LEARNING ACTIVITY SHEET

QUARTER 1/ SEMESTER 1 WEEKS 1 & 2

Name:_________________________________________________Score:_______
Grade & Section _______________________Subject: 21st Century Literature from
the Philippines and the World
Name of Teacher: _________________________________Date: _____________

I. Title: World Literature

II. Type of Activity: Concept notes with formative activities

LAS for summative assessment Written Work (Performance Task)

III. MELC: Writing a close analysis and critical interpretation of literary texts, applying
a reading approach, and doing an adaptation of these, require from the learner the
ability to identify representative texts and authors from Asia, North America, Europe,
Latin America, and Africa
IV. Learning Objectives:
a. To know representative texts and authors from Asia, North America
Europe, Latin America and Africa
b. To apply reading approaches
c. To analyze and interpret texts from Asia, North America, Europe, Latin
America and Africa

V. References

Print Material/s:
Mendoza, Paul Anthony, et. al.21st century Literature from the Philippines
and the World.pp.180-182
Sanchez, Louie Jon A.,et.al. 21st Century Literature from the Philippines and
the World.pp.194-195

Online Resources:

 https://www.academia.edu/12477704/Haruki_Murakami_Kafka_on_the_Shor
e. Retrieved Oct.20,2020
 https://www.penguinrandomhouse.ca/books/6127/the-penelopiad-by-
margaret-atwood/9780676974256/excerpt.Retrieved October 20,2020
 https://www.imdb.com/name/nm1633142/bio(image)
 https://www.britannica.com/biography/Margaret-AtwoodRetrieved October 20,
2020
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  https://www.biografiasyvidas.com/biografia/e/
esquivel_laura.htm(image)Retrieved October 25,2020
 https://panitikan.ph/2013/05/16/jim-pascual-agustin/ (image)Retrieved
October 25
 https://www.sunsigns.org/famousbirthdays/d/profile/laura-esquivel/Retrieved
October 25,2020
 https://epdf.pub/neil-gaiman-coraline-5ea812c046bba.htmlRetrieved. October
25,2020
 https://ebooksbag.com/pdf-epub-malinche-download/Retrieved October
25,2020
 http://navigator-business-optimizer.com/wp-content/uploads/2019/01/neil-
gaiman.jpg(image)Retrieved October 25,2020
 https://www.britannica.com/biography/Neil-Gaiman/Concept notes with
formative activities.Retrieved October 26,2020
 https://i.ytimg.com/vi/qP41K_sXkMs/movieposter.jpg?v=4dc56881I,image.
Retrieved October 26,2020
 https://orion-uploads.openroadmedia.com/lg_e6dfce406b17-
penelopiad.jpg.Retrieved October 26,2020
 https://i.pinimg.com/originals/91/2d/5f/
912d5f0ccc3dd95ccbaa5868481f921f.jpg.Retrieved October 27,2020
 http://home.olemiss.edu/~egjbp/spring97/litcrit.html. Retrieved. October
28,2020
 www.rcsdk12.org/.../3732/Friendly_Letter_Rubric.docm.Retrieved.DEcember
7,2020

ASIAN LITERATURE

A rich collection of stories that both reflect the beliefs, culture, and feelings of the
people. It covers East, Central, West, and South east Asia.
Can be classified as lyric, drama, or narrative
Usually reflect predominant culture and particular epoch
The literature of India, China, and Japan has been the most popular among other
Asian countries due to its longevity and influence to other countries.

Indian Literature
Majority of literature is written in Sanskrit, for example, has a literary collection that
can be traced back to 800 B.C.
Classic Indian literature would reflect their predominant faith: Hinduism
Modern Indian literature focus more on subject matters that can be related to the
society

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 ex. Works of Rabindranath Tagore Sanskrit
Chinese Literature
Chinese literature does not include epic poem but rather stresses on everyday
issues of the society
Collection includes:
The Book of Songs – compiled by Confucius
The Tao The Ching- central book of Taoism
- Focuses on the duties, behavior and actions a person must do in order to belong
harmoniously to his society.

Singaporean Literature
The literature of Singapore offers a glimpse of the various aspects of the
Singaporean society.
The literature is based on the four main languages of the nation: English, Chinese,
Malay and Tamil.
The credit of introducing English literature in Singapore goes to the Straits-born
Chinese community during the colonial period
Although there are no such written evidences that clarify the first work of literature in
English published in Singapore but some evidences reveal the first publication of
Singapore English literature dates back to the period of 1830s.
Thumbooo’s generation rightly or wrongly, as the first generation of Singapore
writers.
Poetry is the predominant mode of expression
Most published works of Singapore writing in English are poetry
Poets in the late 1980’s and early 1990’s
Simon Tay, Heng Siok Tian and Ho Poh Fun
Late 1990’s
Local small presses such as Freshfruits and Ethos Bookhave been actively
promoting works of the new wave of poets.

New wave of Poets

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 Boey Kim Cheng, Yong Shu Hoong, Alvin Pang, Cyril Wong, Felix Cheong,
and Alfiah bin Saat
Poetry of this generation is politically aware, transnational and cosmopolitan yet
frequently presents their intensely focused, self- questioning and highly
individualised perspectives s of Singaporean life, society, and culture.
Some poets have been labeled for their personalized writing, often dealing with
intimate issues such as sexuality.

Japanese Literature
Ancient
deals with myths and legends
Prominent during this period are tales like the creation of Japan, wherein the islands
came from gemstones imbued in the swords of gods
- Celebrated writers are Ono Yasumaro, Nihon Shoki, and Manyo’shu who wrote
based on real events in the country
Heian Period
-Classical literature in Japan occurred during the golden age., the Heian Period
Murasaki Shikibu one of Japanes writers wrote the seminal text, Tale of Genji
Tale of Genji
- considered the world’s first novel
- a very charming and accurate depiction of the Japanese court during the Heian
Period under the reign of Empress Akiko
- shows the women in Prince Genji’s life and it paints them in their refinements,
talents in the arts, drawing, poetry and the beauties of nature.

Medieval Period
-History and literature were intertwined due to the influence of the civil war and the
emergence of the warrior class
-war tales are very prominent during this period
- Stories like Tales of the Heike deals with the conflict between two powerful clans.
- rise of Japanese poetry, renga

Modern Literature can be divided into:

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early modern- during the Edo period
Modern- during the Meiji period
- Japan opened its doors to the West
- gave way to Japanese drama, kabuki, the poetry form known for its simplicity and
subtlety, haiku and the yomihon
Started to romanticize and experimenting with different genres
Man’yoshu- one of the greatest collections of poetry
one of the most celebrated pieces of literature of Japan

Popular Japanese literature

Works of Matsou Basho- a famous haiku writer
Murasaki Shikibu’s – The Tale of the Genji
Modern japanese Texts
Include the works of Motokiyo, Kawabata, Tanizaki, Mishima

Read
About the Author

Haruki Murakami
Haruki Murakami graduated from Waseda University, Tokyo, in 1975. Widely
considered one of Japan's most important 20th-century novelists. His often solitary,
withdrawn, and world-weary protagonists are generally stripped of Japanese
tradition. Frequently called postmodern, his fiction, which often includes elements of
surreal fantasy and is sprinkled with references to American popular culture, is cool
and contemporary; his distinctive style is often characterized as "hard-boiled." His
first novel was Hear the Wind Sing (1979). Since then he has published such novels
as Pinball 1973 (1980), A Wild Sheep Chase (1982), Hard-Boiled Wonderland and
the End of the World (1985), Norwegian Wood (1987), Dance, Dance, Dance (1988),
The Wind-up Bird Chronicle (1995), The Sputnik Sweetheart (1999), and Kafka on
the Shore (2002). He has also written short stories, e.g., those collected in The

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Elephant Vanishes (1993) and After the Quake (2002) and done translations. His
first nonfiction book, Underground (2001), is an oral history of the 1995 gas attack by
religious extremists in the Tokyo subway and its relation to the Japanese psyche.

The Boy Named Crow

[Excerpt from Kafka on the Shore]
by Haruki Murakami
(Japan)

"So you're all set for money, then?" the boy named Crow asks in his typical sluggish
voice. The kind of voice like when you've just woken up and your mouth still feels
heavy and dull. But he's just pretending. He's totally awake. As always.
I nod.
"How much?"
I review the numbers in my head. "Close to thirty-five hundred in cash, plus some
money I can get from an ATM. I know it's not a lot, but it should be enough. For the
time being."
"Not bad," the boy named Crow says. "For the time being."
I give him another nod.
"I'm guessing this isn't Christmas money from Santa Claus."
"Yeah, you're right," I reply.
Crow smirks and looks around. "I imagine you've started by rifling drawers, am I
right?"
I don't say anything. He knows whose money we're talking about, so there's no
need for any long-winded interrogations. He's just giving me a hard time. "No
matter," Crow says. "You really need this money and you're going to get it -- beg,
borrow, or steal. It's your father's money, so who cares, right? Get your hands on
that much and you should be able to make it. For the time being. But what's the plan

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after it's all gone? Money isn't like mushrooms in a forest--it doesn't just pop up on its
own, you know. You'll need to eat, a place to sleep. One day you're going to run out."
"I'll think about that when the time comes," I say.
"When the time comes," Crow repeats, as if weighing these words in his hand.
I nod.
"Like by getting a job or something?"
"Maybe," I say.
Crow shakes his head. "You know, you've got a lot to learn about the world.
Listen--what kind of job could a fifteen-year-old kid get in some far-off place he's
never
been to before? You haven't even finished junior high. Who do you think's going to
hire you?" I blush a little. It doesn't take much to make me blush.
"Forget it," he says. "You're just getting started and I shouldn't lay all this
depressing stuff on you. You've already decided what you're going to do, and all
that's
left is to set the wheels in motion. I mean, it's your life. Basically you gotta go with
what
you think is right."
That's right. When all is said and done, it is my life.
"I'll tell you one thing, though. You're going to have to get a lot tougher if you want to
make it."
"I'm trying my best," I say.
"I'm sure you are," Crow says. "These last few years you've gotten a whole lot
stronger. I've got to hand it to you."
I nod again.
"But let's face it--you're only fifteen," Crow goes on. "Your life's just begun and
there's a ton of things out in the world you've never laid eyes on. Things you never
could imagine."
As always, we're sitting beside each other on the old sofa in my father's study.
Crow loves the study and all the little objects scattered around there. Now he's toying
with a bee-shaped glass paperweight. If my father was at home, you can bet Crow
would never go anywhere near it.
"But I have to get out of here," I tell him. "No two ways around it."
"Yeah, I guess you're right." He places the paperweight back on the table and
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links his hands behind his head. "Not that running away's going to solve everything. I
don't want to rain on your parade or anything, but I wouldn't count on escaping this
place if I were you. No matter how far you run. Distance might not solve anything."
The boy named Crow lets out a sigh, then rests a fingertip on each of his closed
eyelids and speaks to me from the darkness within.
"How about we play our game?" he says.
"All right," I say. I close my eyes and quietly take a deep breath.
"Okay, picture a terrible sandstorm," he says. "Get everything else out of your
head."
I do what he says, get everything else out of my head. I forget who I am, even.
I'm a total blank. Then things start to surface. Things that--as we sit here on the old
leather sofa in my father's study--both of us can see.
"Sometimes fate is like a small sandstorm that keeps changing directions," Crow
says.
Sometimes fate is like a small sandstorm that keeps changing directions. You
change direction but the sandstorm chases you. You turn again, but the storm
adjusts.
Over and over you play this out, like some ominous dance with death just before
dawn.
Why? Because this storm isn't something that blew in from far away, something that
has nothing to do with you. This storm is you. Something inside of you. So all you
can do is give in to it, step right inside the storm, closing your eyes and plugging up
your ears so the sand doesn't get in, and walk through it, step by step. There's no
sun there, no moon, no direction, no sense of time. Just fine white sand swirling up
into the sky like pulverized bones. That's the kind of sandstorm you need to imagine.
And that's exactly what I do. I imagine a white funnel stretching up vertically like a
thick rope. My eyes are closed tight, hands cupped over my ears, so those fine
grains of sand can't blow inside me. The sandstorm draws steadily closer. I can feel
the air pressing on my skin. It really is going to swallow me up.
The boy called Crow softly rests a hand on my shoulder, and with that the storm
vanishes.
"From now on--no matter what--you've got to be the world's toughest fifteen
year-old. That's the only way you're going to survive. And in order to do that, you've
got to figure out what it means to be tough. You following me?"
I keep my eyes closed and don't reply. I just want to sink off into sleep like this,

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his hand on my shoulder. I hear the faint flutter of wings.
"You're going to be the world's toughest fifteen-year-old," Crow whispers as I try
to fall asleep. Like he was carving the words in a deep blue tattoo on my heart.
And you really will have to make it through that violent, metaphysical, symbolic
storm. No matter how metaphysical or symbolic it might be, make no mistake about
it: it will cut through flesh like a thousand razor blades. People will bleed there, and
you will bleed too. Hot, red blood. You'll catch that blood in your hands, your own
blood and the blood of others.
And once the storm is over you won't remember how you made it through, how you
managed to survive. You won't even be sure, in fact, whether the storm is really
over. But one thing is certain. When you come out of the storm you won't be the
same person who walked in. That's what this storm's all about.
On my fifteenth birthday I'll run away from home, journey to a far-off town, and live in
a corner of a small library. It'd take a week to go into the whole thing, all the details.
So I'll just give the main point. On my fifteenth birthday I'll run away from home,
journey to a far-off town, and live in a corner of a small library.
It sounds a little like a fairy tale. But it's no fairy tale, believe me. No matter what sort
of spin you put on it.

NORTH AMERICAN LITERATURE

America was a series of British colonies to what is now the United States.
Thus, the literary tradition of the country can be connected to the British literary
tradition.
American writing is completely separated from the earlier tradition because of its
diverse nature and the breadth of its procedure.

Earlier American Writings

Captain John Smith’s A True Relation of Virginia
- discussed the advantages of colonial rule to both the colonies and colonial
audiences.
Political writings like the work of Samuel Adams, Benjamin Franklin and Thomas
Paine
- hailed for its wit and its contribution to building the nation that is today.
Political Writings of Alexander Hamilton, James Madison, John Jay, and Thomas
Jefferson influenced their very Constitution

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Influential American Writers
Washinton Irving- Salmagundi, A History of New York by Diedrich Knickerbacker,
The Legend of Sleepy Hollow and Rip Van Winkle
James Fenimore Cooper- The last of the Mohicans
Edgar Allan Poe- The Father of Short Stories
The Rave, The Cask of Amontillado, The Falls of the House of Usher
Herman Melville- Moby Dick
Nathaniel Hawthorne- The Scarlet Letter

19th Century Writers

Walt Whitman and Emily Dickinson
two of the greatest 19th century poets
the proponents of realism
Mark Twain and Henry James
- their writing style changed the way Americans write their language
- created characters who speak like real people and sound distinctly American
with accents native to that region

20th Century Writers

American novelists started experimenting in style and subject matter.
Edward Bellamy, Upton Sinclair, and Henry Adams discussed political and
educational issues and the power of corporations in their works.
F. Scott Fitzgerald – The Great Gatsby- shows how the dreams and ambitions of the
youth may quickly disappear and ultimately lead to disappointment

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Read Penelopiad

Margaret Atwood

As an adolescent, Atwood divided her time between Toronto, her family’s primary
residence, and the sparsely settled bush country in northern Canada, where her
father, an entomologist, conducted research. She began writing at age five and
resumed her efforts, more seriously, a decade later. After completing her university
studies at Victoria College at the University of Toronto, Atwood earned a master’s
degree in English literature from Radcliffe College, Cambridge, Massachusetts, in
1962.

In her early poetry collections, Double Persephone (1961), The Circle Game (1964,
revised in 1966), and The Animals in That Country (1968), Atwood ponders human
behaviour, celebrates the natural world, and condemns materialism. Role reversal
and new beginnings are recurrent themes in her novels, all of them centred on
women seeking their relationship to the world and the individuals around them. The
Handmaid’s Tale (1985; film 1990; opera 2000) is constructed around the written
record of a woman living in sexual slavery in a repressive Christian theocracy of the
future that has seized power in the wake of an ecological upheaval; a TV series
based on the novel premiered in 2017 and was cowritten by Atwood. The Booker
Prize-winning The Blind Assassin (2000) is an intricately constructed narrative
centring on the memoir of an elderly Canadian woman ostensibly writing in order to
dispel confusion about both her sister’s suicide and her own role in the posthumous
publication of a novel supposedly written by her sister.

In Oryx and Crake (2003), Atwood described a plague-induced apocalypse in the

near future through the observations and flashbacks of a protagonist who is possibly
the event’s sole survivor. Minor characters from that book retell the dystopian tale
from their perspectives in The Year of the Flood (2009). MaddAddam (2013), which
continues to pluck at the biblical, eschatological, and anticorporate threads running
through the previous novels, brings the satirical trilogy to a denouement. The
novel The Heart Goes Last (2015), originally published as a serial e-book (2012–13),
imagines a dystopian America in which a couple is compelled to join
a community that functions like a prison. Hag-Seed (2016), a retelling of William

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Shakespeare’s The Tempest, was written for the Hogarth Shakespeare series. In
2019 The Testaments, a sequel to The Handmaid’s Tale, was published to critical
acclaim and was a cowinner (with Bernardine Evaristo’s Girl, Woman, Other) of the
Booker Prize.

In addition to writing, Atwood taught English literature at several Canadian and

American universities. She won the PEN Pinter Prize in 2016 for the spirit of political
activism threading her life and works.

A Low Art
[Excerpt from The Penelopiad]
by Margaret Atwood
(Canada)

Now that I’m dead I know everything. This is what I wished would happen, but like so
many of my wishes it failed to come true. I know only a few factoids that I didn’t know
before. It’s much too high a price to pay for the satisfaction of curiosity, needless to
say.
Since being dead — since achieving this state of bonelessness, liplessness,
breastlessness — I’ve learned some things I would rather not know, as one does
when listening at windows or opening other people’s letters. You think you’d like to
read minds? Think again.

Down here everyone arrives with a sack, like the sacks used to keep the winds in,
but each of these sacks is full of words — words you’ve spoken, words you’ve heard,
words that have been said about you. Some sacks are very small, others large; my
own is of a reasonable size, though a lot of the words in it concern my eminent
husband. What a fool he made of me, some say. It was a specialty of his: making
fools. He got away with everything, which was another of his specialties: getting
away.

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He was always so plausible. Many people have believed that his version of events
was the true one, give or take a few murders, a few beautiful seductresses, a few
one-eyed monsters. Even I believed him, from time to time. I knew he was tricky and
a liar, I just didn’t think he would play his tricks and try out his lies on me. Hadn’t I
been faithful? Hadn’t I waited, and waited, and waited, despite the temptation —
almost the compulsion — to do otherwise? And what did I amount to, once the
official version gained ground? An edifying legend. A stick used to beat other women
with. Why couldn’t they be as considerate, as trustworthy, as all-suffering as I had
been? That was the line they took, the singers, the yarn-spinners. Don’t follow my
example, I want to scream in your ears — yes, yours! But when I try to scream, I
sound like an owl.

Of course I had inklings, about his slipperiness, his wiliness, his foxiness, his — how
can I put this? — his unscrupulousness, but I turned a blind eye. I kept my mouth
shut; or, if I opened it, I sang his praises. I didn’t contradict, I didn’t ask awkward
questions, I didn’t dig deep. I wanted happy endings in those days, and happy
endings are best achieved by keeping the right doors locked and going to sleep
during the rampages.

But after the main events were over and things had become less legendary, I
realized how many people were laughing at me behind my back — how they were
jeering, making jokes about me, jokes both clean and dirty; how they were turning
me into a story, or into several stories, though not the kind of stories I’d prefer to
hear about myself. What can a woman do when scandalous gossip travels the
world? If she defends herself she sounds guilty. So I waited some more.

Now that all the others have run out of air, it’s my turn to do a little story-making. I
owe it to myself. I’ve had to work myself up to it: it’s a low art, tale-telling. Old women
go in for it, strolling beggars, blind singers, maidservants, children — folks with time
on their hands. Once, people would have laughed if I’d tried to play the minstrel —
there’s nothing more preposterous than an aristocrat fumbling around with the arts
— but who cares about public opinion now? The opinion of the people down here:
the opinion of shadows, of echoes. So I’ll spin a thread of my own.

EUROPEAN LITERATURE

European literature refers to the literature in many languages; among the

most important of the modern written works are those in English, Spanish, French,
Dutch, Polish, German, Italian Modern Greek, Czech, Russian, Bosnian and works
by the Scandinavians and Irish. Important classical and medieval traditions are those
in Latin, Ancient Greek, Old Norse, Medieval French and the Italian Tuscan dialect of
the renaissance are also part of its collection.
The Medieval Period (500-1500)

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Beowulf, The song of Roland, The Nibelungelid and seminal work of Jeffrey
Chaucer, The Canterbury Tales

The Age of Enlightenment (1700-1800)

Its center was a celebration of ideas- about what the human mind is capable of, and
what could be achieved through deliberate action and scientific methodology.Many
of the new, enlightened ideas were political in nature.
Authors:
Voltaire and Jean-Jacques Rousseau - torchbearers of enlightenment literature
and Philosophy
Rousseau - a strong advocate of social reform of all kinds.
- Emile- Rousseau’s most important work
- a massively influential piece of non- fiction that argues for
extensive and liberal education as the means for creating good citizens
Voltaire- employed dry wit and sarcasm to entertain his readers while making
convincing arguments for reform.

Romantic Movement (1798-1870)

English literature employs more variety in style, theme, and content
Romanticism- is concerned with the masses and not with the middle class, the
individual more than with society. The individual consciousness and individual
imagination are especially fascinating for the Romantics.
Writers:
Mary Shelley- Frankenstein
Lord Byron- Don Juan
The focus of literature shifted from the scientific to the mysterious.

Victorian Period
The name given to the period is borrowed from the royal matriarch of Englad, Queen
Victoria, who sat on throne from 1837 to 1901. The Victorian writers exhibited well-
established habits from previous eras, while at the same time pushing arts and
letters in new and interesting directions. Victorian novelists and poets like wrote with
simplicity, truth and tempered emotion.
Victorian Novelists and Poets:

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Charlotte and Emily Bronte, Lord Tennyson, Robert Browning, Gustave Flaubert,
George Eliot, Fyodor Dostoyevsky, and Thomas Hardy

Realism (1820-1920)
It is attention to detail and an effort to replicate the true nature of reality in a way that
novelists had never attempted. There is the belief that the novel’s function is simply
to report what happens, without comment or judgment. Seemingly inconsequential
elements gain the attention of the novel functioning in the realist mode.

Realist Writers:
Franz Kafka, William Butler Yeats, T.S. Elliot, and Vicente Biasco Ibanez
Naturalism (1870-1920)
Naturalism sought to go further and be more explanatory than Realism by identifying
the underlying causes of a person’s actions or beliefs. In naturalism, the environment
played a large part in the narrative structure. The locale shapes the personalities of
the characters without them even realizing it.

Prominent Writer:
Emilie Zola- provided inspiration and model during this period.

Existentialism (1850- Today)

Crime and Punishment is a profound example of the principles of existentialist.
Dostoyevsky’s story shows that thinking can be perceived, leading to ethical decay
and personal destruction. Franz Kafka has also been associated with twentieth
century existentialism. But the name most related in existential literature is Albert
Camus. The characters in his work are caught I situations that are way out of their
control and getting out of the situation is almost futile. The influence given by these
authors are still reflected in this generation if you read the works of Chuck Palahniuk,
Stanley Kubrick, and David Lynch.

Modernist Period (1910-1965)

The Modernist Period in Literature presented a new way of living and seeing the
world. Writers are now free to try new concepts in writing ike the use of unreliable
narrator among others. Modernism was set in motion, in one sense, through a series
of cultural shocks where the poets who took fullest advantage of the new spirit of the
times and stretched the possibilities of their crafts to lengths.

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About the Author

Neil Gaiman
Neil Gaiman, in full Neil Richard Gaiman, (born November 10, 1960,
Portchester, Hampshire, England), British writer who earned critical praise and
popular success with richly imagined fantasy tales that frequently featured a darkly
humorous tone.

Gaiman grew up in Sussex and attended Whitgift School in Croydon. Upon

graduating, he worked as a freelance journalist before earning his first author credit
for a paperback biography of the pop music group Duran Duran in 1984. While the
subject matter was certainly not indicative of his later work, its success was, and the
first printing sold out in a matter of days. It was about that time that he met
artist Dave McKean, and the two collaborated on the graphic novel Violent
Cases (1987). The work established them as rising stars in the comic world, and
soon the two were noticed by publishers on both sides of the Atlantic. They
submitted story and art treatments to DC Comics, and the result was Black
Orchid (1988), a miniseries that helped establish the atmosphere for the DC
renaissance of the late 1980s. Along with Alan Moore’s work on Watchmen (1986–
87) and Swamp Thing (1983–87) and Frank Miller’s gritty interpretation
of Batman in The Dark Knight Returns (1986), the success of Black Orchid showed
that a market existed for dark mature stories written for an adult audience. That
became even clearer with the launch of The Sandman in 1989.

The Sandman was a completely new kind of comic, and it became one of the
flagship titles for Vertigo, a line of adult-themed horror and fantasy series launched
by DC in 1993. While McKean stayed on as cover artist for the book’s entire run, a
rotating series of interior artists helped flavour each individual story arc. In addition,
the stories were unlike any previously seen in mainstream comics. The protagonist
was Morpheus, the manifestation of the ability of sentient beings to dream. Like
many other pantheons, the Endless—Morpheus’s siblings—were godlike beings with
human foibles and drives. A typical story was so littered with literary allusions and
historical references that Internet fan sites soon began offering
detailed annotations of individual issues. By the time the series ended in 1996, The
Sandman had captured an enviable list of awards and was DC Comics’ top-selling

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title. Gaiman also topped best-seller lists with his novels Good Omens (with Terry
Pratchett, 1990), Neverwhere (1996), Stardust (1999; film 2007), and American
Gods (2001) and with his children’s book Coraline (2002; film 2009). He revisited
the Sandman characters in 2003 with Endless Nights, an anthology that had the
distinction of being the first graphic novel to earn a place on The New York
Times best-seller list for hardcover fiction.

Coraline
[Excerpt]
By Neil Gaiman
(England)

It sounded like her mother. Coraline went into the kitchen, where the voice had come
from. A woman stood in the kitchen with her back to Coraline. She looked a little like
Coraline's mother. Only …
Only her skin was white as paper.
Only she was taller and thinner.
Only her fingers were too long, and they never stopped moving, and her dark-
red fingernails were curved and sharp.
.'Coraline?' the woman said. 'Is that you?'
And then she turned round. Her eyes were big black buttons.
'Lunchtime, Coraline,' said the woman.
'Who are you?' asked Coraline.
'I'm your other mother,' said the woman. 'Go and tell your other father that
lunch is ready.' She opened the door of the oven. Suddenly Coraline realised how
hungry she was. It smelled wonderful. 'Well, go on.'Coraline went down the hall, to
where her father's study was. She opened the door. There was a man in there,
sitting at the keyboard, with his back to her. 'Hello,' said Coraline. 'I - I mean, she
said to say that lunch is ready.'
The man turned round. His eyes were buttons - big and black and shiny.
'Hello, Coraline,' he said. 'I'm starving. 'He got up and went with her into the kitchen.
They sat at the kitchen table and Coraline's other mother brought them lunch. A
huge, golden-brown roasted chicken, fried potatoes, tiny green peas. Coraline
shoveled the food into her mouth. It tasted wonderful.
'We've been waiting for you for a long time,' said Coraline's other father

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 .'Forme?''
“Yes,' said the other mother. 'It wasn't the same here without you. But we
knew you'd arrive one day, and then we could be a proper family. Would you like
some more chicken?'
It was the best chicken that Coraline had ever eaten. Her mother sometimes
made chicken, but it was always out of packets, or frozen, and was very dry, and it
never tasted of anything. When Coraline's father cooked chicken he bought real
chicken, but he did strange things to it, like stewing it in wine, or stuffing it with
prunes, or baking it in pastry, and Coraline would always refuse to touch it on
principle.
She took some more chicken.
'I didn't know I had another mother,' said Coraline cautiously.
'Of course you do. Everyone does,' said the other mother, her black-button
eyes gleaming. ‘After lunch I thought you might like to play in your room with the rats.
''The rats?'' From upstairs.'Coraline had never seen a rat, except on
television. She was quite looking forward to it. This was turning out to be a very
interesting day after all.

LATIN AMERICAN LITERATURE

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 1960’s, Latin American writing has been searching for the perfect
novel that can be introduced tot he world as epitome of what the region has to offer.
And then it came. One Hundred Years of Solitude by the Columbian 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 chaapters divided into three parts: On the side there, on this side, and both
sides. Cortazar allowed the readers to start from whichever parts he wants to start
and thus creating his own meaning to the story.

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 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 writer during the Latin American Boom.

About the Author

Laura Esquivel
Laura Esquivel is a Mexican politician, novelist, and screenwriter. Born
on September 30, 1950, she is the author of Like Water for Chocolate, an
imaginative combination of novel and cookbook. It is about a young girl, Tita who
expresses her love through cooking because, in the name of upholding tradition, her
mother prevented her from being with the love of her life, Pedro. The book became a
best seller in Mexico, and its film adaptation became one of the highest grossing
foreign films in the United States. Her other novels include The Law of Love (La Ley
del Amor) in 1995, Swift as Desire (Tan VelozComoeldeseo), 2001, Malinche: A
Novel (Malinche: novel) Esquivel went into politics and now served in the Chamber
of Deputies representing the Morena Party.

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 Malinche
[Excerpt]
By Laura Esquivel
(Mexico)

Malinalli needed that silence to create new and resonant words. The right
words, the ones that were necessary. Recently she had stopped serving
Portocarrero, her lord, because Cortés had named her “The Tongue,” the one who
translated what he said into the Náhuatl language, and what Montezuma’s
messengers said, from Náhuatl to Spanish. Although Malinalli had learned Spanish
at an extraordinary speed, in no way could it be said that she was completely fluent.
Often she had to turn to Aguilar to help her to translate it correctly, so that what she
said made sense in the minds of both the Spaniards and the Mexicans.
Being “The Tongue” was an enormous responsibility. She didn’t want to make
a mistake or misinterpret, and she couldn’t see how to prevent it since it was so
difficult translating complex ideas from one language to the other. She felt as if each
time she uttered a word she journeyed back hundreds of generations. When she
said the name of Ometéotl, the creator of the dualities Omecíhuatl and Ometecuhtli,
the masculine and feminine principles, she put herself at the beginning of creation.
That was the power of the spoken word. But then, how can you contain in a single
word the god Ometéotl, he who is without shape, the lord who is not born and does
not die; whom water cannot wet, fire cannot burn, wind cannot move, and earth
cannot bury? Impossible. The same seemed to happen to Cortés, who couldn’t make
her understand certain concepts of his religion. Once she asked him what the name
of God’s wife was.
“God doesn’t have a wife,” Cortés answered.
“It cannot be.” “Why not?”
“Because without a womb, without darkness, light cannot emerge, life cannot
emerge. It is from her greatest depths that Mother Earth creates precious stones,
and in the darkness of the womb that gods and humans take their forms. Without a
womb there is no god.”

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 Cortés stared intently at Malinalli and saw the light in the abyss of her eyes. It
was a moment of intense connection between them, but Cortés directed his eyes
somewhere else, abruptly disconnected himself from her, because he was frightened
by that sensation of complicity, of belonging, and he immediately tried to cut off the
conversation between them, for, aside from everything else, it seemed too strange

speaking about religious matters with her, a native in his service.

“What do you know about God! Your gods demand all the blood in the world
in order to exist, while our God offers His own to us with each Communion. We drink
His blood.”
Malinalli did not understand all of the words that Cortés had just uttered.
What she wanted to hear, what her brain wanted to interpret, was that the god of the
Spaniards was a fluid god, for he was in the blood, in the secret of the flesh, the
secret of love; that he was contained in the eternity of the Universe. And she wanted
to believe in such a deity.
“So then your god is liquid?” Malinalli asked enthusiastically.
“Liquid?”
“Yes. Didn’t you say that he was in the blood that he offered?”
“Yes, woman! But now answer me, do your gods offer you blood?”
“No.”
“Aha! Then you shouldn’t believe in them.”
Malinalli eyes filled with tears as she replied. “I don’t believe that they have to
offer blood. I believe in your liquid god, I like that he is a god who is constantly
flowing, and that he manifests himself even in my tears. I like that he is stern, strict,
and just, that his anger could create or make the universe vanish in one day. But you
can’t have that without water or a womb. For there to be songs and flowers, there
needs to be water; with it, words rise and matter takes on form. There is life that is
born without a womb, but it does not remain long on the earth. What is engendered
in darkness, however, in the profundity of caves, like precious gems and gold, lasts
much longer. They say that there is a place beyond the sea, where there are higher
mountains, and there, Mother Earth has plentiful water to fertilize the earth; and
here, in my land, we have deep caves and within them, great treasures are produced
—”
“Really? What treasures? Where are these caves?”
Malinalli did not want to answer him and said that she did not know. His
interruption bothered her. It proved that Cortés was not interested in talking about his
religion, or his gods, or his beliefs, or even about her. It was clear that he was only
interested in material treasures. She excused herself and went to weep by the river.

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 This and many other things made it difficult for them to understand each
other. Malinalli believed that words colored memory, planting images each time that
a thing was named. And as flowers bloomed in the countryside after a rainfall, so
that which was planted in the mind bore fruit each time that a word, moistened by
saliva, named it. For example, the concept of a true and eternal god, which the
Spaniards had proclaimed, in her mind had borne fruit because it had already been
planted there by her ancestors. From them she had also learned that things came to
exist when you named them, when you moistened them, when you painted them.
God breathed through his word, gave life through it, and because of this, because of
the labor and grace of the God of All Things, it was possible to paint in the mind of
the Spaniards and Mexicans’ new concepts, new ideas.
Being “The Tongue” was a great spiritual duty, for it meant putting all her
being at the service of the gods so that her tongue was part of the resounding
system of the divinity, so that her voice would spread through the cosmos the very
meaning of existence. But Malinalli did not feel up to the task. Very often, when
translating, she let herself be guided by her feelings and then the voice that came
out of her mouth was no other than the voice of fear, fear of being unfaithful to the
gods, of failure, fear of not being able to bear responsibility. And truthfully, also fear
of power, of taking power.
Never before had she felt what it was like to be in charge. She soon found
that whoever controls information, whoever controls meaning, acquires power. And
she discovered that when she translated, she controlled the situation, and not only
that but that words could be weapons. The finest of weapons.

AFRICAN LITERATURE

Having been denied sharing their unique culture to the rest of the world,
African literature takes pride in their identity as a people along with their rich
heritage. The Dark Continent enjoys a vast collection of masterpieces, both in oral
and written literature, which are highly diverse and at the same time common.
The writings on black Africa started in the middle ages when Arabic was
introduced to them and then it moved forward in the 1800’s with the coming
alphabet. With the birth ogf the negritude (which literally means “blackness”)
movement in 1934, African writers committed to look into their own culture, traditions
and values that ca be applied in the modern world. The drive of writers to write and
excite political freedom grew and the dignity of African tradition has been asserted.
The Negritude movement opened the avenue for writers to celebrate what is truly
African.

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About the Author

Jim Pascual Agustin

Jim Pascual Agustin writes and translates in Filipino and English. He grew up
in Manila, the Philippines, during the reign of the late dictator, Ferdinand Marcos,
and moved to South Africa in 1994.

His poetry has appeared in Rhino, World Literature Today and Modern Poetry

in Translation, among others. His poem, “To be an Orc,” won the Noise Medium
Grand Prize, and his own translation of his poem from the Filipino, “Danica Mae,”
won the Gabo Prize for Literature in Translation and Multilingual Texts from Lunch
Ticket and Antioch University. In South Africa, he won the DALRO Award for Poetry
second prize as well as the Sol Plaatje EU Poetry Award 3rd Prize in 2014 and 2015.

Agustin’s latest collection of poetry, Wings of Smoke, was recently released

by the Onslaught Press (Oxford 2017). He is currently working on a new collection
that contains work criticizing the bloody war on drugs by Philippine president Rodrigo
Duterte and commenting on socio-political events in his South Africa

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 The Breath of Sparrows
Jim Agustin
Manila/South Africa

For Nelson Rolihlahla Mandela

The day Mandela died,
I dreamt I was in the house
of my mentor, as a frequent guest
who took a desk by the window.

A towering tree with red

and yellow flowers as big as hands,
the breeze slipping between each
petal finger. I went to his room
to ask the name of that tree.

He lay on his bed, resting

with eyes closed but aware
of the birds weighing down
the branches, leaves caressing
the roof. The breath of sparrows
like his own. There was no need to name
the tree, no need to name anything
at all at that moment. I bid him thanks
before leaving, my footsteps drowning
in sparrow wings.

CRITICAL APPROACHES TO LITERATURE

 Formalist Criticism: This approach regards literature as “a unique form of
human knowledge that needs to be examined on its own terms.” All the
elements necessary for understanding the work are contained within the
work itself. Of particular interest to the formalist critic are the elements
of form—style, structure, tone, imagery, etc.—that are found within the text.
A primary goal for formalist critics is to determine how such elements work
together with the text’s content to shape its effects upon readers.
 Biographical Criticism: This approach “begins with the simple but central
insight that literature is written by actual people and that understanding an
author’s life can help readers more thoroughly comprehend the work.”
Hence, it often affords a practical method by which readers can better
understand a text. However, a biographical critic must be careful not to take
the biographical facts of a writer’s life too far in criticizing the works of that
writer: the biographical critic “focuses on explicating the literary work by
using the insight provided by knowledge of the author’s life.... Biographical
data should amplify the meaning of the text, not drown it out with irrelevant

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 material.”
 Historical Criticism: This approach “seeks to understand a literary work by
investigating the social, cultural, and intellectual context that produced it—a
context that necessarily includes the artist’s biography and milieu.” A key
goal for historical critics is to understand the effect of a literary work upon its
original readers.
 Gender Criticism: This approach “examines how sexual identity influences
the creation and reception of literary works.” Originally an offshoot of
feminist movements, gender criticism today includes a number of
approaches, including the so-called “masculinist” approach recently
advocated by poet Robert Bly. The bulk of gender criticism, however, is
feminist and takes as a central precept that the patriarchal attitudes that
have dominated western thought have resulted, consciously or
unconsciously, in literature “full of unexamined ‘male-produced’
assumptions.” Feminist criticism attempts to correct this imbalance by
analyzing and combatting such attitudes—by questioning, for example, why
none of the characters in Shakespeare’s play Othello ever challenge the
right of a husband to murder a wife accused of adultery. Other goals of
feminist critics include “analyzing how sexual identity influences the reader
of a text” and “examin[ing] how the images of men and women in
imaginative literature reflect or reject the social forces that have historically
kept the sexes from achieving total equality.”
 Psychological Criticism: This approach reflects the effect that modern
psychology has had upon both literature and literary criticism. Fundamental
figures in psychological criticism include Sigmund Freud, whose
“psychoanalytic theories changed our notions of human behavior by
exploring new or controversial areas like wish-fulfillment, sexuality, the
unconscious, and repression” as well as expanding our understanding of
how “language and symbols operate by demonstrating their ability to reflect
unconscious fears or desires”; and Carl Jung, whose theories about the
unconscious are also a key foundation of Mythological Criticism.
Psychological criticism has a number of approaches, but in general, it
usually employs one (or more) of three approaches:
1. An investigation of “the creative process of the artist: what is the
nature of literary genius and how does it relate to normal mental
functions?”
2. The psychological study of a particular artist, usually noting how an
author’s biographical circumstances affect or influence their
motivations and/or behavior.
3. The analysis of fictional characters using the language and methods
of psychology.
 Sociological Criticism: This approach “examines literature in the cultural,
economic and political context in which it is written or received,” exploring
the relationships between the artist and society. Sometimes it examines the
artist’s society to better understand the author’s literary works; other times, it

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 may examine the representation of such societal elements within the
literature itself. One influential type of sociological criticism is Marxist
criticism, which focuses on the economic and political elements of art, often
emphasizing the ideological content of literature; because Marxist criticism
often argues that all art is political, either challenging or endorsing (by
silence) the status quo, it is frequently evaluative and judgmental, a
tendency that “can lead to reductive judgment, as when Soviet critics rated
Jack London better than William Faulkner, Ernest Hemingway, Edith
Wharton, and Henry James, because he illustrated the principles of class
struggle more clearly.” Nonetheless, Marxist criticism “can illuminate political
and economic dimensions of literature other approaches overlook.”
 Mythological Criticism: This approach emphasizes “the recurrent universal
patterns underlying most literary works.” Combining the insights from
anthropology, psychology, history, and comparative religion, mythological
criticism “explores the artist’s common humanity by tracing how the
individual imagination uses myths and symbols common to different cultures
and epochs.” One key concept in mythological criticism is the archetype, “a
symbol, character, situation, or image that evokes a deep universal
response,” which entered literary criticism from Swiss psychologist Carl
Jung. According to Jung, all individuals share a “‘collective unconscious,’ a
set of primal memories common to the human race, existing below each
person’s conscious mind”—often deriving from primordial phenomena such
as the sun, moon, fire, night, and blood, archetypes according to Jung
“trigger the collective unconscious.” Another critic, Northrop Frye, defined
archetypes in a more limited way as “a symbol, usually an image, which
recurs often enough in literature to be recognizable as an element of one’s
literary experience as a whole.” Regardless of the definition of archetype
they use, mythological critics tend to view literary works in the broader
context of works sharing a similar pattern.
 Reader-Response Criticism: This approach takes as a fundamental tenet
that “literature” exists not as an artifact upon a printed page but as a
transaction between the physical text and the mind of a reader. It attempts
“to describe what happens in the reader’s mind while interpreting a text” and
reflects that reading, like writing, is a creative process. According to reader-
response critics, literary texts do not “contain” a meaning; meanings derive
only from the act of individual readings. Hence, two different readers may
derive completely different interpretations of the same literary text; likewise,
a reader who re-reads a work years later may find the work shockingly
different. Reader-response criticism, then, emphasizes how “religious,
cultural, and social values affect readings; it also overlaps with gender
criticism in exploring how men and women read the same text with different
assumptions.” Though this approach rejects the notion that a single “correct”
reading exists for a literary work, it does not consider all readings
permissible: “Each text creates limits to its possible interpretations.”
 Deconstructionist Criticism: This approach “rejects the traditional
assumption that language can accurately represent reality.”
Deconstructionist critics regard language as a fundamentally unstable
medium—the words “tree” or “dog,” for instance, undoubtedly conjure up

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 different mental images for different people—and therefore, because
literature is made up of words, literature possesses no fixed, single meaning.
According to critic Paul de Man, deconstructionists insist on “the
impossibility of making the actual expression coincide with what has to be
expressed, of making the actual signs [i.e., words] coincide with what is
signified.” As a result, deconstructionist critics tend to emphasize not what is
being said but how language is used in a text. The methods of this approach
tend to resemble those of formalist criticism, but whereas formalists’ primary
goal is to locate unity within a text, “how the diverse elements of a text
cohere into meaning,” deconstructionists try to show how the text
“deconstructs,” “how it can be broken down ... into mutually irreconcilable
positions.” Other goals of deconstructionists include (1) challenging the
notion of authors’ “ownership” of texts they create (and their ability to control
the meaning of their texts) and (2) focusing on how language is used to
achieve power, as when they try to understand how a some interpretations
of a literary work come to be regarded as “truth.”

Task 1: You can do this

Directions: Identify the representative texts and authors from Asia, North America,
Europe, and Latin America. Write your answer on the spaces provided for.

Malinche A Low Art The Boy Named Crow

Coraline The Breath of Sparrows

________________1. This story is about a 15-year old boy who plans to leave their
house so that he can find the truth about himself.
________________2. This is a poem for Nelson Rolihlahla Mandela.
________________3. This is a novel that deals with macabre, as reflected in mirror
images of reality.
________________4. This is a part of a retelling of the Odyssey from Penelope’s
perspective.
________________5. This story is about a woman who begins to learn of her power,
something which she is alien to as she was sold into slavery.

Task 2. Identify the representative texts and authors from Asia, North America,
Europe, and Latin America. Write your answer on the spaces provided for.

Laura Esquivel Margaret Atwood Jim Pascual Agustin

Haruki Murakami Neil Gaiman
_________________1. The Canadian who wrote A Low Art
_________________2. The novelist who wrote the novel “Malinche”

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_________________3. The poet who wrote “The Breath of Sparrows”
_________________4. The Japanese who wrote Kafka on the Shore
_________________5. The English who wrote Coraline
Task 3. Determine the critical approach to literature described or used.

________________1. All the elements necessary for understanding the work are
contained within the work itself.

________________2. This approach "begins with the simple but central insight that
literature is written by actual people and that understanding an author's life can help
readers more thoroughly comprehend the work.

________________3. This approach "seeks to understand a literary work by

investigating the social, cultural, and intellectual context that produced it- a context
that necessarily includes the artist's biography and milieu

________________4. This approach examines how sexual identity influences the

creation and reception of literary works."

________________5. This approach "examines literature in the cultural, economic

and political context in which it is written or received, exploring the relationships
between the artist and society

Task 4. Read the excerpt The Boy Named Crow then answer the following
questions.
1. `What does the boy feel toward Crow? Give textual evidence to prove your
point.
2.How would you describe the boy named Crow?
3. Why does it seem he can read the narrator’s mind? Why can they both see the
mental picture of the sandstorm?
4. What does the sandstorm represent? Give textual evidence to prove this.
5. Do you agree with the narrator’s view of fate? Why or why not?

Task 5. Read the excerpt A Low Art then answer the following questions:
1. Why does Penelope consider storytelling “a low art”?
2. How does the Penelope’s portrayal differ from the traditional portrayal of
Odysseus? What do you think of Odysseus?
3. Based on Penelope’s perspective, how is she different from how the epic

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portrays her?
4. What does she say about the “official version” of what happened? Why does
she point this out?
5. Why does she call herself “a stick used to beat other women with”? Do you
agree with her?
Task 6. Read “Caroline” then answer the following questions.
1. The protagonist has an unusual name. Why do you think it is spelled that way?
2. How would you describe the other mother? Why do you feel that way?
3. Why does the other mother have significant differences in appearance from the
real mother?
4.How do you feel about the button eyes? What could this signify in the story?
5.Have you ever fantasized about having another mother or father? Why?

Task 7. Read The Breath of Sparrow then answer the following questions.
1. What textual evidences can you cite in the first stanza to indicate that the poem
refers to the historic death of Nelson Mandela?
2. The speaker dreams of his professor after the news on Mandela’s death
reaches them.
3. The professor is a metaphorical figure in the poem, and it can be seen that the
speaker compares the professor to Nelson Mandela. Explain the comparison of
the speaker between Nelson Mandela and his professor.
4. Apart from the professor, the speaker mentions the image of a tree seen from
the window at the house of the professor. How does it function as an important
image in the poem?
5. Why do you think naming the tree is important for the speaker?

Task 8. Read the excerpt A Low Art then answer the following questions:
1.Why does Penelope say that she sounds “like an owl” when she tries to warn
other women?
2.How much of ancient history do you think is based on fact and how much on
gossip and exaggeration?
3.Do you think a story is colored by the biases of the storyteller?
4.Do you think history is colored by the biases of historians?
5.Does this story change the way you look at literature and history? Why or why

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not?

Task 9. Read Malinche then answer the following questions.

1. What is the difference between Mallinalli’s and Cortes’s view of the world?
2. Why do you think they have different ways of looking at the world? Is your view
closer to Mallinalli’s or Cortes’s? Explain.
3. How would you describe the misunderstanding that happened between Malinalli
and Cortes? What kind of relationship do you think they had?
4.Do you agree that words are “the finest weapons”? Do you think this is
applicable today? Give examples to prove your answer.
5. What is the power of the word or the power of the language according to the
text? Do you agree?

Task 10. Assume that you are a protagonist. Compose a letter for your father.
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Task 11. Create a poster that has a Venn diagram filled with images about the
differences in the world view of Mallinalli and Cortes. In a short paragraph, discuss
how these two different worlds somehow create a certain behavior, a way of
interacting with the world.

Task 12. Compose a poem as a tribute to your mentor who inspired you most.
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