output lacks a
Evidence organization and organization and clear focus and
interesting development are organization, and the
development of evident, but several details lifted from the
analysis supported details and examples story seem random
with carefully chosen are not carefully and unrelated.
details and examples selected form the
from the story. story.
Conclusion The conclusion clearly The conclusion gives The critique does not
wraps up the entire a decent have a clear wrap up,
critique’s good and generalization of the and there isn’t any
bad points, and gives critique and an clear statement about
an overall evaluation overall evaluation. the evaluation of the
of the story. story read.

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Grammar Sentences are clear Sentences are mostly Sentences are poorly
and and concise. Errors in clear and concise. structured, and the
Mechanics grammar and There are noticeable grammatical errors
punctuation are very errors, but they do are too many that it
minimal and not affect the clarity affects the
negligible. of the output. comprehensibility of
the essay.
Total Score
Adapted from https://www.cs.toronto.edu/~lczhang/csc290_20191/files/cr_rubric.pdf

Assessment
Activity #6: Multiple Choice
Choose the letter of the best answer, and write it on a separate sheet of
paper.
1. Which of these terms is often used interchangeably with the word
“critique”?
A. Summary B. Synopsis C. Review D. Report
2. Which statement is not true about a critique?
A. It is a purely opinionated piece of writing about a story, novel,
film, etc.
B. It is usually done by experts or people with considerable
knowledge about the work.
C. It does not place emphasis on giving recommendations to
possible readers or viewers.
D. It is an in-depth evaluation or assessment of a piece of work
such as a short story or film.
3. Which of these story elements is not tackled in a critique?
A. Characterization B. Conflict C. Plot D. None of the above
4. Which of these is not an appropriate subject for critical analysis?
A. Films B. Novels C. Speeches D. Short
Stories
5. What information or details is usually included in a critique’s
introduction?
A. structure of the plot
B. authenticity of the conflict
C. significance of the dialogues
D. background or summary of the selection
6. Which of these questions should be asked when analyzing the
characters in a narrative?
A. Do we know enough about them to make them interesting and
relatable?
B. Are there equal number of male and female characters?
C. Who among the characters is likeable and who is not?
D. Why is the protagonist not a superhero material?

12
 7. What detail can a critic use best to support his/her evaluation of a
story?
A. Opinions of those who read the story
B. Quotes from the story itself
C. Statements of the author
D. Reviews of other critics

For numbers 8-11, write TRUE if the statement is correct, and FALSE if
not.
________ 8. Critiques may follow different formats but they generally
have the same content or foci.
________ 9. A critique is intended primarily to point out the faults or
flaws in work.
________ 10. It is alright to not give a summary of the story critiqued
because the readers are most likely familiar with it
already.
________ 11. A critic is encouraged to write “I think…” or “In my
opinion…” in his critical essay.

For numbers 12-15, identify the correct order of these steps in writing a
critique by assigning the numbers 1 to 4.
_____ 12. Give recommendations as needed.
_____ 13. Give a short summary of the story.
_____ 14. Give an overall evaluation of the story.
_____ 15. State your analysis of the setting, characterization, plot, etc.

Additional Activity
Activity #7: SECOND OPINION
Using the same rubric in the previous activity, rate one of your
classmates’ critique, and justify the score you give by citing the essay’s
strengths and areas needing improvement. Do this on a separate sheet of
paper.

13
 Classmate’s Name: ______________________________
Score/Rating: ______________
Strengths of the Critique:

Points for Improvement:

ANSWER KEY
WHAT I KNOW WHAT’S NEW
1. C 1. THEME
2. A 2. SETTING WHAT’S MORE
3. D 3. CHARACTERIZATION 1. D
4. C 4. CONFLICT 2. A
5. D 5. DIALOGUE 3. D
6. A
4. A
7. B
5. C
8. TRUE
6. A
9. FALSE
7. C
10. FALSE
8-10. Answers may vary.
11. FALSE
12. 4
13. 1
14. 3
15. 2

14
 ASSESSMENT
1. C
WHAT I HAVE LEARNED 2. A ADDITIONAL ACTIVITY
Answers may vary. 3. D Answers may vary.
WHAT I CAN DO 4. C
Answers may vary. 5. D
6. A
7. B
8. TRUE
9. FALSE
10. FALSE
11. FALSE
12. 4
13. 1
14. 3
15. 2

15
 REFERENCES
Department of Education. 2015. Celebrating Diversity through World
Literature. Pasig City, Philippines: Rex Book Store, Inc.

Hunter College. n.d. “The Writing Process: Writing a Critique.” Accessed

January 15, 2021. http://www.hunter.cuny.edu/rwc/handouts/the-
writing-process-1/invention/Writing-a-Critique

Farland, David. 2017. “A Guide to Critiquing a Story: Seven Vital Elements

Every Story Must have.” Accessed January 15, 2021.
https://www.writersofthefuture.com/seven-vital-elements-every-
story-must-have/

QUT Website. n.d. “Writing a Critique.” Accessed January 18, 2021.

https://www.citewrite.qut.edu.au/write/critique.html

Southeastern Louisiana University. n.d. “Critical Analysis.” Accessed

January 18, 2021. https://www2.southeastern.edu/Academics/
Faculty/elejeune/critique.htm#:~:text=The%20purpose%20for%
20writing%20a,or%20evaluation%20of%20a%20text.

The Best Philippine Short Stories. n.d. “The Centipede by Rony V. Diaz.”
Accessed January 20, 2021. https://www.sushidog.com/bpss/
stories/centipede.htm

The Novel Factory. 2017, September 06. “How to do Fiction Critique

(Feedback) in a Writer’s Circle.” Accessed January 18, 2021.
http://www.novel-software.com/blog?article=how-to-do-fiction-
critique-(feedback)-in-a-writer’s-circle

Tucker, Kristine. n.d. “How to Criticize a Short Story in Literature.” Accessed

January 15, 2021. https://penandthepad.com/write-short-story-
3337.html
Yadav, Shailesh. 2017, February 26. “Key Difference-Critique vs Review.”
Accessed January 16, 2021. https://www.quora.com/What-is-the-
difference-between-critique-and-review

16
 THE CENTIPEDE
Rony V. Diaz
WHEN I saw my sister, Delia, beating alternately in the light of the cloud-
my dog with a stick, I felt hate heave like banked sun. One of the birds whistled
a caged, angry beast in my chest. Out in and the covey dispersed like seeds
the sun, the hair of my sister glinted like thrown in the wind. I fired and my body
metal and, in her brown dress, she shook with the fierce momentary life of
looked like a sheathed dagger. Biryuk the rifle. I saw three pigeons flutter in a
hugged the earth and screamed but I last convulsive effort to stay afloat, then
could not bound forward nor cry out to fall to the ground. The shot did not scare
my sister. She had a weak heart and she the dog. He came to us, sniffing
must not be surprised. So I held myself, cautiously. He circled around us until I
my throat swelled, and I felt hate rear snapped my fingers and then he came
and plunge in its cage of ribs. me.
I WAS thirteen when my father first “Not bad,” my father said grinning.
took me hunting. All through the “Three birds with one tube.” I went to the
summer of that year, I had tramped brush to get the birds. The dog ambled
alone and unarmed the fields and forest after me. He found the birds for me. The
around our farm. Then one afternoon in breast of one of the birds was torn. The
late July my father told me I could use bird had fallen on a spot where the earth
his shotgun. was worn bare, and its blood was spread
Beyond the ipil grove, in a grass field like a tiny, red rag. The dog scraped the
we spotted a covey of brown pigeons. In blood with his tongue. I picked up the
the open, they kept springing to the air birds and its warm, mangled flesh clung
and gliding away every time we were to the palm of my hand.
within range. But finally they dropped to “You’re keen,” I said to the dog. “Here.
the ground inside a wedge of guava trees. Come here.” I offered him my bloody
My father pressed my shoulder and I palm. He came to me and licked my palm
stopped. Then slowly, in a half-crouch, clean.
we advanced. The breeze rose lightly; the I gave the birds to my father. “May I
grass scuffed against my bare legs. My keep him, Father?” I said pointing to the
father stopped again. He knelt down and dog. He put the birds in a leather bag
held my hand. which he carried strapped around his
“Wait for the birds to rise and then waist.
fire,” he whispered. Father looked at me a minute and
I pushed the safety lever of the rifle then said: “Well, I’m not sure. That dog
off and sighted along the barrel. The belongs to somebody.”
saddle of the stock felt greasy on my “May I keep him until his owner
cheek. The gun was heavy and my arm comes for him?” I pursued.
muscles twitched. My mouth was dry; I “He’d make a good pointer,” Father
felt vaguely sick. I wanted to sit down. remarked. “But I would not like my son
“You forgot to spit,” my father said. to be accused of dog-stealing.”
Father had told me that hunters “Oh, no!” I said quickly. “I shall
always spat for luck before firing. I spat return him when the owner comes to
and I saw the breeze bend the ragged, claim him.”
glassy threads of spittle toward the birds. “All right,” he said, “I hope that dog
“That’s good,” Father said. makes a hunter out of you.”
“Can’t we throw a stone,” I whispered Biryuk and I became fast friends.
fiercely. “It’s taking them a long time.” Every afternoon after school we went to
“No, you’ve to wait.” the field to chase quails or to the bank of
Suddenly, a small dog yelping shrilly the river which was fenced by tall, blade-
came tearing across the brooding plain of sharp reeds to flush snipes. Father was
grass and small trees. It raced across the away most of the time but when he was
plain in long slewy swoops, on outraged home he hunted with us.
shanks that disappeared and flashed

17
 BIRYUK scampered off and my sister hit me again and again until the flesh of
flung the stick at him. Then she turned my back and thighs sang with pain. Then
about and she saw me. suddenly my sister moaned; she
“Eddie, come here,” she commanded. stiffened, the sapling fell from her hand
I approached with apprehension. Slowly, and quietly, as though a sling were
almost carefully, she reached over and lowering her, she sank to the ground. Her
twisted my ear. eyes were wild as scud and on the edges
“I don’t want to see that dog again in of her lips, drawn tight over her teeth,
the house,” she said coldly. “That dog quivered a wide lace of froth. I ran to the
destroyed my slippers again. I’ll tell Berto house yelling for Father.
to kill that dog if I see it around again.” She came back from the hospital in
She clutched one side of my face with her the city, pale and quiet and mean,
hot, moist hand and shoved me, roughly. drained, it seemed, of all emotions, she
I tumbled to the ground. But I did not cry moved and acted with the keen,
or protest. I had passed that phase. Now, perversity and deceptive dullness of a
every word and gesture she hurled at me sheathed knife, concealing in her body
I caught and fed to my growing and that awful power for inspiring fear and
restless hate. pain and hate, not always with its drawn
MY sister was the meanest creature I blade but only with its fearful shape,
knew. She was eight when I was born, defined by the sheath as her meanness
the day my mother died. Although we was defined by her body.
continued to live in the same house, she Nothing I did ever pleased her. She
had gone, it seemed, to another country destroyed willfully anything I liked. At
from where she looked at me with first, I took it as a process of adaptation,
increasing annoyance and contempt. a step of adjustment; I snatched and
One of my first solid memories was of crushed every seed of anger she planted
standing before a grass hut. Its dirt floor in me, but later on I realized that it had
was covered with white banana stalks, become a habit with her. I did not say
and there was a small box filled with anything when she told Berto to kill my
crushed and dismembered flowers in one monkey because it snickered at her one
corner. A doll was cradled in the box. It morning, while she was brushing her
was my sister’s playhouse and I teeth. I did not say anything when she
remembered she told me to keep out of it. told Father that she did not like my
She was not around so I went in. The pigeon house because it stank and I had
fresh banana hides were cold under my to give away my pigeons and Berto had to
feet. The interior of the hut was rife with chop the house into kindling wood. I
the sour smell of damp dead grass. learned how to hold myself because I
Against the flowers, the doll looked knew we had to put up with her whims to
incredibly heavy. I picked it up. It was keep her calm and quiet. But when she
slight but it had hard, unflexing limbs. I dumped my butterflies into a waste can
tried to bend one of the legs and it and burned them in the backyard, I
snapped. I stared with horror at the realized that she was spiting me.
hollow tube that was the leg of the doll. My butterflies never snickered at her
Then I saw my sister coming. I hid the leg and they did not smell. I kept them in an
under one of the banana pelts. She was unused cabinet in the living room and
running and I knew she was furious. The unless she opened the drawers, they were
walls of the hut suddenly constricted me. out of her sight. And she knew too that
I felt sick with a nameless pain. My sister my butterfly collection had grown with
snatched the doll from me and when she me. But when I arrived home, one
saw the torn leg she gasped. She pushed afternoon, from school, I found my
me hard and I crashed against the wall of butterflies in a can, burned in their
the hut. The flimsy wall collapsed over cotton beds like deckle. I wept and Father
me. I heard my sister screaming; she had to call my sister for an explanation.
denounced me in a high, wild voice and She stood straight and calm before
my body ached with fear. She seized one Father but my tear-logged eyes saw only
of the saplings that held up the hut and her harsh and arrogant silhouette. She

18
looked at me curiously but she did not I stiffened. “Did it, really?” I said
say anything and Father began gently to trying to control my rising voice. Berto
question her. She listened politely and was still grinning and I felt hot all over.
when Father had stopped talking, she “I didn’t expect to find any centipede
said without rush, heat or concern: “They here,” he said. “It nearly bit me. Who
were attracting ants.” wouldn’t get shocked?” He bent and
I RAN after Biryuk. He had fled to the picked up a piece of wood.
brambles. I ran after him, bugling his “This wood was here,” he said and put
name. I found him under a low, shriveled down the block. “Then I picked it up, like
bush. I called him and he only this. And this centipede was coiled here.
whimpered. Then I saw that one of his Right here. I nearly touched it with my
eyes was bleeding. I sat on the ground hand. What do you think you would
and looked closer. The eye had been feel?”
pierced. The stick of my sister had I did not answer. I squatted to look at
stabbed the eye of my dog. I was the reptile. Its antennae quivered
stunned., For a long time I sat searching the tense afternoon air. I
motionless, staring at Biryuk. Then I felt picked up a sliver of wood and prodded
hate crouch; its paws dug hard into the the centipede. It uncoiled viciously. Its
floor of its cage; it bunched muscles pinchers slashed at the tiny spear.
tensed; it held itself for a minute and “I could carry it dead,” I said half-
then it sprang and the door of the cage aloud.
crashed open and hate clawed wildly my “Yes,” Berto said. “I did not kill him
brain. I screamed. Biryuk, frightened, because I knew you would like it.”
yelped and fled, rattling the dead bush “Yes, you’re right.”
that sheltered him. I did not run after “That’s bigger than the one you found
him. last year, isn’t it?”
A large hawk wheeled gracefully “Yes, it’s very much bigger.”
above a group of birds. It flew in a I stuck the sliver into the carapace of
tightening spiral above the birds. the centipede. It went through the flesh
On my way back to the house, I under the red armor; a whitish liquid
passed the woodshed. I saw Berto in the oozed out. Then I made sure it was dead
shade of a tree, splitting wood. He was by brushing its antennae. The centipede
splitting the wood he had stacked last did not move. I wrapped it in a
year. A mound of bone-white slats was handkerchief.
piled near his chopping block When he My sister was enthroned in a large
saw me, he stopped and called me. chair in the porch of the house. Her back
His head was drenched with sweat. was turned away from the door; she sat
He brushed away the sweat and hair facing the window She was embroidering
from his eyes and said to me: “I’ve got a strip of white cloth. I went near, I stood
something for you.” behind her chair. She was not aware of
He dropped his ax and walked into my presence. I unwrapped the centipede.
the woodshed. I followed him. Berto went I threw it on her lap.
to a corner of the shed. I saw a jute sack My sister shrieked and the strip of
spread on the ground. Berto stopped and white sheet flew off like an unhanded
picked up the sack. hawk. She shot up from her chair, turned
“Look,” he said. around and she saw me but she
I approached. Pinned to the ground collapsed again to her chair clutching her
by a piece of wood, was a big centipede. breast, doubled up with pain The
Its malignantly red body twitched back centipede had fallen to the floor.
and forth. “You did it,” she gasped. “You tried to
“It’s large,” I said. kill me. You’ve health… life… you tried…”
“I found him under the stack I Her voice dragged off into a pain-stricken
chopped.” Berto smiled happily; he moan.
looked at me with his muddy eyes. I was engulfed by a sudden feeling of
“You know,” he said. “That son of a pity and guilt.
devil nearly frightened me to death”

19
 “But it’s dead!” I cried kneeling before
her. “It’s dead! Look! Look!” I snatched up
the centipede and crushed its head
between my fingers. “It’s dead!”
My sister did not move. I held the
centipede before her like a hunter
displaying the tail of a deer, save that the
centipede felt thorny in my hand.

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For inquiries or feedback, please write of call:
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(Office Address, Wangal, LTB)
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