Quarter 2 Module 2 21st Century L16!18!1

Senior High School
st
21 Century
Literature from the
Philippines and
the World
21st Century
Literature from the
Philippines and the
World
Quarter 2 - Module 2
North and Latin American Literature
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21st Century Literature from the Philippines and the World
Alternative Delivery Mode
Quarter 1 – Module 1: Philippine Literature
Quarter 2 – Module 2: North and Latin American Literature
First Edition, 2020
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Schools Division Superintendent: Dr. Cherry Mae L. Limbaco, CESO V
Development Team of the Module
Authors: Dr. Rosalinda C. Tantiado

Dinah Zoraida B. Zamora
Ronald L. Ampong
Emee F. Cael
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Table of Contents
What This Module is About ....................................................................................................................... i

What I Need to Know .................................................................................................................................. i
How to Learn from this Module............................................................................................................... ii
Icons of this Module ................................................................................................................................... ii
Lesson 16 Week 7:
North American Literature - II........................................................................................ 1
What I Need to Know..................................................................................................... 1
What I Know ..................................................................................................................... 1
What’s In............................................................................................................................ 2
What’s New: ..................................................................................................................... 3
What Is It ........................................................................................................................... 4
What’s More: .................................................................................................................... 6
What I Have Learned: ................................................................................................... 6
What I Can Do: ................................................................................................................ 7
Assessment: (Post-Test) ............................................................................................. 8
Lesson 17 Week 8:
Latin American Literature - I ........................................................................................... 8
What I Know ..................................................................................................................... 9
What’s In............................................................................................................................ 11
What’s New: ..................................................................................................................... 12
What Is It ........................................................................................................................... 14
What’s More: .................................................................................................................... 22
What I Can Do: ................................................................................................................ 23
Assessment: (Post-Test) ............................................................................................. 24
Lesson 18 Week 9:
Latin American Literature - II ......................................................................................... 25
What I Know ..................................................................................................................... 25
What’s In............................................................................................................................ 27
What’s New: ..................................................................................................................... 28
What Is It ........................................................................................................................... 28
What’s More: .................................................................................................................... 29
What I Can Do: ................................................................................................................ 30
Summary …………………………………………………………………………………………………... 31
Assessment: (Post-Test) …………………………………………………………………………………32
Key to Answers……………………………………………………………………………………………...37
References…………………………………………………………………………………………………...39
What This Module is About
Hello Learners! We have explored our country’s literature. Let us now turn to
the astonishing rich literature of other countries. In this module, you will discover,
appreciate, and delight in the excellent literature from each region that we will
explore.
Following are the lessons contained in this module:
1. North American Literature
2. Latin American Literature
What I Need to Know
In this module, you are going to write a close analysis and critical
interpretation of literary texts, applying a reading approach, and doing an adaptation
of these which require you the ability to:
a. identify representative texts and authors from North and Latin America.
c. compare and contrast the various 21st century literary genres and their
elements, structures, and traditions from across the globe;
d. produce a creative representation of a literary text by applying multimedia and

ICT skills; and
e. do self-and/or peer assessment of the creative adaptation of a literary text,

based on rationalized criteria, prior to presentation.
i
How to Learn from this Module
To achieve the cited objectives, you are to do the following:
• Take your time reading the lessons carefully.
• Follow the directions and/or instructions in the activities and exercises
diligently.
• Answer all the given tests and exercises.
Icons of this Module

What I Need to This part contains learning objectives that
Know are set for you to learn as you go along the
module.
What I know This is an assessment as to your level of

knowledge to the subject matter at hand,
meant specifically to gauge prior related
knowledge
What’s In This part connects previous lesson with that
of the current one.
What’s New An introduction of the new lesson through

various activities, before it will be presented
to you
What is It These are discussions of the activities as a

way to deepen your discovery and under-
standing of the concept.
What’s More These are follow-up activities that are in-

tended for you to practice further in order to
master the competencies.
What I Have Activities designed to process what you

Learned have learned from the lesson
What I can do These are tasks that are designed to show-

case your skills and knowledge gained, and
applied into real-life concerns and situations.
ii
Lesson
North American Literature - II
16
Grade 12, First Semester, Q2 – Week 7
What I Need to Know
Let’s continue our quest in understanding the literature of North America by

exploring one of its poems.
In this Lesson, you are going to:
a. identify representative texts and authors from North and Latin America;
(EN12Lit-IIa-22)
b. compare and contrast the various 21st century literary genres and their
elements, structures, and traditions from across the globe; and
(EN12Lit-IId-25)
c. do self- and/or peer-assessment of the creative adaptation of a

literary text, based on rationalized criteria, prior to presentation.
(EN12Lit-IIij-31.3)
What I Know
Prompts: Recall your lesson about poetry. Match the statements in column A with
the words in column B. Write only the letter of your answer on the space
provided before each number
Column A Column B
_____1. The bottle fizzed then popped. A. lyric

This is an example of __________.
_____2. When the word at the end of a line rhymes B. onomatopoeia
with another word at the end of another line,
it is called ________ . C. figurative language
_____3. When a word inside a line rhymes with another
word inside the same line, it is called ________. D. simile
_____4. The author of a poem is called __________.
1
_____5. The beat created by the sounds and words E. end rhyme
in the poem is called________.
_____6. A group of lines placed together to create a poem F. stanza
_____7. A poem with a songlike feel; it focuses on
adventure or romance and tells story G. poet
_____8. A phrase or line repeated throughout the poem
_____9. Metaphors, similes, onomatopoeia, and H. internal rhyme
personification are all examples of _________.
_____10. The mouse beneath the stone is still as I. repetition
death is an example of __________.
J. rhythm
K. metaphor
What’s In
In Lesson 15, you were introduced to North American literature where you
were able to make the plot of the story The Hunger Games using the Freytag’s
Pyramid. Let’s continue our journey in exploring the literature of North America by
looking into their poetry.
Prompts: Let’s go back first and review the movie The Hunger Games. Read the
following statement carefully. Choose the correct letter of your answer.
1. What is Katniss’ sister’s full name?
A. Prim B. Primly C. Pamela D. Primrose
2. How did Katniss’ father die?
A. In a mine explosion C. He was murdered by the Capitol
B. He became trapped in a collapsed mine. D. In a hunting accident
3. At what skill is Gale better than Katniss?
A. swimming B. bird calls C. setting snares D. using an axe
4. Who gives Katniss the mockingjay pin?
A. Prim B. Cinna C. Gale D. Madge
5. Why does the Capitol hold the Hunger Games?
A. To keep the districts happy
B. Because they are part of a religious festival
C. As a way to control the size of the population
D. To remind the districts that they are powerless against it
2
6. Under what circumstances did Katniss first meet Peeta?
A. They did a project at school together.
B. They were both in the woods hunting
C. Peeta was injured and Katniss’ mother helpedhim.
D. Katniss was looking for food and Peeta gave her bread.
7. What does Katniss think when she first sees the residents of the Capitol?
A. They are overweight and tall
B. They are ungroomed and slovenly
C. They are superficial and ridiculous
D. They are sophisticated and beautiful
8. When Katniss is severely dehydrated, how does Haymitch indicate to her that
she’s near water?
A. He sends her a map c. He sends her a cup
B. He sends her iodine drops d. He doesn’t send her anything
9. What item does Katniss manage to grab at the Cornucopia when the Games
begin?
A. bow B. helmet C. knife D. backpack
10. How do Katniss and Peeta force the Capitol to declare them both winners?
A. They threaten to run away
B. They threaten to commit suicide.
C. They threaten to cause a rebellion against the Capitol.
D. They threaten that the winner will tell about everything.
What’s New
Directions: This activity is called “About Me.” Complete each line to make an
autobiographical poem. Write your poem in your LITERATURE
ACTIVITY NOTEBOOK.
Note: Each set of lines can be repeated any number of times.
About Me
I’m good at___________/ I’m not good at ___________

I used to be __________ But now I’m ______________
I am ________________ / I am not ________________
If you _______________ Then I’ll _________________
I like ________________ But I don’t like ___________
I know a lot about ______ I know nothing about ______
I admire ______________ I don’t respect ___________
I believe in ____________ I don’t believe in _________
3
What Is It?
Poetry and poets have been described in various ways: Thomas Hardy, for
instance, says that poetry is emotion put into measure. The emotion must come by
nature, but the measure can be acquired by art. T.S. Eliot believes that immature
poets imitate; mature poets steal; Thomas Babington Macaulay, on the other hand,
said “Perhaps no person can be a poet, or can even enjoy poetry, without a certain
unsoundness of mind”; William Wordsworth expressed that poetry is the
spontaneous overflow of powerful words collected in moments of tranquility.
Amidst the many beliefs and opinions about poetry, it is important to have a
common definition of it. Thus, let’s consider the idea that poetry is an imaginative
response to an experience reflecting a keen awareness of language. Speaking of
language in poetry, it uses two kinds of language: literal and figurative. The literal
means that the words were taken exactly as it is and figurative, when the language is
used figuratively to create a special effect.
Elements of poetry that must be remembered are the speaker, theme, diction,
imagery, rhyme and rhythm, meter, verse, stanza, and line breaks.
There are also different kinds of poetry: the lyric poem and the narrative
poetry. The lyric poem is a comparatively short, non-narrative poem in which a
single speaker presents a state of mind or an emotional state. Lyric poetry retains
some of the elements of song which is said to be its origin. For Greek writers, the
lyric was a song accompanied by the lyre. The narrative poetry gives a verbal
representation, in verse, of a sequence of connected events, it propels characters
through a plot. It is always told by a narrator. Narrative poems might tell of a love
story, the story of a father and a son, or the deeds of a hero or heroine.
In the 21st century world that is fast-moving and where the “faster, the better”
almost always applies. Many reading materials are stripped-down so they can be
read and digested swiftly. But poetry is a different kind of writing that demands a
different kind of reading, a more personal kind of reading. In poetry, sometimes a
single sentence is as rich and complex as an entire paragraph of prose and readers
must pay great attention to sound. For all these reasons, a reader must not apply the
kind of reading that he does for prose to poetry.
(https://www.scribd.com/document/412634387/21st-Century-Literature-of-the-Philippines-and-of-
the-World-1)
The idea of the afterlife is truly one of the concepts that fascinate writers. As
weavers of dreams and ideas, writers would like to contribute to the picture of what is
going to happen after death, or to put it simply is there really life after death.
The poem below is a perfect poem, and one of Dickinson’s most compressed
and chilling attempts to come to terms with mortality. Read the poem below and
answer the questions that follow to identify how Dickinson see the afterlife.
4
Death
by Emily Dickinson
Because I could not stop for Death,

He kindly stopped for me;
The carriage held but just ourselves
And Immortality.
We slowly drove, he knew no haste,

And I had put away
My labor, and my leisure too,
For his civility.
We passed the school, where children strove

At recess, in the ring;
We passed the fields of gazing grain,
We passed the setting sun.
Or rather, he passed us;

The dews grew quivering and chill,
For only gossamer my gown,
My tippet only tulle.
We paused before a house that seemed

A swelling of the ground;
The roof was scarcely visible,
The cornice but a mound.
Since then ‘tis centuries, and yet each

Feels shorter than the day
I first surmised the horses’ heads
Were toward eternity.
Source: https://www.scribd.com/document/412634387/21st-Century-Literature-of-the-
Philippines-and-of-the-World-1
5
What’s More
Prompts: Answer the questions that follow. Write your answers in your
LITERATURE ACTIVITY NOTEBOOK.
1. What do you think the word “drive” symbolize and why do you think it is repeated
in the third and the fourth stanzas?
2. What have you observed in the final stanza? Do you think the language and the
description changed from concrete to abstract?
3. In line 2, stanza 6, the verb feels is in the present tense. Why do you think it is in
the present tense as compared to the other verbs in the poem? What does it show
about the poet’s perception of death?
What I Have Learned
1. How was death described in the poem? Identify the words used by the author to
describe death.
_________________________________________________________________
_________________________________________________________________
2. What is the role of immortality in the poem? ______________________________

_________________________________________________________________
3. How is death personified in the poem? __________________________________

_________________________________________________________________
What I Can Do
Prompts: You have been in quite a journey at this point in your life. You have
experienced a lot to have a perspective uniquely yours. You have your
own way of coping with challenges and trials, your own unique way of
handling success, your own way of giving and loving. It will be very
beautiful to be able to share your philosophy with others. So, for this
activity, you will be sharing your life’s philosophy to others by
writing your own poem.
6
You will be rated in your poem composition based on the rubric below:
Criteria Description Score

10 points 7 points 4 points
Title is creative, sparks Title is related to the Title is present, but
Title of Poem interest and is related to poem and topic does not appear to be
the poem and topic. Is related to the poem and
related to the poem and topic
topic. Is present, but does
not appear to be related to
the poem and topic
The Writing Student devoted a lot of Student devoted Student devoted some
Process/ Effort time and effort to the adequate time and time and effort to the
writing process and effort to the writing writing process but was
worked hard to make the process and worked not very thorough.
poem a good read. The to get the job done. Does enough to get by.
poem has no errors The poem may have There are several errors.
one or two errors.
Style The poem is written with The poem is written The poem is written
a great sense of style. The with a defined style. somewhat with style.
poem has been well Thoughts are clear to Thoughts are clear to a
thought out and makes read and degree.
sense to the reader. understandable.
Neatness The final draft of the The final draft of the The final draft of the
poem is readable, clean, poem is readable, poem is readable and
neat and attractive. It is neat and attractive. It some of the pages are
free of erasures and may have one or two attractive. It looks like
crossed-out words. It erasures, but they are parts of it might have
looks like the author took not distracting. It been done in a hurry.
great pride. looks like the author
took some pride in it.
Vocabulary The poem is filled with The poem includes The poem includes
descriptive vocabulary many descriptive some descriptive words
that appeals to the reader. elements and is and phrases.
appealing.
Score
Adopted: https://www.scribd.com/document/412634387/21st-Century-Literature-of-the-
Philippines-and-of-the-World-1)
7
Post Assessment
Prompts: Read carefully each item below. Choose the correct answer by writing it
in your LITERATURE ACTIVITY NOTEBOOK.
1. Which poetic device is demonstrated by these words: buzz, clang, zip, pow
A. simile B. onomatopoeia C. personification D. alliteration
2. What is the simile in the passage?

The whiskey on your breath
Could make a small boy dizzy
But I hung on like death:
Such waltzing was not easy
A. on your breath C. could make a small boy dizzy
B. But I hung on like death D. such waltzing was not easy
3. What is alliteration?
A. The use of synonyms.
C. An exaggeration
B. Words that sound alike.
D. The repetition of a beginning letter sound.
4. What device is used in

Good as gold
Busy as bee
Loving, living, laughing
A. personification B. hyperbole C. alliteration D. rhyme
5. In what structure is poetry written?

A. lines and stanzas C. sentences and stanzas
B. lines and paragraphs D. sentences and paragraphs
6. A word that imitates the natural sound of a thing is called _____.

A. onomatopoeia B. alliteration C. hyperbole D. repetition
7. Buzzing bee is an example of what sound device?

A. alliteration B. repetition C. onomatopoeia D. rhyme
8. The phrase “she is a walking dictionary” is using

A. hyperbole B. metaphor C. simile D. hyperbole
9. Any poem that tells a story is called __________.

A. elegy B. acrostic C. sonnet D. narrative
10. It paints a picture with words using literary devices. It often has a musical quality
and expresses personal emotions or thoughts.
A. lyric B. narrative C. sonnet D. elegy
8
Lesson
Latin American Literature - I
17
What I Need to Know
Congratulations! You are now in Lesson 17 of this module. In this lesson, your
quest is to explore the literature of Europe.
a. identify representative texts and authors from Latin America;

(EN12Lit-IIa-22)
elements, structures, and traditions from across the globe;
(EN12Lit-IId-25)
c. do self- and/or peer-assessment of the creative adaptation of literary text,

based on rationalized criteria, prior to presentation; and
(EN12Lit-IIij-31.3)
d. produce a creative representation of a literary text by applying multimedia

and ICT skills. (EN12Lit-IIij-31.1)
What I Know
Prompts: Test yourself how much do you know about magic realism. Write only
the letter of the correct answer in your LITERATURE ACTIVITY
NOTEBOOK.
1. Magic realism happens when ______________.
A. Your dog answers you in Spanish
B. Your bestfriend turns into an ant
C. Wings sprout on your bac
D. All of the above
9
2. Magic realist writers draw material from _____________.
A. Lies
B. Legends
C. Myths
D. Truth
3. Magic realists tell stories that are _____________.

A. Ridiculous
B. Fantastic
C. Matter-of-fact
D. All of the above
4. Magic realism DOES NOT include _____________.

A. Predictable and boring
B. Silly and crazy
C. Ordinary with the extraordinary
D. Mundane with the fantastic
5. Time in magic realism is _____________.

A. Linear
B. Looping back
C. Skipping forward
D. All of the above
6. Magic realists ____________ .

A. create hybridity
B. serve boring dishes
C. organize data logically
D. mix unrelated ingredients
7. Surrealism DOES NOT include ____________.

A. Rigid rules
B. Viewing reality in a novel way
C. Heads depicted as trees and vice versa
D. Blurring the lines between dream and reality
8. What two elements are combined in magic realism?

A. Wizards and realistic elements
B. Realistic elements and magic tricks.
C. Realistic elements and magical elements.
D. Fantastical creatures, such as unicorns, and realistic elements
9. All of the following statements are true about magical realism EXCEPT:
A. Often about opposites
B. Emphasizes the common and every day in people’s lives.
C. Frame or surface of the story may be conventionally realistic
D. Elements of the dream, fairy story, or mythology combine with the everyday.
10
10. Which of the following authors is considered the “father” of magic realism?
A. Pablo Neruda
B. Octavio Paz
C. Jorge Luis Borges
D. Gabriel Garcia Marquez
Source: "Magic Realism Characteristics - Quiz". 2019. Quizizz.Com.
https://quizizz.com/admin/quiz/5cb7dcb133daca001a069574/magic-realism-characteristics.
What’s In
We’re almost finished with our exploration on the literature of the different
continents. We are now on the last stop, Latin America. Let’s have a quick review
first.
Prompts: Answer each item below. Write only the letter of your answer.
1. Who said that immature poets imitate; mature poets steal?
A. Thomas Hardy C. T.S. Eliot
B. Thomas Babington Macaulay D. William Wordsworth
2. It is imaginative response to an experience reflecting a keen awareness of
language.
A. narrative C. poetry
B. figurative language D. words
3. “Poetry is emotion put into measure.” Who said this?
A. William Wordsworth C. Thomas Hardy
B. T.S. Eliot D. Thomas Babington Macaulay
4. Poetry uses two kinds of language. What are they?
A. long and short C. lyric and narrative
B. literal and figurative D. emotional and comparative
5. Poetry that is spontaneous overflow of powerful words collected in moments of
tranquility. This refers to what kind of poetry?
A. lyric C. narrative
B. literal D. figurative
6. What kind of poetry gives a verbal representation, in verse, of a sequence of
connected events, it propels characters through a plot?
A. narrative C. literal
B. lyric D. figurative
7. In "Death" by Emily Dickinson, the three things that Death's carriage holds are...
A. hope, superstition, and truth
B. clarity, despair, and triumph
C. death, the speaker, and immortality
D. a way out, acceptance, and understanding
11
8. What does ‘setting sun’ indicate in the poem?
A. death C. life
B. sun D. sunset
9. Why does this poem not name anyone and only use pronouns?
A. there is no reason
B. to emphasize death
C. the poet could not come up with any name
D. to show no matter who you are, death will come
10. Which of the following statements about Emily Dickinson’s poem “Death” is
TRUE?
A. It portrays death as something that should be feared.
B. It portrays death as something that should not be feared.
C. It highlights how everyone interprets death in the same way.
D. It highlights how everyone’s interpretation of death is unique.
What’s New
Prompts: Which of the pictures tell about magic realism? Write your answers in
your LITERATURE ACTIVITY NOTEBOOK.
1.
A B
2.
A B
12
3.
A B
4.
A B
5.
A B
13
What Is It
Tasting the sweet liberty at last, Latin American writers needed to express the
thoughts and feelings that they kept for a very long time and during this moment
Romanticism developed in their regions. However, the harsh reality in returned
shortly after and that is why magic realism emerged.
Since the 1960s, Latin American writing has been searching for the perfect
novel that can be introduced to the world as the epitome of what the region has to
offer. And then it came. One Hundred Years of Solitude by the Colombian writer
Gabriel Garcia Marquez set the example and is now read and studied all over the
world.
One Hundred Years of Solitude takes readers to Macondo, a fictional town,
which Marquez said to have been inspired by his very own hometown, founded by
the Buendia family. The novel was a perfect harmony between magic and reality as
the founding of Macondo is the founding of America: origins, colonization, struggles,
and history. This novel is so successful that it has become one of the most translated
works and also one of the most read in Spanish.
Another Latin American author who established himself in the world is Julio
Cortazar who wrote Rayuela, a novel that can be read in various ways. It consists of
155 chapter, divided into three parts: on the side there, this side, and both sides.
Cortazar allowed the readers to start from whichever part he wants to start and thus
creating his own meaning to the story.
Different writers emerged after the region finally found its distinct voice. Mario
Vargas Llosa even won the coveted Nobel Prize for Literature in 2010. Many of his
works influenced writers’ belief on what is distinctly Peruvian. Llosa is considered as
one of the most influential writers during the Latin American Boom.
(https://www.scribd.com/document/412634387/21st-Century-Literature-of-the-Philippines-and-of-
the-World-1)
Magic realism engages belief systems that defy rational, empirical (scientific)
proof. So, too, do science fiction and fantasy and gothic romance. But the crucial
difference is that magic realism sets magical events in realistic contexts, thus,
requiring us to question what is “real,” and how we can tell. Read the following text
about Magical Realism.
Eva is Inside Her Cat
All of a sudden she noticed that her beauty had fallen all apart on her, that it
had begun to pain her physically like a tumor or a cancer. She still remembered the
weight of the privilege she had borne over her body during adolescence, which she
had dropped now – who knows where? – with the weariness of resignation, with the
final gesture of a declining creature. It was impossible to bear that burden any
longer. She had to drop that useless attribute of her personality somewhere; as she
turned a corner, somewhere in the outskirts.
14
Or leave it behind on the coatrack of a second-rate restaurant like some old useless
coat. She was tired of being the center of attention, of being under siege from men’s
long looks. At night, when insomnia stuck its pins into her eyes, she would have liked
to be an ordinary woman, without any special attraction. Everything was hostile to
her within the four walls of her room. Desperate, she could feel her vigil spreading
out under her skin, into her head, pushing the fever upward toward the roots of her
hair. It was as if her arteries had become peopled with hot, tiny insects who, with the
approach of dawn, awoke each day and ran about on their moving feet in a rending
subcutaneous adventure in that place of clay made fruit where her anatomical
beauty had found its home. In vain she struggled to chase those terrible creatures
away. She couldn’t. They were part of her own organism. They’d been there, alive,
since much before her physical existence. They came from the heart of her father,
who had fed them painfully during his nights of desperate solitude. Or maybe they
had poured into her arteries through the cord that linked her to her mother ever since
the beginning of the world. There was no doubt that those insects had not been born
spontaneously inside her body. She knew that they came from back there, that all
who bore her surname had to bear them, had to suffer them as she did when
insomnia held unconquerable sway until dawn. It was those very insects who painted
that bitter expression, that unconsolable sadness on the faces of her forebears. She
had seen them looking out of their extinguished existence, out of their ancient
portraits, victims of that same anguish. She still remembered the disquieting face of
the great grandmother who, from her aged canvas, begged for a minute of rest, a
second of peace from those insects who there, in the channels of her blood, kept on
martyrizing her, pitilessly beautifying her. No. Those insects didn’t belong to her.
They came, transmitted from generation to generation, sustaining with their tiny
armor all the prestige of a select caste, a painfully select group. Those insects had
been born in the womb of the first woman who had had a beautiful daughter. But it
was necessary, urgent, to put a stop to that heritage. Someone must renounce the
eternal transmission of that artificial beauty. It was no good for women of her breed
to admire themselves as they came back from their mirrors if during the night those
creatures did their slow, effective, ceaseless work with a constancy of centuries. It
was no longer beauty, it was a sickness that had to be halted, that had to be cut off
in some bold and radical way.
She still remembered the endless hours spent on that bed sown with hot
needles. Those nights when she tried to speed time along so that with the arrival of
daylight the beasts would stop hurting her. What good was beauty like that? Night
after night, sunken in her desperation, she thought it would have been better for her
to have been an ordinary woman, or a man. But that useless virtue was denied her,
fed by insects of remote origin who were hastening the irrevocable arrival of her
death. Maybe she would have been happy if she had had the same lack of grace,
that same desolate ugliness, as her Czechoslovakian friend who had a dog’s name.
She would have been better off ugly, so that she could sleep peacefully like any
other Christian.
She cursed her ancestors. They were to blame for her insomnia. They had
transmitted that exact, invariable beauty, as if after death mothers shook and
renewed their heads in order to graft them onto the trunks of their daughters. It was
as if the same head, a single head, had been continuously transmitted, with the
15
same ears, the same nose, the identical mouth, with its weighty intelligence, to all
the women who were to receive it irremediably like a painful inheritance of beauty. It
was there, in the transmission of the head, that the eternal microbe that came
through across generations had been accentuated, had taken on personality,
strength, until it became an invincible being, an incurable illness, which upon
reaching her, after having passed through a complicated process of judgment, could
no longer be borne and was bitter and painful… just like a tumor or a cancer.
It was during those hours of wakefulness that she remembered the things
disagreeable to her fine sensibility. She remembered the objects that made up the
sentimental universe where, as in a chemical stew, those microbes of despair had
been cultivated. During those nights, with her big round eyes open and frightened,
she bore the weight of darkness that fell upon her temples like molten lead.
Everything was asleep around her. And from her corner, in order to bring on sleep,
she tried to go back over her childhood memories.
But that remembering always ended with a terror of the unknown. Always
after wandering through the dark corners of the house, her thoughts would find
themselves face to face with fear. Then the struggle would begin. The real struggle
against three unmovable enemies. She would never – no, she would never – be able
to shake the fear from her head. She would have to bear it as it clutched at her
throat. And all just to live in that ancient mansion, to sleep alone in that corner, away
from the rest of the world.
Her thoughts always went down along the damp, dark passageways, shaking
the dry cobweb-covered dust off the portraits. That disturbing and fearsome dust that
fell from above, from the place where the bones of her ancestors were falling apart.
Invariably she remembered the “boy.” She imagined him there, sleepwalking under
the grass in the courtyard beside the orange tree, a handful of wet earth in his
mouth. She seemed to see him in his clay depths, digging upward with his nails, his
teeth, fleeing the cold that bit into his back, looking for the exit into the courtyard
through that small tunnel where they had placed him along with the snails. In winter
she would hear him weeping with his tiny sob, mud-covered, drenched with rain. She
imagined him intact. Just as they had left him five years before in that water-filled
hole. She couldn’t think of him as having decomposed. On the contrary, he was
probably most handsome sailing along in that thick water as on a voyage with no
escape. Or she saw him alive but frightened, afraid of feeling himself alone, buried in
such a somber courtyard. She herself had been against their leaving him there,
under the orange tree, so close to the house. She was afraid of him. She knew that
on nights when insomnia hounded her he would sense it. He would come back along
the wide corridors to ask her to stay with him, ask her to defend him against those
other insects, who were eating at the roots of his violets. He would come back to
have her let him sleep beside her as he did when he was alive. She was afraid of
feeling him beside her again after he had leaped over the wall of death. She was
afraid of stealing those hands that the “boy” would always keep closed to warm up
his little piece of ice. She wished, after she saw him turned into cement, like the
statue of fear fallen in the mud, she wished that they would take him far away so that
she wouldn’t remember him at night.
16
And yet they had left him there, where he was imperturbable now, wretched, feeding
his blood with the mud of earthworms. And she had to resign herself to seeing him
return from the depths of his shadows. Because always, invariably, when she lay
awake she began to think about the “boy,” who must be calling her from his piece of
earth to help him flee that absurd death.
But now, in her new life, temporal and spaceless, she was more tranquil. She
knew that outside her world there, everything would keep going on with the same
rhythm as before; that her room would still be sunken in early-morning darkness, and
her things, her furniture, her thirteen favourite books, all in place. And that on her
unoccupied bed, the body aroma that filled the void of what had been a whole
woman was only now beginning to evaporate. But how could “that” happen? How
could she, after being a beautiful woman, her blood peopled by insects, pursued by
the fear of the total night, have the immense, wakeful nightmare now of entering a
strange, unknown world where all dimensions had been eliminated? She
remembered. That night – the night of her passage – had been colder than usual
and she was alone in the house, martyrized by insomnia. No one disturbed the
silence, and the smell that came from the garden was a smell of fear. Sweat broke
out on her body as if the blood in her arteries were pouring out its cargo of insects.
She wanted someone to pass by on the street, someone who would shout, would
shatter that halted atmosphere. For something to move in nature, for the earth to
move around the sun again. But it was useless.
There was no waking up even for those imbecilic men who had fallen asleep
under her ear, inside the pillow. She, too, was motionless. The walls gave off a
strong smell of fresh paint, that thick, grand smell that you don’t smell with your nose
but with your stomach. And on the table the single clock, pounding on the silence
with its mortal machinery. “Time…oh, time!” she sighed, remembering death. And
there in the courtyard, under the orange tree, the “boy” was still weeping with his tiny
sob from the other world.
She took refuge in all her beliefs. Why didn’t it dawn right then and there or
why didn’t she die once and for all? She had never thought that beauty would cost
her so many sacrifices. At that moment – as usual – it still pained her on top of her
fear. And underneath her fear those implacable insects were still martyrizing her.
Death had squeezed her into life like a spider, biting her in a rage, ready to make her
succumb. But the final moment was taking its time. Her hands, those hands that men
squeezed like imbeciles with manifest animal nervousness, were motionless,
paralyzed by fear, by that irrational terror that came from within, with no motive, just
from knowing that she was abandoned in that ancient house. She tried to react and
couldn’t. Fear had corporeal, as if it were some invisible person who had made up
his mind not to leave her room. And the most upsetting part was that the fear had no
justification at all, that it was a unique fear, without any reason, a fear just because.
The saliva had grown thick on her tongue. That hard gum that stuck to her
palate and flowed because she was unable to contain it was bothersome between
her teeth. It was a desire that was quite different from thirst. A superior desire that
she was feeling for the first time in her life. For a moment she forgot about her
beauty, her insomnia, and her irrational fear. She didn’t recognize herself.
17
For an instant she thought that the microbes had left her body. She felt that they’d
come out stuck to her saliva. Yes, that was all very fine. It was fine that the insects
no longer occupied her and that she could sleep now, but she had to find a way to
dissolve that resin that dulled her tongue. If she could only get to the pantry and …
But what was she thinking about? She gave a start of surprise. She’d never felt “that
desire.” The urgency of the acidity had debilitated her, rendering useless the
discipline that she had faithfully followed for so many years ever since the day they
had buried the “boy.” It was foolish, but she felt revulsion about eating an orange.
She knew that the “boy” had climbed up to the orange blossoms and that the fruit of
next autumn would be swollen with his flesh, cooled by the coolness of his death.
No. She couldn’t eat them. She knew that under every orange tree in the world there
was a boy buried, sweetening the fruit with the lime of his bones. Nevertheless, she
had to eat an orange now. It was the only thing for that gum that was smothering her.
It was the foolishness to think that the “boy” was inside a fruit. She would take
advantage of that moment in which beauty had stopped paining her to get to the
pantry. But wasn’t that strange? It was the first time in her life that she’d felt a real
urge to eat an orange. She became happy, happy. Oh, what pleasure! Eating an
orange. She didn’t know why, but she’d never had such a demanding desire. She
would get up, happy to be a normal woman again, singing merrily until she got to the
pantry, singing merrily like a new woman, newborn. She would, even get to the
courtyard and…
Her memory was suddenly cut off. She remembered that she had tried to get
up and that she was no longer in her bed, that her body had disappeared, that her
thirteen favourite books were no longer there, that she was no longer she, now that
she was bodiless, floating, drifting over an absolute nothingness, changed into an
amorphous dot, tiny, lacking direction. She was unable to pinpoint what had
happened. She was confused. She just had the sensation that someone had pushed
her into space from the top of a precipice. She felt changed into an abstract,
imaginary being. She felt changed into an incorporeal woman, something like her
suddenly having entered that high and unknown world of pure spirits.
She was afraid again. But it was a different fear from what she had felt a
moment before. It was no longer the fear of the “boy” ’s weeping. It was a terror of
the strange, of what was mysterious and unknown in her new world. And to think that
all of it had happened so innocently, with so much naivete on her part. What would
she tell her mother when she told her what had happened when she got home? She
began to think about how alarmed the neighbors would be when they opened the
door to her bedroom and discovered that the bed was empty, that the locks had not
been touched, that no one had been able to enter or to leave, and that, nonetheless,
she wasn’t there. She imagined her mother’s desperate movements as she searched
through the room, conjecturing, wondering “what could have become of that girl?”
The scene was clear to her. The neighbors would arrive and begin to weave
comments together – some of them malicious – concerning her disappearance. Each
would think according to his own and particular way of thinking. Each would try to
offer the most logical explanation, the most acceptable, at least, while her mother
would run along all the corridors in the big house, desperate, calling her by name.
18
And there she would be. She would contemplate the moment, detail by detail,
from a corner, from the ceiling, from the chinks in the wall, from anywhere; from the
best angle, shielded by her bodiless state, in her spacelessness. It bothered her,
thinking about it. Now she realized her mistake. She wouldn’t be able to give any
explanation, clear anything up, console anybody. No living being could be informed
of her transformation. Now – perhaps the only time that she needed them – she
wouldn’t have a mouth, arms, so that everybody could know that she was there, in
her corner, separated from the three-dimensional world by an unbridgeable distance.
In her new life she was isolated, completely prevented from grasping emotions. But
at every moment something was vibrating in her, a shudder that ran through her,
overwhelming her, making her aware of that other physical universe that moved
outside her world. She couldn’t hear, she couldn’t see, but she knew about that
sound and that sight. And there, in the heights of her superior world, she began to
know that an environment of anguish surrounded her.
Just a moment before – according to our temporal world – she had made the
passage, so that only now was she beginning to know the peculiarities, the
characteristics, of her new world. Around her an absolute, radical darkness spun.
How long would that darkness last? Would she have to get used to it for eternity?
Her anguish grew from her concentration as she saw herself sunken in that thick
impenetrable fog: could she be in limbo? She shuddered. She remembered
everything she had heard about limbo. If she really was there, floating beside her
were other pure spirits, those of children who had died without baptism, who had
been dying for a thousand years. In the darkness she tried to find next to her those
beings who must have been much purer, ever so much simpler, than she.
Completely isolated from the physical world, condemned to a sleepwalking and
eternal life. Maybe the “boy” was there looking for an exit that would lead him to his
body. But no. Why should she be in limbo? Had she died, perhaps? No. It was
simply a change in state, a normal passage from the physical world to an easier,
uncomplicated world, where all dimensions had been eliminated.
Now she would not have to bear those subterranean insects. Her beauty had
collapsed on her. Now, in that elemental situation, she could be happy. Although –
oh! – not completely happy, because now her greatest desire, the desire to eat an
orange, had become impossible. It was the only thing that might have caused her
still to want to be in her first life. To be able to satisfy the urgency of the acidity that
still persisted after the passage. She tried to orient herself so as to reach the pantry
and feel, if nothing else, the cool and sour company of the oranges. It was then that
she discovered a new characteristic of her world: she was everywhere in the house,
in the courtyard, on the roof, even in the “boy” ‘s orange tree. She was in the whole
physical world there beyond. And yet she was nowhere. She became upset again.
She had lost control over herself. Now she was under a superior will, she was a
useless being, absurd, good for nothing. Without knowing why, she began to feel
sad. She almost began to feel nostalgia for her beauty: for the beauty that had
foolishly ruined her.
But one supreme idea reanimated her. Hadn’t she heard, perhaps, that pure
spirits can penetrate any body at will? After all, what harm was there in trying? She
attempted to remember what inhabitant of the house could be put to the proof. If she
could fulfil her aim she would be satisfied: she could eat the orange. She
remembered.
19
At that time the servants were usually not there. Her mother still hadn’t arrived. But
the need to eat an orange, joined now to the curiosity of seeing herself incarnate in a
body different from her own, obliged her to act at once. And yet there was no one
there in whom she could incarnate herself. It was a desolating bit of reason: there
was nobody in the house. She would have to live eternally isolated from the outside
world, in her undimensional world, unable to eat the first orange. And all because of
a foolish thing. It would have been better to go on bearing up for a few more years
that hostile beauty and not wipe herself out forever, making herself useless, like a
conquered beast. But it was too late.
She was going to withdraw, disappointed, into a distant region of the universe,
to a place where she could forget all her earthly desires. But something made her
suddenly hold back. The promise of a better future had opened up in her unknown
region. Yes, there was someone in the house in whom she could reincarnate herself:
the cat! Then she hesitated. It was difficult to resign herself to live inside an animal.
She would have soft, white fur, and a great energy for a leap would probably be
concentrated in her muscles. And she would feel her eyes glow in the dark like two
green coals. And she would have white, sharp teeth to smile at her mother from her
feline heart with a broad and good animal smile. But no! It couldn’t be. She imagined
herself quickly inside the body of the cat, running through the corridors of the house
once more, managing four uncomfortable legs, and that tail would move on its own,
without rhythm, alien to her will. What would life look like through those green and
luminous eyes? At night she would go to mew at the sky so that it would not pour its
moonlit cement down on the face of the “boy,” who would be on his back drinking in
the dew. Maybe in her status as a cat she would also feel fear. And maybe in the
end, she would be unable to eat the orange with that carnivorous mouth. A coldness
that came from right then and there, born of the very roots of her spirit quivered in
her memory. No. It was impossible to incarnate herself in the cat. She was afraid of
one day feeling in her palate in her throat in all her quadruped organism, the
irrevocable desire to eat a mouse. Probably when her spirit began to inhabit the cat’s
body she would no longer feel any desire to eat an orange but the repugnant and
urgent desire to eat a mouse. She shuddered on thinking about it, caught between
her teeth after the chase. She felt it struggling in its last attempts at escape, trying to
free itself to get back to tis hole again. No. Anything but that. It was preferable to stay
there for eternity in that distant and mysterious world of pure spirits.
But it was difficult to resign herself to live forgotten forever. Why did she have
to feel the desire to eat a mouse? Who would rule in that synthesis of woman and
cat? Would the primitive animal instinct of the body rule, or the pure will of the
woman? The answer was crystal clear. There was no reason to be afraid. She would
incarnate herself in the cat and would eat her desired orange. Besides, she would be
a strange being, a cat with the intelligence of a beautiful woman. She would be the
center of all attention… It was then, for the first time, that she understood that above
all her virtues what was in command was the vanity of a metaphysical woman.
Like an insect on the alert which raises its antennae, she put her energy to
work throughout the house in search of the cat. It must still be on top of the stove at
that time, dreaming that it would wake up with a sprig of heliotrope between its teeth.
But it wasn’t there. She looked for it again, but she could no longer find the stove.
The kitchen wasn’t the same. The corners of the house were strange to her; they
were no longer those dark corners full of cobwebs.
20
The cat was nowhere to be found. She looked on the roof, in the trees, in the drains,
under the bed, in the pantry. She found everything confused. Where she expected to
find the portraits of her ancestors again, she found only a bottle of arsenic. From
there on she found arsenic all through the house, but the cat had disappeared. The
house was no longer the same as before. What had happened to her things? Why
were her thirteen favourite books now covered with a thick coat of arsenic? She
remembered the orange tree in the courtyard. She looked for it, and tried to find the
“boy” again in his pit of water. But the orange tree wasn’t in its place and the “boy”
was nothing now but a handful of arsenic mixed with ashes underneath a heavy
concrete platform. Now she really was going to sleep. Everything was different. And
the house had a strong smell of arsenic that beat on her nostrils as if from the depts.
of a pharmacy.
Only then did she understand that three thousand years had passed since the
day she had had a desire to eat the first orange.
Philippines-and-of-the-World-1)
What’s More
Prompts: Answer the questions that follow. Write your answers in your
LITERATUREACTIVITY NOTEBOOK.
1. Who is the main character in the story?

2. What is the most important part of the story?
3. What are the symbolic words in the story and what do they stand for?
What I Have Learned
Prompts: Answer the following questions. Write your answers in your LITERATURE
ACTIVITY NOTEBOOK.
1. From what you’ve read in the story, do you think beauty is a blessing or a burden?
Support your answer.
___________________________________________________________________
2. What is the main idea that the story would like to share with readers?
___________________________________________________________________
21
What I Can Do
Prompts: Create a 5-8-minute film adaptation of the story Eva is Inside Her Cat.
You will be rated using the rubrics below.
Evaluation Category Extremely Well Average Not Not at

well well all
5 4 3 2 1
Adaptation - Clear connection to the original
work’s central theme and characters. Changes 5 4 3 2 1
are thoughtful and deliberate, while the
work’s essential message is maintained.
Creativity - The adaptation is original,
interesting and new. 5 4 3 2 1
Professionalism - The project is complete and
polished, showing evidence of time and hard 5 4 3 2 1
work. Written works are well written and free
of grammar, spelling or punctuation errors;
video transition and effects are polished.
Project meets length requirements.
Extras - Student(s) went beyond the
expectations of the project, investing time and 5 4 3 2 1
energy into creating a trailer, poster, cover art
or additional scenes.
Score
Adopted: https://www.bisd303.org/cms/lib3/WA01001636/Centricity/Domain/616/adaptation%20rubric.pdf
Post Assessment
Prompts: Read carefully each item below. Choose the correct answer by writing it
in your LITERATURE ACTIVITY NOTEBOOK.
1. Who is the main character in the story Eva Is Inside Her Cat?
A. Lucy B. Liza C. Eva D. Evalyn
2. “Only someone in the house whom she could incarnate herself. The word
someone here refers to_______.
A. Dog B. lizard C. cat D. cockroach
22
3. Where do magic realist writers draw their material?
A. Lies
B. Legends
C. Myths
D. Truth
4. What kind of stories do magic realists tell?

A. Ridiculous
B. Fantastic
C. Matter-of-fact
D. All of the above
5. Which of the following is NOT included in magic realism?

A. Predictable and boring
B. Silly and crazy
C. Ordinary with the extraordinary
D. Mundane with the fantastic
6. How would you describe the use of Time in magic realism?
A. Linear
B. Looping back
C. Skipping forward
D. All of the above
7. How would you describe magic realists? They ____________.

A. Create hybridity
B. Serve boring dishes
C. Organize data logically
D. Mix unrelated ingredients
8. Which of the following is NOT included in Surrealism?

A. Rigid rules
B. Viewing reality in a novel way
C. Heads depicted as trees and vice versa
D. Blurring the lines between dream and reality
9. The two elements that are combined in magic realism are ___________.
A. Wizards and realistic elements
B. Realistic elements and magic tricks.
C. Realistic elements and magical elements.
D. Fantastical creatures, such as unicorns, and realistic elements
10. Which of the following statements is NOT true about magic realism?
A. Often about opposites
B. Emphasizes the common and every day in people’s lives.
C. Frame or surface of the story may be conventionally realistic
D. Elements of the dream, fairy story, or mythology combine with the
everyday.
23
Lesson
18 Latin American Literature - II

What I Need to Know
Congratulations! You are now in Lesson 18 of this module. In this lesson,

you’re going to continue exploring the continent of Europe.

a. identify representative texts and authors from Latin America;
(EN12Lit-IIa-22)
elements, structures, and traditions from across the globe; and
(EN12Lit-IId-25)
c. do self- and/or peer-assessment of the creative adaptation of a literary

text, based on rationalized criteria, prior to presentation. (EN12Lit-IIij-31.3)
What I Know
Prompts: Answer the following questions based on what you know about poetry,
its devices, and characteristics. Write only the letter of your answer in
your LITERATURE ACTIVITY NOTEBOOK.
1. In poetry, a group of lines placed together is called a what?

A. Line B. Stanza C. Row D. Paragraph
2. As a literary device, persona refers to what three things:
A. character, voice, and role
B. drama, poetry and prose
C. music, movies, and audiobooks
D. fiction, non-fiction and historical fiction
3. What is a thing that represents something else?

A. symptom B. theme C. symbol D. thesis
24
4. What is symbolism?
A. Any story that attempts to explain how the world was created
B. A pattern of sound that includes the repetition of consonant sounds
C. An actor’s speech, directed to the audience, that is not supposed to be heard
by other actors.
D. The use of an object, person, situation, or word to represent something else (an
idea) in literature
5. Which of the following is an example of symbolism in literature?
A. Fall representing growing old
B. water symbolizing rebirth
C. The color black to symbolize evil
D. All of these are correct
6. Identify what stage symbolizes.
“All the world’s a stage.
And all the men and women merely players;
they have their exits and their entrances;
And one man in his time plays many parts,”
A. world B. participants c. play D. theatre
7. What is central idea?
A. tone of the passage
B. theme of the passage
C. a summarized sentence
D. central point that ties everything together.
8. Where could you find central idea?
A. first sentence
B. last sentence
C. not stated by implied
D. all of the above
9. Why would you need to know what the central idea of a paragraph/poem is?
A. So that you have an idea about the poem/selection
B. So you can find the theme.
C. So you could find the main idea.
D. so you can understand what the article/poem is about
10. Which of the following is the best description of a selection's theme?

A. Main idea
B. Central idea
C. Central point
D. Message about life
25
What’s In
You’ve learned in Lesson 17 about the characteristics of magic realism in

literature. Let’s have a short review before we proceed to the last lesson of this
module. Write your answers in your LITERATURE ACTIVITY NOTEBOOK.
Prompts: Write True on the space before each number if the statement is true
about magic realism; write False if it is not.
________1. In Magic Realist literature, the most fantastic, crazy things are told in a
very matter-of-fact way.
________2. Magic Realism is all about mixing things up: the fantastic with the
mundane, the ordinary with the extraordinary, dream life with waking
life, reality and unreality.
________3. Constructs of time follow typical Western conventions. For instance,

stories may be told in spiraling shapes rather than in straight lines.
________4. Objects and settings within the story may take on lives of their own in a
way that is ordinary to the characters in the story.
________5. Contradictions, inconsistencies and ambiguities color the point of view,

making you question what you understand about the world at large, as
well as what happens inside the story.
________6. A metamorphosis takes place in the story. It's treated not as a miracle,
but as an everyday event.
________7. The story does not bear the influences of oral tradition: fables, myths,
tall tales, urban legends, a charmed storytelling narrator (who may or
may not be reliable).
________8. The story, as it unfolds, gives the reader a sense of being inside a
puzzle or maze.
________9. The story is set in an otherwise ordinary world, with familiar historical
and/or cultural realities. Story events are not always explained by
universal laws or familiar logic.
_______10. The magical elements in the story may enhance a subversive message
or personalized point of view. Often the point of view is revealed through
voices, ideas, and places which exist outside the mainstream or majority
perspective.
26
What’s New
Prompts: Do you have a favorite love song? Write it in your LITERATURE

ACTIVITY NOTEBOOK. Tell us what made that song your favorite and to
whom do you dedicate it.
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
What Is It
One of the most popular poetic forms is the fourteen line, iambic
pentameter poem with a traditional rhyme scheme: the sonnet. There are two
kinds of sonnet: the Italian/Petrarchan and the English/Shakespearean. Although
both consist of 14 lines, the Italian sonnet is divided into two parts: the octave
“eight” and the sestet “six.” The octave which raises the idea or argument of the
sonnet has rhyme scheme abbaabba while the sestet which extends the idea
usually has the rhyme scheme cdecde.
The English sonnet on the other hand is divided into three quatrains, four-
line stanzas, and a couplet. The rhyme scheme is abab cdcd efef gg. The
quatrains of the English sonnet opens and develops the idea and the couplet
concludes it.
Read Sonnet XVII by Pablo Neruda and answer the questions that follow.
From Cien Sonetos de amor

From 100 Love Sonnets
XVII
XVII
I don’t love you as if you were a rose of salt,
No te amo como si fueras rosa de sal, topaz,
topacio or arrow of carnations that propagate fire:
o fleche de claveles que propagan el fuego: I love you as one loves certain obscure
te amo como se aman ciertas cosas things,
oscuras, secretly, between the shadow and the soul.
secretamente, entre la sombre y el alma.
I love you as the plant that doesn’t bloom but
Te amo como la planta que no florece y carries
lleva
27
the light of those flowers, hidden, within itself,
dentro de si, escondida, la luz de aquellas and thanks to your love the tight aroma that
flores, arose
y gracias a tu amor vive oscuro en mi from the earth lives dimly in my body.
cuerpo
el apretado aromo que ascendio de la I love you without knowing how, or when, or
tierra. from where
I love you directly without problems or pride:
Te amo sin saber como, ni cuando, ni de I love you like this because I don’t know any
donde, other way to love,
Te amo directamente sin problemas ni except in this form in which I am not nor are
orgullo: you,
Asi te amo porque no se amar de otra so close that your hand upon my chest is
manera, mine,
so close that your eyes close with my dreams.
Sino asi de este modo en que no soy ni
eres, - translated and ©Mark Eisner 2004, from City
Tan cerca que tu mano sobre mi pecho es Lights’ The Essential Neruda
mia,
Tan cerca que se cierran tus ojos con mi
sueño.
Source: https://www.scribd.com/document/412634387/21st-Century-Literature-of-the-Philippines-
and-of-the-World-1)
What’s More
Questions Answer/Explanation
1. Who is the persona talking to in the

poem?
2. What do rose of salt, topaz, and

carnation symbolize?
3. What do you think is the meaning of

the 3rd stanza?
4. To what sense does the second

stanza appeal to?
5. What is the central idea of the poem?
28
What I Have Learned
Prompts: Answer the questions below. Write your answers in your LITERATURE
ACTIVITY NOTEBOOK.
1. What is the most striking part of Sonnet XVII? Why?
_________________________________________________________________
2. Which line appeals to you? Why

_________________________________________________________________
What I Can Do
The best way to appreciate and value sonnets is for you to write your own. It
can be very challenging but it is worth the while.
Prompts: Choose someone you love or someone you deeply care for that you are
going to write your sonnet for. In this activity, take note of the following
requirements: iambic pentameter, rhyme scheme, content, stanza, and
artistic presentation.
5 points 4 points 3 points 2 points 1 point

Iambic Flawless use 1-2 errors 3 errors 4 errors More than 4
pentamenter of iambic errors
pentamenter
Rhyme abab cdcd 1 error in 2 errors 3 errors 4 or more
scheme efef gg rhyme errors
Quatrains & 3 quatrains 1 error 2 errors 3 errors 4 or more
couplets 1 couplet errors
Artistic Very original, Original, Somewhat Not original, On plain
presentation Very attractive, original and lacking in white paper,
attractive, neat attractive, neatness sloppy
Neat lacking in
neatness
20 points 15 points 10 points 5 points 1 point
content Clear Demonstrates Contains a May not Does not
subject, use of subject, and contain a contain a
Speaker, speaker and message. subject or subject or
tone, and tone speaker and message. message.
message tone may be does not does not
unclear. demonstrate demonstrate
use of use of a
speaker. speaker.
tone is tone lacks
unclear control
Philippines-and-of-the-World-1
29
Summary
There is no doubt that Latin American literature has greatly contributed to

world literature. For one, its turbulent history as a highly colonized region has
brought to life some of the most passionate works of art through the desire of Latin
Americans to speak and share about what had happened to them. One of the most
important outcomes of these desires is the concept of magic realism, where magic is
included in a realist story as if it were a normal occurrence in daily life.
Across the globe, literature continues to blossom at the dawn of the 21st
century. Like a kaleidoscope unfolding its varied colors, literary genres and styles
rise to prominence from different points of the world. This global diversity ensures
that literature will endure as a pillar of human civilization. (Rodoblado, 2016, DIWA
Textbooks)
30
Assessment: (Posttest)
Prompts: Read the following items carefully. Choose the best letter from the given
choices.
1. The literature of Singapore comprises a collection of literary works by Singaporeans in

any of the country’s _______ languages.
A. two B. three C. four D. five
2. A figure of speech whereby the author refers to a subject matter such as a place, event,
or literary work by way of a passing reference.
A. allegory B. analogy C. allusion D. metaphor
3. The sequence of series of events in a story

A. setting B. plot C. theme D. conflict
4. The underlying message that the writer would like to get across.
A. plot B. theme C. conflict D. setting
5. The locale or period in which the action of a story takes place

A. conflict B. setting C. plot D. mood
6. It consists of one or two pages of written critique that will succinctly discuss your idea,
realization, or concept regarding a literary selection.
A. essay B. short paper C. narrative D. analysis
7. It is something that shows how two things are alike, but with the ultimate goal of making a
point about this comparison.
A. simile B. metaphor C. analogy D. allegory
8. A figure of speech that makes an implicit, implied, or hidden comparison between two
things that are unrelated but which share some common characteristics.
A. analogy B. allegory C. allusion D. metaphor
9. The country which has much influence on Japanese literature was ___________.
A. Singaporean B. Chinese C. Mongolian D. Vietnamese
10. ___________ is considered the world’s first novel.
A. Tale of Genji B. Book of Songs C. Tale of Yasunari D.Book of Poetry
11. In the movie The Hunger Games why does the Capitol hold the Hunger Games?
A. To keep the districts happy
B. because they are part of a religious festival
C. as a way to control the size of the population
D. To remind the districts that they are powerless against it
12. How do Katniss and Peeta force the Capitol to declare them both winners?
A. They threatened to run away
B. They threaten to commit suicide.
C. They threaten to cause a rebellion against the Capitol.
D. They threaten that the winner will tell about everything.
31
13. Under what circumstances did Katniss first meet Peeta in Hunger Games?
A. They did a project at school together
B. They were both in the woods hunting
C. Peeta was injured and Katniss’ mother helped him.
D. Katniss was looking for food and Peeta gave her bread.
14. The mouse beneath the stone is still as death is an example of _____________.
A. simile B. metaphor C. onomatopoeia D. personification
15. A poem with songlike feel; it focuses on adventure or romance and tells a story it is
called _____________.
A. figurative language B. lyric C. narrative D. rhythm
16. When the word at the end of a line rhymes with another word at the end of another line, it
is called
A. internal rhyme B. end rhyme C. rhythm D. repetition
17. The author of a poem is called ___________.

A. narrator B. poet C. author D. writer
18. The bottle fizzed then popped is an example of _________.

A. onomatopoeia B. simile C. repetition D. metaphor
19. Poetry uses two kinds of language. What are they?

A. long and short C. lyric and narrative
B. literal and figurative D. emotional and comparative
20. It is the spontaneous overflow of powerful words collected in moments of

tranquility. This refers to what kind of poetry?
A. lyric B. poetry C. narrative D. figurative
21. What kind of poetry gives a verbal representation, in verse, of a sequence of

connected events, it propels characters through a plot?
A. narrative B. lyric C. literal D. figurative
22. As a literary device, persona refers to what three things:

A. character, voice, and role
B. drama, poetry and prose
C. music, movies, and audiobooks
D. fiction, non-fiction and historical fiction
23. What is a thing that represents something else?

A. symptom B. theme C. symbol D. thesis
24. What is symbolism?

A. Any story that attempts to explain how the world was created
B. A pattern of sound that includes the repetition of consonant sounds
C. An actor’s speech, directed to the audience, that is not supposed to be heard by other
actors.
D. The use of an object, person, situation, or word to represent something else (an
idea) in literature
32
25. Which of the following is an example of symbolism in literature?
A. Fall representing growing old
B. water symbolizing rebirth
C. The color black to symbolize evil
D. All of these are correct
26. Identify what stage symbolizes.

“All the world’s a stage.
And all the men and women merely players;
they have their exits and their entrances;
And one man in his time plays many parts,”
A. world B. participants C. play D. theatre
27. Though African writers wrote in European language, they nevertheless embodied the
spirit of __________.
A. patriotism B. nationalism C. truth D. bayanihan
28. The movement that opened the avenue for writers to celebrate what is truly African
A. nationalistic B. Negritude C. Africanism D. patriotism
29.Which of the following is TRUE about magical realism?

A. It follows the traditional time structure.
B. It occurs because of the use of devices similar to poetry.
C. The elements of the magical and the ordinary are interwoven seamlessly.
D. Magic realism is like science fiction.
30. He took credit for developing magical realism

A. Mario Vargas Llosa
B. Gabriel Garcia Marquez
C. Julio Cortazar
D. Jose Garcia Villa
31. It is imaginative response to an experience reflecting a keen awareness of

language.
A. narrative C. poetry
B. figurative language D. words
32. Who said that immature poets imitate; mature poets steal?
A. Thomas Hardy C. T.S. Eliot
B. Thomas Babington Macaulay D. William Wordsworth
33. Which of the following statements about Emily Dickinson’s poem “Death” is
TRUE?
A. It portrays death as something that should be feared.
B. It portrays death as something that should not be feared.
C. It highlights how everyone interprets death in the same way.
D. It highlights how everyone’s interpretation of death is unique.
34. In "Death" by Emily Dickinson, the three things that Death's carriage holds are...
A. hope, superstition, and truth
B. clarity, despair, and triumph
C. death, the speaker, and immortality
D. a way out, acceptance, and understanding
33
35. What does ‘setting sun’ indicate in the poem “Death” by Emily Dickinson?
A. death C. life
B. sun D. sunset
36. Confucius is a famous ______________ in ancient Chinese history.

A. writer B. narrator C. philosopher D. poet
37. The oldest collection of Chinese poetry is called ___________.

A. Book of Poetry B. Book of Songs C. Book of Changes D. Book of Olds
38. Who was the first writer in Chinese to win Nobel Prize for literature?
A. Kung Fu Tzu B. Mo Yan C. Lu Xun D. Lao Tzu
39. Who is commonly considered the greatest Chinese writer of the 20th century?
A. Lu Xun B. Lao Tzu C. Confucius D. Mo Yan
40. What is central idea?

A. tone of the passage
B. theme of the passage
C. a summarized sentence
D. central point that ties everything together.
41. Where could you find central idea?

A. first sentence
B. last sentence
C. not stated by implied
D. all of the above
42. Why would you need to know what the central idea of a paragraph/poem is?
A. I don’t know.
B. So you can find the theme.
C. So you could find the main idea.
D. so you can understand what the article/poem is about
43. In Sonnet XVII by Pablo Neruda, who is the persona talking to?
A. his mother C. his other woman
B. his sister D. a woman that he loves
44. What does rose of salt symbolize in Sonnet XVII?

A. something near the ocean
B. a rose made of salt
C. sand in the ocean
D. flower that grows near the ocean
45. What is the meaning of the 3rd stanza of Sonnet SVII?

A. he simply loves her no matter what happens
B. he is telling his lover about a few things that don’t represent his love
C. he is telling how it is that he does love his partner.
D. he re-emphasizes the fact that his love is not based on beauty
46. To what sense does the second stanza appeal to?

A. smell B. taste C. sight D. touch
34
47. What is the central idea of the sonnet?
A. one should not fear death
B. growth and decay evident in the battle against time
C. immortality can be reached through the poet's "engrafting
D. to love completely and honestly is the most beautiful thing of all
48. What is literature?

A. It refers to writing considered to be an art form or any single writing deemed to have
artistic or intellectual value.
B. It is a survey of scholarly sources (such as books, journal articles, and theses) related
to a specific topic.
C. It is the comparison, analysis, interpretation, and/or evaluation of works of literature.
D. It is subjective writing because it expresses the writer's opinion or evaluation of a text
49. The theme of The Taximan’s Story is

A. how hardworker the taximan is
B. how the passenger appreciates the taximan
C. how the taximan’s daughter is different compared to other girls.
D. how teenagers nowadays are different compared to older generations
50. The Taximan’s Story is written in ___________ point of view
A. first person point of view C. Second person point of view
B. third person point of view D. Omniscient point of view
35
Key to Answers: Lessons 8-18 Module 2 Lesson 8
What’s In
Eight Female Archetypes 1. middle
Boss Hermione
2. end
The Survivor 3. beginning
The spunky kid
The Free Spirit What I Know
The waif
The librarian
The crusader
The nurturer
What I have learned

1. The importance of family.
2. possible answers - Love is the most powerful What I have Learned
weapon you can have. Answers may vary
Never judge a book by its cover.
You don't have to be blood-related to be family.
Module 2 Lesson 9
Module 2 Lesson 7 What’s In
What’s In 1. d
2. a
3. c
4. d
5. d
6. d
7. c
8. d
9. d
10. b
What I Know
1. b
2. e
3. h
4. g
5. j
6. f
7. a.
What I Know 8. i
1. protagonist 9. c
2. antagonist 10. d
3. static or flat
4.dynamic Module 2 Lesson 10
5.round What’s in
1. C. 6. A
What’s More 2. C. 7. C
What I have learned 3. C. 8. A
Answers may vary 4. B. 9. D
5. A. 10. B
36
Pre Test
What I Know 1. C
√ 2. D
X 3. B
√ 4. A
√ 5. D
√ 6. A
√ 7. C
√ 8. C
9.D
Module 2 Lesson 11
What’s In 10. C
1. True 11. B
2.True 12. B
3. False 13. B
4.True 14. A
5.True 15. B
6.True 16. B
7. False 17. D
8.True 18. D
9.True
19. B
10.True
20. A
What I Know 21. A
1. B 22. B
2. A 23. B
3. C 24. B
4. D. 25. B
5. D 26. B
6. A 27. B
7. D 28. C
8. D
29. C
9. D
10. C 30. C
31. B
32. B
Einstein’s Riddle Answers 33. A
1. Norwegian, Yellow, Cat, Water, Piano 34. C
2. Danish, Blue, Horse, Tea, Basketball 35. A
3. British, Red, Birds, Milk, Baseball 36. B
4. German, Green, Fish, Coffee, Soccer 37. A
5. Swedish, White, Dogs, Beer, Violin 38. C
39. D
40. D
41. A
42. D
43. D
44. D
45. D
46. D
47. D
48. D
49. D
50. A
37
What’s More
What’s More
What I Have Learned

Answers may vary
Module 2 Lesson 4
What’s In
1.
What I Have Learned
2-5.
Acceptable answers
6-7.
1. It’s about how to grow up well and be a good person.
8.
2. Conflict is rarely or never needed
9.
10-11.
Module 2 Lesson 13
12-15.
What’s In
What I Know
1. rising action
2. falling action
3. setting
4. plot
5. theme
6. exposition
7. climax
8. denouement
9. conflict
10. mood
What I Know
What’s More
1. d 6. a
Answers may vary
2. c 7. d
3. c 8. a
What I Have Learned
4. d 9. b
Answers may vary
5. d 10. d
What’s More
Module 2 Lesson 5
Eight Male Archetypes
What’s In Albus Dumbledore
Chief
1. E
Bad boy Voldemort/Quirrell
2. J
The best friend Ron
3. D
Charmer Mr. Dusley
4. H
5. C The lost soul Snape
6. F The professor McGonagall
7. A The swashbuckler Harry Potter
8. I The warrior Gryffindor
9. G
10. B What I Have Learned
Answers may vary.
What I Know
Answers may vary
37
38
References
BOOKS
DIWA Senior High School Series. 2016. DIWA Textbooks.
Redoblado, Simoun Victor D. 2017. Contemporary Literature -21St Century
Literature From The Philippines And The World. Brilliant Creations Publishing
Inc.
VIDEOS
"The Hunger Games (2012) - Movie". 2014. Youtube. http://j.mp/18UG0Fx.
WEBSITES
"21St Century Literature Of The Philippines And Of The World (1) Scribd".
2020. Scribd. https://www.scribd.com/document/412634387/21st-Century-
Literature-of-the-Philippines-and-of-the-World-1.
"A Study In Emerald". 2020. Baker Street Wiki.
https://bakerstreet.fandom.com/wiki/A_Study_in_Emerald.
"Blank Timeline". 2020. Teachers Pay Teachers.
https://www.teacherspayteachers.com/Product/Blank-Timeline-1993895.
Bisd303.Org.
https://www.bisd303.org/cms/lib3/WA01001636/Centricity/Domain/616/adaptatio
n%20rubric.pdf.
"Conquest". 2020. The Mongol Empire.
https://mongolempirewhap.weebly.com/conquest.html.
Core.Ac.Uk. https://core.ac.uk/download/pdf/46722071.pdf
Emsd63.Org.
https://www.emsd63.org/cms/lib7/IL01906326/Centricity/Domain/225/PLAYWRI
TING%20RUBRIC%20w%20Sample.pdf.
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Commons". 2020. Commons.Wikimedia.Org.
https://commons.wikimedia.org/wiki/File:Pirosmani._Threshing-
floor._1916,_Oil_on_cardboard,_72X100.jpg.
"File:Thehungergames.Jpg - Wikimedia Commons".
2020. Commons.Wikimedia.Org.
https://commons.wikimedia.org/wiki/File:Thehungergames.jpg.
https://doina-touchingheartsblogspot.com/2019/01/battle-by-chu-yuan-332-295-bc-
from.html.
"Hunger Games: Here's What Each District Is Known For". 2020. Screenrant.
https://screenrant.com/hunger-games-districts-explained/.
39
Nrcs.Net. https://www.nrcs.net/Downloads/Rubric_for_Comic_Strip.pdf.
profile, View. 2020. "BATTLE - By Ch’Ü Yüan (332-295 B.C.) - From A HUNDRED
AND SEVENTY CHINESE POEMS TRANSLATED BY ARTHUR
WALEY". Doina-Touchinghearts.Blogspot.Com. https://doina-
touchinghearts.blogspot.com/2019/01/battle-by-chu-yuan-332-295-bc-from.html.
"Sida 11 | Royaltyfri Singapore, Stad Foton | Piqsels". 2020. Piqsels.Com.
https://www.piqsels.com/sv/search?q=singapore%2C+stad&page=12.
"Sparknotes: Harry Potter And The Sorcerer’S Stone: Plot Overview".
2020. Sparknotes.Com. https://www.sparknotes.com/lit/harrypotter/summary/.
"Sparknotes: Harry Potter And The Sorcerer’S Stone: Full Book Quiz".
2020. Sparknotes.Com. https://www.sparknotes.com/lit/harrypotter/quiz/.
"Sparknotes: The Hunger Games: Full Book Quiz". 2020. Sparknotes.Com.
https://www.sparknotes.com/lit/the-hunger-games/quiz/.
"The Boy Named Crow By Nick-Ian On Deviantart". 2020. Deviantart.Com.

https://www.deviantart.com/nick-ian/art/The-Boy-Named-Crow-456862974.
"Things Fall Apart: Plot Overview | Sparknotes". 2020. Sparknotes.Com.

https://www.sparknotes.com/lit/things/summary/.
"Two Poems, By Yu Xiuhua". 2020. World Literature Today.

https://www.worldliteraturetoday.org/2018/july/two-poems-yu-xiuhua.
Ww7.Quizziz.Com. Accessed July 14. http://ww7.quizziz.com/.
COVER PAGE REFERENCES
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content/uploads/2016/10/mount-rushmore-transparent-
background.png?fit=1000%2C446
Athena909180359.Files.Wordpress.Com.
https://athena909180359.files.wordpress.com/2019/04/screen-shot-2019-04-08-at-
3.07.41-pm.png.
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colosseum-no-background-roman-colosseum-png.png.
https://lh3.googleusercontent.com/proxy/9__5GR_DZJh4CAjhK31LTI9A1T9Y5NFp7j
vohTZpg42i21SHnk3Agg7G1h4T0j7xdKy2Am5OmZbjc1ItegZR3vHsRBvPIskt5PiXZ
F4sG7XhtICtqKA.
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https://lh3.googleusercontent.com/proxy/yBAOZ49CEg5tPdKnMzo8euHPeesGApPJ
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For inquiries and feedback, please write or call:
Department of Education – Bureau of Learning Resources (DepEd-BLR)

DepEd Division of Cagayan de Oro City
Fr. William F. Masterson Ave Upper Balulang Cagayan de Oro
Telefax: ((08822)855-0048
E-mail Address: cagayandeoro.city@deped.gov.ph

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Senior High School

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Department of Education ● Republic of the Philippines

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

Published by the Department of Education – Division of Cagayan de Oro

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Authors: Dr. Rosalinda C. Tantiado

Members: Dr. Jerry G. Roble, Division English Coordinator

Printed in the Philippines by

What This Module is About ....................................................................................................................... i

Following are the lessons contained in this module:

1. North American Literature

2. Latin American Literature

What I Need to Know

d. produce a creative representation of a literary text by applying multimedia and

e. do self-and/or peer assessment of the creative adaptation of a literary text,

Icons of this Module

What I know This is an assessment as to your level of

What’s New An introduction of the new lesson through

What is It These are discussions of the activities as a

What’s More These are follow-up activities that are in-

What I Have Activities designed to process what you

What I can do These are tasks that are designed to show-

What I Need to Know

Let’s continue our quest in understanding the literature of North America by

In this Lesson, you are going to:

c. do self- and/or peer-assessment of the creative adaptation of a

_____1. The bottle fizzed then popped. A. lyric

Note: Each set of lines can be repeated any number of times.

I’m good at___________/ I’m not good at ___________

Because I could not stop for Death,

We slowly drove, he knew no haste,

We passed the school, where children strove

Or rather, he passed us;

We paused before a house that seemed

Since then ‘tis centuries, and yet each

What I Have Learned

2. What is the role of immortality in the poem? ______________________________

3. How is death personified in the poem? __________________________________

Criteria Description Score

2. What is the simile in the passage?

4. What device is used in

5. In what structure is poetry written?

6. A word that imitates the natural sound of a thing is called _____.

7. Buzzing bee is an example of what sound device?

8. The phrase “she is a walking dictionary” is using

9. Any poem that tells a story is called __________.

What I Need to Know

In this Lesson, you are going to:

a. identify representative texts and authors from Latin America;

c. do self- and/or peer-assessment of the creative adaptation of literary text,

d. produce a creative representation of a literary text by applying multimedia

3. Magic realists tell stories that are _____________.

4. Magic realism DOES NOT include _____________.

5. Time in magic realism is _____________.

6. Magic realists ____________ .

7. Surrealism DOES NOT include ____________.

8. What two elements are combined in magic realism?

I’m good at_/ I’m not good at _