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1. 21st Century Literature
from the Philippines
and the World
Activity “heets
First Quarter
Depart e t of Educatio
Ju e 6

2. Lesson 1: Poetry 1
Lesson 1: Poetry
21st
Century Literature from the
Philippines and the World
Grade 11
Week Four (EN12Lit-Ia-21)
Overview
This lesson examines the elements of poetry by looking at an example of
Filipino regional poetry.
Objectives
 Identify the geographic, linguistic and ethnic dimensions of Philippine
literary history from pre-colonial to modern.
 Appreciate the application of imagery in the text provided, paying
particular attention to the regional origins of the poem.
 Respond critically to the poem and articulate this response through a
presentation that showcases regional culture.
Activities
Students will be grouped into 3-4 members and will be asked to discuss
about the picture of Mayon Volcano that the teacher presented to the class.
 What do you think about Mayon Volcano?
 Why do you think people love this tourist destination?
 Have you seen Mount Mayon up close? If yes, how did you react
when you saw it for the first time?
 Can other events have the same effect on us as a volcanic eruption?
Name some.
Adaptations
Read the poem: MAYON by Kristian Sendon Cordero (Camarines Sur)
Translated from the Bikol by the author
Evaluation
1. Prepare a grid on the board. Divide the class into 4 groups then ask
each group to:
a) Explain a particular stanza
b) Identify the various images in the poem
c) Brainstorm on how the poem Mayon can be interpreted literally
and figuratively
d) Write a short critique of the poem focusing on how the images in
the poem present the experience of viewing Mount Mayon
2. Research into an aspect of four different region’s culture and present it to
the class via a five-minute audio visual presentation that may be recorded or on
print.
Materials : Poem
MAYON
Kristian Sendon Cordero
Camarines Sur
Ayon sa alamat, lason ng pana ni
Pagtuga,
Ang lumikha sa bulkan – libingan ito
Ng dalagang namatay sa isang
digmaan.
Ngayon, ano ang tutubo sa paanan ng
Mayon
Gayong nagiging malawak na itong
sementeryo
Ng abo, ng tao. Manganganak na
kaya ito?
Tinitigan ko ang nakangangang
bulkan – binalot
Ng ulap at ng sariling usok ang
tuktok, gatas sa labi.
Baka sakali, magpakita, nang may
silbi ang kamera.
Sa ilang retrato na ibinebenta ng mga
bata sa Cagsawa
Lusaw na tae ang nagliliyab na lava,
dumadaloy pababa.
Matandang nag-nganganga ayon
naman sa isang makata.
Sa isang lumang postcard na nakita
ko sa Antigo Merkado—
Kapag sa malayo, isa siyang
magandang sikyung nakatanod,
Handa sa pagkapkap, naghihintay sa
iyong pagpasok.

3. Lesson 2: Poetry 2
Lesson 2: Poetry
21st
Century Literature from the
Philippines and the World
Grade 11
Week Five (EN12Lit-Ib-22)

4. Lesson 2: Poetry 3
Overview
This lesson recognizes the contributions of representative or canonical texts to
the development of Philippine Literature.
Objectives
 Identify representative texts and authors from each region.
 Appreciate the use of poetic devices such as dramatic situation in the
development of meaning in a poem.
 Respond critically to the poem and consequently articulate this
response through a creative visualization of the poem.
Activities
 Ask: What are the different scenarios in the present time that show
oppression?
Students will be grouped into 6-8 members, they will be asked to
present a 3 minutes dramatization of the different instances of
oppression in the present time.
 Discuss: How do 21st
century people combat oppression in their
simple ways?
 Give a short actual historical data on what happened during the time
of Marcos.
Adaptations
Read the poem: THIRD WORLD GEOGRAPHY by Cirilo F. Bautista
(Manila)
Evaluation
Students will:
a) Cut out news clippings of oppression happening in other parts of the
world, paste this on a sheet of paper and write your reaction about it.
(The cut out of news clippings should be given as a home work.)
b) Write about the realities of struggles that happen in a country faced
with an oppressive ruler.
c) Relate the details and images in the poem and how it can be related to
actual historical events in the story.
d) Explain the dramatic situation presented in the poem.
e) Explain how allegory was demonstrated in the poem by identifying
the literal and symbolic meaning of the poem.
Materials : Poem
THIRD WORLD
GEOGRAPHY
Cirilo F. Bautista
Manila
A country without miracles
Sits heavy on the map,
Thinking of banana trees rotting
In the sunlight.
The man who watches over it
Has commandeered all hopes,
Placed them in a sack,
And tied its loose end.
He goes around carrying it
On his back.
When asked what is inside,
He say, “Just a handful of feathers,
Just a handful of feathers.”
That’s how light the burden
Of government is in peace time –
Any tyrant can turn it into a metaphor.
You kneel on the parched earth
And pray for rice. Only the wind
Hears your useless words.
The country without miracles
Tries to get up from the page,
But the bold ink and sharp colors
Hold it down.
Search for a blog site about
oppression and write your reaction
about the blog on a ½ sheet of paper.
(The blog site search should be given
as a home work, the reaction will be
written in class)

5. Lesson 3: Essay 3
Lesson 3: Essay
21st
Century Literature from the
Philippines and the World
Grade 11
Week Six (EN12Lit-Ic-23)
Overview
This lesson examines the essay and how its techniques response to a
particular content.
Objectives
 Value the contributions of local writers to the development of
regional literary traditions.
 Identify how tone is related to literary style and how both help
create a unique meaning in the essay.
 Respond critically to the essay and consequently articulate this
response through a five minutes skit reenacting the aftermath of the
Mt. Pinatubo eruption.
Adaptations
Read the essay: HOME OF THE ASHFALL by John Jack Wigley
(Pampanga)
Evaluation
Students will:
 Present a five minutes skit that will reenact one of the scenes in the
essay. Look into the aftermath of the Pinatubo eruption and what
happened to the people who were affected by the disaster.
 After the five minutes skit:
Explain how Filipinos deal with adversity
Discuss how you would react if you were faced by a similar
situation
 The author utilized Kapampangan language in some of the
dialogues in the essay. List down three possible reasons and effects
that this technique made.
 In a grid, list down 5 parts of the essay that sounds humorous.
Explain why that particular part seems to be funny.
 Cite incidents how the writer displayed qualities of honesty and
openness in his essay
Materials : Essay
HOME OF THE
ASHFALL
John Jack Wigley
Pampanga
Activities
 Divide the class into 5 groups,
each group will be given a copy
of the essay.
 Each group will do a round
robin reading method of the
essay.
 Each group would have to
prepare their answers to:
a) The main ideas in the essay
b) Give 5 incidents in the
essay and identify the tone
that the speaker has in
narrating each incident.
c) Explain the style of the
writer by describing how
the writer used words and
sentences to deliver his
message and commenting
on the use of anecdotes in
the essay.
d) Explain the significance and
choice of the author to have
an introduction that began
with startling statistics
followed by a brief
description of the Mt.
Pinatubo eruption.

6. Lesson 4: Short Story 4
Lesson 4: Short Story
21st
Century Literature from the
Philippines and the World
Grade 11
Week Seven (EN12Lit-Ic-24)
Overview
This lesson recognizes the use of fiction and of fictional techniques in
appreciating regional literature.
Objectives
 Appreciate the contributions of the canonical Filipino writers to the
development of national literature.
 Relate how plot and plot devices help create the reading experience
in works of fiction.
 Respond critically to the story and articulate this response through
a written blog, an audio-visual presentation or a voice recording.
Adaptations
Read the essay: VOICE TAPE by Ariel S. Tabag (Cagayan)
Evaluation
Students will:
 Write the meaning of plot, exposition, complication, rising action,
climax and denoument.
 Make a character sketch of the following:
a) Dante
b) Angkel Ato
c) Nanang
d) Angkel Ato’s Wife
 Identify the prediction that they made in the story that eventually
did not happen.
 Write the instances when the author built up tension in the story.
 In groups of 3-4 members, come up with an audio visual
presentation, a blog or a voice recording to answer the question:
“ Can we say that the story ‘Voice Tape’ is a realistic story?” What
details would you give to support your answer? Does the story have
to be realistic for it to be able to present a believable human
experience?
Materials : SHORT STORY
VOICE TAPE
Ariel S. Tabag
Cagayan
Activities
 Ask the students to gather
pictures of their OFW family
members or relatives. Tell them
to create a montage and present
it in class.
 In groups of 3-4 ask the students
to come up with one group
answer for the following
questions:
a) Are the economic benefits
of having an OFW family
member worth the hardship
of being separated from
them for extended periods
of time?
b) If you grew up in a
household with an OFW
family member, who was
the chosen relative who
shaped your childhood
years?
c) What important values did
you learn from the relative
who raise you?
d) What aspect of your life
reflects his or her influence?
Expound on your answer.

7. Lesson 5: Essay 5
Lesson 5: Essay
21st
Century Literature from the
Philippines and the World
Grade 11
Week Eight (EN12-Lit-Id-25)
Overview
This lesson notes the differences between the 21st
century essay and earlier
forms of the same genre.
Objectives
 Compare and contrast the various 21st
century literary genres from
those of earlier periods, citing their elements, structures and
traditions.
 Contrast the said elements and conventions with Philippine essays
from earlier periods.
Adaptations
Read the essay: FIVE BROTHERS, ONE MOTHER from ‘Many
Mansions’ by Exie Abola (Manila)
Evaluation
Students will post a blog or on their FB wall an answer to:
a) What defines home to you?
b) If you need to leave where you were staying now, what would you
do to make yourself at home?
c) How do you see your home thirty years from now?
Materials : ESSAY
FIVE BROTHERS,
ONE MOTHER
from ‘Many Mansions
Exie Abola
Manila
Activities
a) Think – pair – share on the
description of the kind of
house that you have.
b) Share about four things that
you love about your home.
c) What does the advent of
social media like facebook
and tweeter mean to our
concept of being ‘at home’?
d) OFW’s are often separated
from family members
geographically, how can
this affect how we view
‘home’?
e) How does Abola’s essay
dramatize the saying “home
is where the heart is”

8. Lesson 6: Essay 6
Lesson 6: Essay
21st
Century Literature from the
Philippines and the World
Grade 11
Week Nine (EN12Lit-Id-26)
Overview
This lesson explains the concept of literary meaning and how inference can
help in the appreciation of literary text.
Objectives
a) Infer literary meaning from literal language based on language.
b) Describe how literary meaning is created in the essay by way of
characterization and structure.
c) Respond critically to the essay and articulate this response through
a presentation of a short biography of a local woman writer from
your area or region.
Adaptations
Read the essay: THE LOVE OF MAGDALENA JALANDONI
by Winon Lou G. Ynion (Iloilo)
Evaluation
a) The story of Magdalena Jalandoni points us to a particular
conservative time when men and women were expected to perform
certain roles. How has society changed since then? In what ways
are women more free than before, and in what ways do they still
face limitations?
b) Respond critically to the essay and articulate this response through
a presentation of a short biography of a local woman writer from
your area or region.
Materials : ESSAY
THE LOVE OF
MAGDALENA
JALANDONI
Winton Lou G. Ynion
Iloilo
Activities
a) How did the essay go
beyond the biographical
details of the Hiligaynon
writer?
b) Plot the development of the
character or Jalandoni
between the period of her
birth and her death.
c) What do you think inspired
Jalandoni to become a
writer? Point out specific
details in the essay that will
support your answer.
d) Imagine you are a cultural
worker trying to educate
people about the
importance and
contributions of women in
Philippine society. List
down three relevant
programs that you would
introduce and why.

9. HOME OF THE ASHFALL
Joh Jack Wigley
Pa pa ga
The eruptio of Mou t Pi atu o as recorded as
the seco d largest terrestrial eruptio of the th
ce tury, a d the largest eruptio populated area.
Ash fall, hichfor ed a eighty, rai ‐dre ched
s o ‐like fil , affectedal ost the e tire isla d of
luzo , a d eve reached the eigh ori g cou tries
of Malaysia a d Viet a . It as firther aggravated
ecause of Thypoo Yu ya, hich rought ith it
heavy rai s a d stro g i ds. To the Ka pa paga s
a d to the people affected y this tradegy, it ould
serve as a testa e t to their irrepressi le attri ute
of risi g a out their plight a d predica e t.
I as o lo ger livi g i A geles City he
Mt. Pi atu o erupted o Ju e , . I as
pro oted fro ei g a cre e er at Pizza Hut
Dau to a age e t trai ee at Pizza Hut Harriso
Plaza i Dece er . After ei g a service cre
e er for ore tha four years a d graduati g
fro college i , I had to say good ye to y
ho eti e here I lived for ore tha t o decades.
It as y first ti e to ork i a ila. I asked the
assista ce of Ed Calupita , a fello Pizza Hut Dau
cre e er o ased i Ma ila, to help e fi d
a place to stay. He as livi g i a t o‐ edroo
apart e t a d gladly offered the other roo to e.
Weeks efore the eruptrio , I read several
e s a d ar i gs a out Mt. Pia tu o. Fra kly, I
ever k e that there as a volca o i the
)a ales ou tai ra ge. No ody a o g y
Kapa pa ga frie ds did. I guess e ere all
clueless a out the i pe di g da ger this ould
cause i our lives. Later o Later o , I realized that
the su it of the volca o as justy forthee
kilo eters a ay fro the e te t of Clark Air Base. I
thought that volca oes ere co spicuous ou tai s
a d had fierce‐looki g su its like Mayc s a d
Haico s. But this o e as deeply hidde a o g the
several ou tai s called the Ca usila ou tai s
of )a ales. Ho a volca o had a aged to hide
a o g the ou tai s a d e covered ith a
defe se forest as so ethi g I could t co prehed.
If it as ou d the erupt, I guess it ould e just like
a friecracker.
Hell, I thought that if there as a ou tai
ear us hich I i agi ed ould erupt a yti e, it
ould e the Arayat, hich as located at the heart
of Pa pa ga, ith its ope outh a d for iddi g
cou tera ce. Not this o scure ou tai hose
ative i ha ita s, the Aetas, ever eve k e
a out, I paid o ore atte tio to ar i gs.
I had o ly ee i Ma ila for arely si
o ths a d as e joyi g y e ‐fou d
i depe de ce. I ould so eti es go to A geles
City to see Mother duri g days off, hich usually fell
o a eekday,si ce a age e t people did ot
have the lu ury of the day‐off duri g eeke ds
ecause it as the ti e he ore people ould go
out a d eat.Pizza Hut Harizo Plaza asa high
volu eu it.
That fateful day, after y ope i g shift, I
e t to see a fil . I t as Hihi tayi Kita sa La git ,
a fil adactio of Bro te s Wutheri g Heights
directed y Carlitos “iguio ‘ey a. The fil starred
erst hile loovers played y ‘ichard Go ez a d
Da )ulueta. I as feeli g all ushy a d
elodra atic after atchi g the fil he , o ce
outside, I sa parked cars covered ith hat
see ed like a hitis ‐gray a ket. A d so ere the
streets. Is it fi ally showi g i Ma ila? I thought, as I
felt so e of the particles i y ha d a d s udge y
shirt. Whe I looked closely a d touched the , they
ere grai y. I t as like ash fro a ashtray.
“a ka ila g aki g paghi gal dahil sa pagod
at takot , sa i ko: Na a g ,ay a a gga! Para g si...
Para g si...
Hi di a ag‐urirat pa si Na a g ku g si o
a g a a gga. Tu ak o g pu ta siya sa kalsada at
akali uta pa g agsuot g g tsi elas o kahit
a la g sa a pi uyod a g edyo aha a g
agtitik asa g uhok.
Halos patak o ri ako g su u od kay
Na a g kahit so ra g ka a ko a.
A g gago g si Kal o a la g sa a! “u pa ko
sa loo ‐loo ko a a g asa isip ko, a g CAFGU a
a ug og at u tik u aril kay A gkel Mulo g a

10. kapatid di i Na a g at si u da i A gkel
Ceferi c. Ma ait kasi si A gkel Mulo g dahil ku g
a ghuhuli siya g isda sa Calacu ga , ag‐ii a
siya g gusto g gusto ko g sugpo a si laki g
hi lalaki g paa—at sa aral a si laki g palad i
Tata g.
Pero agulat akopagkarati g i Na a g sa
ay u puka , kaagad siya g u iyak g pasiga .
I aa at ila dahil so ra a g ka ya g pag a ala.
Wala ako g i a g ai ti diha sa ga isi isiga
iya ku dia g agkakasu od a Diyos ko po! Diyos
ko po!
Na ghilak ot ako. Nagtayua a g ga
alahi o ko.
“igurado g hi di si Boyi g a g a a gga‐‐‐
higa o a g aggi g asta i Na a g ku g a g
kai iga ko dahil alayo g pa a gki a siya g
a ay ko.
E si o? “i Tata g kaya? Pero ala ko g
hi di, dahil sa ga ga oo g oras a ala ot pa
a g sikat g ara , katatapos la a g dalhi sa ilog
a g kala a iya; at hi di dadaa sa atio al
high ay dahil ai e ta iya a g kaisa‐isa g isikleta
iya at ipi a ayad sa kli ika at sa ga ga ot i
Na a g a akaapak g u og oo g hi aha ol ya
a g i ahi a ki atay a i oo g kaara a i
Tata g a gi a a ila g ara g pag‐aalala sa ga
kalulu a g ga a atay a i g ahal sa uhay.
Hi di ri a a a g ga kapatid ko dahil
asa sila ga a g ele e tarya g pi apasuka ila
sa Grade “i at Grade O e.
Nagtaka ko ku g si o dahilga oo a
la a g ag ala si Na a g. At para ako g akasagi
g espiritu dahil apakali a ag sa aki g pa di ig
a g tila ag ula sa ilali g lupa g pa gahoy i
Na a g: Kapatid ko! Ato! Kapatid ko! Ato!
Kahit oo g aili i g a si A gkel Ato,
adalas ako g ahihi takuta ku g aaalala ko a g
alagi a pag iyak i Na a g.
Mag‐aalas dos a g agparada a g karo g
pu e arya sa rough road g ara gay sa harapa g
lote g ag‐a ak i a Na a g a asa git a sa pook
g ga Palor. “otelo ag apelyido g a a i a
Na a g a ag ula sa “to. Do i go, Ilocos “ur, at
akapag asa a g gali g sa a gka g ga Palor g
Villa.
Halo‐halo g ga iyak a g aghatid sa
akislap a puti g ka ao g i A gkel Ato sa sala g
ahay ila. “u alit as lu uta g a a a a g pag‐
iyak i Na a g at i a at pa i Tata g dahil hi ihila
a g akura i a A gkel Ato, sa ilili g
ata da g a gga.
Agad di g pi ata i u a i A gkel Mulo g
a g ga akapali ot sa tatlo g esa a aglalaro g
to g‐its at pusoy dos. Nau a pa ga sila kaysa sa
a gkay Ha gga g gayo pugad g ga ahihilig
aglaro g araha a g aryo a i .
“aka a ya atupagi pag aiayos a!
edyo a igat a g te or g oses i A gkel
Mulo g a g di kaagad tu a i a g ga kalalakiha g
agsusugal a di ko ala ku g taga saa .
Di ko oo ai ti diha a pagkatapos
aiakyat a g ka ao g, at pagkatapos akipag‐usap
a g ga taga‐pu e arya kay Na a g, kaagad di
ila g i uksa a g ka ao g, ti akpa g puti g
ku ot saka hi a go a g a gkay.
I sa farther do the river a k that
people ere li i g up to cross the river y steppi g
o coco ut tru ks a d oode poles attached fro
o e e d to the other. The gau t shirtless ot ho
as juggli g coi s a d alki g to a d fro shouted.
Pesus u. De g isa g lu akad papu ta A geles,
ke i a kayo a g ali la a asa de g itis yu. For
o e peso, take this trail a d your feet o t get et i
the river . I as a out to fall i li e ut i realized
that there as a lo g ueue of people already as far as
the e d , aiti g for their tur to get actio s the
river.
It ould take e forever to get to other
side if I fall i li e, I thought. I talked to the perso
ehi d e. Malala ya pu i g daa u . Is the
water deep?
Ta alu. Bala u, alala pi . I do ;t
k o . It s deep. I guess, the i ediately rejoi ed.
Lawe e ita g tau a gga e ke g atya a. Look
at the guy crossi g. The ater s up to his tu y,
he said, poi ti g to the a .
It as deep, I co te palted. I did t a t
to take the risk of getti g y clothes et. I as also
thi ki g that perhaps the ater that flo ed do

11. the river as co ta i ated ecause of the volca ic
ash a d the sulfuric co te t of the ater.
Just the i sa a out four arkers holdi g
oode chairs, i viti g people to cross the river o
these chairs. They e plai ed that people ould e
sitti g o the chair a d thr arkers the selves oul
carry the chair to the other side for a fee of te
pesos. Despite the horri le sight efore e, I forced
a s ile I as thi ki g a out ho i destructi le
hu a s are. These people ere still struggli g to live
eve if catastrophes like thypoo s a d volca ic
eruptio s had truck. Catastrphes co sta tly plagued
their lives. I felt deep ad iratio for the .
O e arker thought y s ie as a
i dicatio that I a ted to ride i the chair. Bisa
ka g sake. Would you like to take a ride? he asked.
I as ea i g to say o ut I as
speechless, still talki g everythi g i . Besides, I
a ted to see y fa ily. I ooded y head.
Koya, padagdag aku u keka e. Kasi
lupa ka g a ayat. I ll charge you e tra. You look
heavy the arker s iled fully; reveali g he had o
teeth.
For a o e t, i a ted to pull his hair a d
dro his head i the river. This i perti e t o e. I
thought. He had to su tly i sult y chu y ody.
But I sur ised that he ea t ell. It as ot goi g
to e easy carryi g e to the other side of the river.
I just si ply agreed.
I sat o the chair ad put the ag o y lap.
The arker clasped a i provised rope seat elt fro
o e a d tp the other. Yeah, like I ould e perie ce a
terri le accide t y forgetti g to use this seat elt, I
thought sarcastically.
Just hold the chair s ha dles, sir it s good
that you ca e this early. Pota g gatga apu , ali
ta a akapu ta kari uli g alala e i g da u .
Later i the after oo , e o t e a le to cross
ecause of the deep ater, the arker
e thusiastically said.
As he started lifti g the chair, I felt that i
as slidi g do . The fa ric of y pa ts as
slippery “agull, Kala‐kalale. Wait, carefull
Ma a a u ku! I falli g, I cried.
The arker haited for a seco d ta d
adjusted e eight o his ar s. I iggle
o e tarily a d after a hile, I i structed hi to
carry o . He looked at e a d the s iled lissgully.
First, it as y ody eight. The I se sed
that he as ocki g e ecause he thought iI as a
sissy. I tur ed ack to the other arkers, a d they
ere all carryi g passe gers, all of ho ere
o e . O e as carryi g a older o a ith
ca e. I sa the e a d they ere ravi g the river.
Oh dear, o all these arkers ould regard e as
the o ly a i the A aca river ho did ot a t
to get his feet et. Why had t I decided earlyo to
just cross the river? No , I felt guilty that I had to
su ject this cadaver‐looki g arker to such pai a d
sufferi g y carryi g e, the uee all of y 6 ‐
pou d royalty for a easly pesos. I shock y head
of all this guilt a ay. Well, too ad, I thought I had
the o ey hich you had t, “orry. Eve i a cie t
ti es, slaves la oriously carried their o ese asters.
History repeats itself, I tried to reaso out i y
thoughts.
Whe e got to the iddle of the river, I
closed y eyes, ot ecause I as afraid of the
ater , ut ecause I as orried that the arker
ould t e a le to cross it, ith e as his urde .
The ater as already k ee‐deep. He as t eve
eari g a y foot ear . What if he slid doe ecause
he sttepped o a rock or a hole u der the ater?
But he as very uch focused. His steps
ere sho ut cautious. I a ted to talk to hi so
that y i d ould e distracted fro orryi g ,
ut i felt that he eeded full co ce tratio to get us
through. I just held o the ha d rest of the chair.
I i agi ed that poor people have al ays
e hi ited their resile ce this ay. Whe cala ities
happe , they are the first o es to suffer the i itial
lo s. Yet, they survive a d eve tually thrive. They
just eed to go slo a d sure. The rich a d the
iddle class are alie ated fro this ki d of survival
stratedgy. That is hy uch is lost i the he
thi gs go do . But ot the poor; they are like fu gi.
They do t die. They orph after a catastrophe.
We got to the order e d of the river. The
arker fou d a coarse spot here he could put do
the chair. He as pai ti g heavily, eads of s eat
drippi g fro his te ples. I tha ked hi a d ha ded
a t e ty peso ill. He looked grateful a d s iled. I

12. as aiti g for hi to utter a i sulti g re ark so I
could give hi the ser o of the day. But he did t.
Da al a sala at pu koya. Tha k you .
Pa tu a u aku pota g isa aka g i alik ke g
su a gid. Hatad daka. Just look for e he you
a t to cross the river goi g ack. I ll take you. He
said as he ooded his head approvi gly, o ce agai
sho i g his toothless outh “ige pu, sala at u
ri , I replied.
There as hardly a y rovi g jeep ey at all
he I cli ed up the gully. Tricycles ere aiti g
at the cor er, ut I chose ot to ride i o e. I
decided to alk. The house as o ly a out five
i utes a ay a y ay.
As I as alki g, I thought a out hat the
future ould hold for this city I loved.
Kapa pa ga s are k o to e a proud people. I
o ly ished that they ould get past all this soo . I
as hopi g that I ould also see y fa ily co plete
a d i the est of health. My steps got uicker. I
started to ru .
At the threshold of the house, I sa Mother
carryi g a u dle of lau dry. Whe she sa e, she
s iled a d patted y ar .
I as puzzled to see her carryi g a load.
Where are you goi g? I just got here. I as so
orried a out you. Where is ate a d her fa ily, are
they okay? I asked.
Mother placed the u dle o the ta le a d
tighte ed it. They re all okay, tha k God. I goi g
to Dau to give this to your ate.
What, are you serious? I as shocked y
Mother s retort. The A aca ridge has collapsed,
did t you k o ? Ho are you goi g to get to Dau?
I k o that the A aca ridge is o ore,
Mother said pe sively. I ve ee to Dau a d ack
T ice already. There are still arkers that lift chairs
do there i the river, are t there? she looked at
e.
I as aghast to hear this fro her. You
ea you a t to go do the river? You are ot
afraid?
Why should I e afraid? Mother
i terrupted. O ly the old o es are afraid to cross
the river. I a ot that old. Besides, you re here to
keep e co pa y, right? I ll cook your favorite
gi ataa g ka a si.
I as du fou ded. Mother as
u elieva le.
Hurry up! The river gets deeper i the
after oo , Mother shouted Let s go.
MAP OUT
This lesso recog izes the use of fictio , a d of
fictio al tech i ues, i aprreciati g regio al
literature.
ESSENTIAL QUESTION:
Ho do riters use fictio a d fictio al
tech i ues to respo d to co te ts that surrou d
the ?
LEARNING POINTS
. Appreciate the co tri utio s of the ca o ical
Filipi o riters to the develop e t of
atio al literature.
. ‘elate ho plot a d plot devices help create
the readi g e perie ce i orks of fictio .
. ‘espo d critically to the story a d articulate
this respo se through a skit o the story.
Tra k a k
O erseas Filipino Workers as ne heroes
We have heard OFWs i the e s, a d perhaps i
stories told to us y our frie ds a d fa ily e ers.
While it is ot e , the effects of so a y Filipi os
travelli g a road to ork has a affect o the fa ily
e ers these orkers leave ehi d OFWs
co tri uted $ illio i the first half of alo e,
aki g the a sig ifica t co tri utor a d supporter
of the Philippi e eco o y. But is this orth the
price of ei g a ay fro their loved o es?

13. Ho far os the phe o e o fro you? Is
a yo e i your fa ily a curre t of for er OFW?
Ho lo g have they ee a ay? Ho do they
co u icate? What is it like he they are at
ho e? If you do tk o , you ca ask your pare ts,
gra dpare ts, or other fa ily e ers for details.
Write the e perie ce do . Gather pictures of these
OFW fa ily e ers.
Create a o tage, i i g the pictures as ell as
your o dra i gs a d so e outes fro your
research, sho casti g hat the OFW e perie ce is
for you.
. Ho do you feel a out OFWs a d the ork
that they do?
. Are e right to call these OFWs heroes ?
. “hould e e courage ore people to
eco e OFWs or ot? Why?
‘ead the short story:
VOICE TAPE
Ariel “. Ta ag
Cagaya
Nito g pi akahuli g akasyo ko sa “a ta Teresita
sa Cagaya , istula g u ata ako g la i g alo g
tao dahil para g u alik ako sa tao a ay
a gyari kay A gkel Ato. Noo g hi aha ap a i i
Na a g a g ga sertipiko ko ila g Best i Math sa
ele e tarya ay hayskul at a g ay ai igay ako sa
pri sipal g pi atuturua ko g pu lic school sa
Cu ao para sa karagdaga g pu tos sa aki g
kakayaha at a g apa ilis di a g pag‐akyat g
aki g ra ggo, siye pre kasa a a g aki g sahod,
ay aha ap ka i g i a g agay .
“a i i Na a g, i ilagay iya a g ga
sertipiko sa isa g ag a a ipis a palaoad a ay
arka g LA, a g ra d g sigarilyo i Tata g
oo g chai ‐s oker pa ito. Napu o a kasi a g
di gdi g g aliit a i g ahay sa ga sertipiko g
apala u a ko sa ga paligsaha sa pagsusulat.
Ito g ag a ito, a isa sa ga pi agpalita i
Na a g sa ga daa ‐daa g pi ag alata i Tata g
g sigarilyo iya, a g i uksa a i . “u alit ala
a g ga sertipikoiyo pala, akarolyo ito sa isa sa
ga apat a piraso g uho a pi aglagya i
Na a g g a i g irth certificate‐‐‐ tatlo ka i g
agkakapatid pero apat a tu o dahil i akala g
akakaapat sila g tatay dahil sa hirap g uhay
ila, si Tata g a g akiusap sa ka ya para agpa‐
ligate a sa Aparri .
Pero au a a i g akita ito g ag a
kailali a g isa g dra er g aparador a dahil
agkagasgas a sa kalu aa , i ilagay a ila i
Tata g sa ag‐iisa g ku arto sa i a a, doo alapit
sa kusi a, ku g saa i ilalagay di a g i a pa g
ga it i Tata g gaya g sprayer, tatlo g klase g
itak, pa a as, kuri ot, a g ga u gkos g i a t
i a g i hi gaya g ais, a g i ukit iya g tik ala g
ula sa pu o g sa tol a i i ala ako g akuha
iya a g ka ya g pagigi g artist sa adalas iya g
pag a asa g Ba a ag , at oo, a g lagpas‐tao a g
tass a i ipo iya g kopya g Ba a ag a
pi agpato g‐pato g sa al uhadera.
I a t i a a g la a ito g lu a g aparador
ga lu a g litrato a kara iha ay a g ga
pu a a a ahal sa uhay i a Na a g, ga
lu a g da it, a asagi g plato a gi aga it
la a g tu i g ay isita g ataas a uri g tao
gaya g ga politiko g u i ili g oto, a g ga
papel a i g aki g ga kapatid oo g asa
ele e tarya ay hayskul a ay arka g % ...
Pero a o ito g i a g agay a ito?
A g voice tape a ay arka g y o e &
o li la ATO a sa i i Na a gay akuha iya sa
ilali g u a i A gkel Ato a kapatid iya g
su u od sa ka ya, ki ahapu a oo g ara a
a a gga ito, o pagka atay iya sa u aga g iyo
g Pe rero 6, .
Naka ihis a ako g papasok sa esk ela
katu aya , aroo a ako sa ta i g kalsada dahil
kaharap la a g g Pook Tactac, ku g saa aroo
di a g a i g ahay, a g agdadala a pu g
aktarya g akura g “t. Fra cis Acade y a
pi apasuka ko g hayskul. Nasa seco d year a ako
kaya arahil, alakas a g aki g loo kahit adalas
ako g a‐late. Gaya g oras a iyo a agpasya
ako g agku li sa I dia free a si ta gkad a g
ga atata da sa ta i g atio al high ay dahil
agsisi ula a a g flag cere o y.
Na g igla a la g ay lu agatak sa ay
ka lura . Para g ay agsu aga g ga toro g
kala a , as alakas ga la a g ito g sa pu g

14. eses. Pagkaraa y agsisiga a a a g ga
estyudya te at i a pa g ga tao‐‐‐ arahil ay
pupu ta a g ga ito sa pale gke dahil Martes oo ,
ara g pale gke sa aya ‐‐‐ ag a adali sila g
pu ta sa harapa g aka te at atu ig a lote
ku g saa ka i a gu guha g ka gko g. Nag
u puka sila doo sa likura g isa g us a Ma y
Tra s.
Nakupo! Na a gga a! Buo g lakas a
siga g di ko aalala ku g si o g ata da g
a ae, a a g duda ko y si Ma a Usita dahil kata i
la g ila a g aka te g lote at akapagretiro a ri
kaya apapa si a iya a g lahat g a gyayari sa
paligid iya, akita a o a a alitaa la a g iya.
Mali a sa lagi ko g aaalala a g ti ig iya dahil
adalas iya ako g pagalita oo g titser ko pa sa
Grade Three.
Patay a! Patay a!
Ki utu a ako. Na agha ako dahil oo
la a g ako akadar a g ga oo g kuto ‐‐‐ kakai a
dahil di ko a la g ito ara da a kahit adalas
u iyak si Na a g oo g adukot g ga NPA si
A gkel Ceferi o, a kapatid di iya a si u da g
u so ale pa g‐li a sa a i a agkakapatid ; o
oo g i iyaka i Tata g a g kaisa‐isa g kala a
iya a a lu od sa agyo oo g .
Nakupo! “i Boyi g yata a kai iga ko!