Senior High School

21st Century

the World
Literature from the
Philippines and
 st
21 Century
Literature from the
Philippines and
the World
Quarter 2 - Module 2
Asian Literature – Japanese
African Literature

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21st Century Literature from the Philippines and the World Alternative
Delivery Mode Quarter 1 – Module 1: Philippine Literature Quarter 2 –
Module 2: Asian Literature – Japanese African Literature First Edition,
2020

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

Schools Division Superintendent: Dr. Cherry Mae L. Limbaco, CESO V
Development Team of the Module

Authors: Dr. Rosalinda C. Tantiado

Dinah Zoraida B. Zamora
Ronald L. Ampong
Emee F. Cael
Focal Person/ Reviewer: Dr. Jerry G. Roble
Division English/Reading Coordinator
Evaluators: Ronald L. Ampong, Fe S. Pablico, Neal Bryan L. Rendal
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Table of Contents

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

What I Need to Know .................................................................................................................................. i ......
How to Learn from this Module ......................................................................................................................
Icons of this Module............................................................................................................................................

Pretest .......................................................................................................................................................... iii-vii

Lesson 10 Week 2 :
Asian Literature (Japan) ...................................................................................................... 1
What I Need to Know ..................................................................................................... 1

What I Know ..................................................................................................................... 1

What’s In ............................................................................................................................ 3

What’s New: ..................................................................................................................... 3

What Is It ........................................................................................................................... 8

What’s More: .................................................................................................................... 8

What I Have Learned: ................................................................................................... 9

What I Can Do: ................................................................................................................ 9

Assessment: (Post-Test) ......................................................................................... 9

Lesson 11 Week 3:
African Literature ....................................................................................................................... 11

What I Need to Know ..................................................................................................... 11

What I Know ..................................................................................................................... 11

What’s In ............................................................................................................................ 12
 What’s New: ..................................................................................................................... 13

What Is It ........................................................................................................................... 14

What’s More: .................................................................................................................... 18

What I Have Learned: ................................................................................................... 21

What I Can Do: ................................................................................................................ 21

Assessment: (Posttest) ............................................................................................. ..22

Summary .................................................................................................................................................... .. 24

Key to Answers ......................................................................................................................................... .. 25

References ................................................................................................................................................. .. 26

What This Module is About

Hello Learners! We have explored our country’s literature. Let us now turn to
the astounding wealth of literature of other countries. In this module, you will
discover, appreciate, and delight in the rich literature from each region that we will
explore.

Following are the lessons contained in this module:

1. Asian Literature: Japanese

2. African Literature

What I Need to Know

In this module, you are going to write a close analysis and critical
interpretation of literary texts, applying a reading approach, and doing an adaptation
of these which require you the ability to:
 a. identify representative texts and authors from Asia and Africa;

b. compare and contrast the various 21st century literary genres and their
elements, structures, and traditions from across the globe;

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

ICT skills; and

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

based on rationalized criteria, prior to presentation.

i
How to Learn from this Module
To achieve the cited objectives, you are to do the following:

• Take your time reading the lessons carefully.

• Follow the directions and/or instructions in the activities and exercises diligently.

• Answer all the given tests and exercises.

Icons of this Module

What I Need to This part contains learning objectives that
Know are set for you to learn as you go along the
module.

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

knowledge to the subject matter at hand,
meant specifically to gauge prior related
knowledge

What’s In This part connects previous lesson with that

of the current one.
What’s New An introduction of the new lesson through
various activities, before it will be presented
to you

What is It These are discussions of the activities as a

way to deepen your discovery and under-
standing of the concept.

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

tended for you to practice further in order to
master the competencies.

What I Have Activities designed to process what you

Learned have learned from the lesson
 What I can do These are tasks that are designed to show-
case your skills and knowledge gained, and
applied into real-life concerns and situations.

ii

Lesson
10 Asian Literature: Japanese

Grade 12, First Semester, Q2 – Week 2

What I Need to Know

We are now on Lesson10 which is still about Asian literature, but this time our
focus is on the literature of the Land of the Rising Sun, Japan. Let’s explore the
richness of their literature.

In this lesson, you are going to:

a. compare and contrast the various 21st century literary genres and their
elements, structures, and traditions from across the globe;
(EN12Lit-IId-25)

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

and ICT skills; and (EN12Lit-IIij-31.1)

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

based on rationalized criteria, prior to presentation. (EN12Lit-IIij-31.3)

What I Know
 Prompts: Figures of speech are used in writing to show comparison. Some of these
are simile, metaphor, analogy, allegory, and allusion. A. Tell which
figure of speech is being defined. Write the correct word in your
LITERATURE ACTIVITY NOTEBOOK.

It is something that shows how two things are

alike, but with the ultimate goal of making a point
1. ___________________________
about this comparison.
Example: I like to imagine that the world is one big
machine. ...

A figure of speech that makes an implicit, implied,

or hidden comparison between two things that
are unrelated but which share some common
characteristics.
Example: Her long hair was a flowing golden river.

2. ___________________________

A figure of speech in which abstract ideas and

principles are described in terms of characters,
figures, and events. 3. ________________________
Example: The Masque of the Red Death by Edgar ___
Allan Poe is an allegory for death. The moral is no
man escapes death.

An expression comparing one thing with another,

always including the words “as” or “like”
Example: Ex. Her cheeks are red like a rose.

4. ___________________________
 A figure of speech whereby the author refers to
5. a subject matter such as a ___________________________
place, event, or literary work by way
of a passing reference
B. Fill in each blank with the
correct word to complete each statement below about Japanese literature.
Choose from the word bank. Write your answers in your LITERATURE ACTIVITY
NOTEBOOK.

China ancient myths Heian Tale of Genji classical medieval

modern legends history kabuki poetry yomihon literature drama

1. The country which has much influence on Japanese literature was ____________.
2. Japanese literature can be divided into four periods: the _________________,
________________, ___________________, and __________________.
3. Ancient literature in Japan deals primarily with ____________ and
_____________.
4. The classical literature in Japan occurred during the golden age, the
______________ period.
5. ______________ is considered the world’s first novel.
6. ______________ and ______________ intertwined during the Medieval period due
to the influence of the civil wars and the emergence of the warrior class.
7. The early modern period gave way to the rise of new genres like the Japanese
_____________, _______________, _________________, and _____________.

What’s In

In Lesson 2, you’ve learned about the Singaporean literature which is similar

to Philippine literature when it comes to association in culture, customs and
traditions. Now, it is time for you to discover the literary traditions of another Asian
country. Before you proceed, answer the activity.

2
Prompts: Fill in the blanks with word/s to complete each statement. Write your
answers in your LITERATURE ACTIVITY NOTEBOOK.

1. The literature of Singapore comprises a collection of literary works by

Singaporeans in any of the country’s four main languages namely, English,
_____________, Malay and Tamil.
2. The poetry of this younger generation is often politically aware, ____________ and
cosmopolitan.
3. _____________ is the predominant mode of expression; it has a small but
respectable following since independence, and most published works of Singapore
writing in English have been in poetry.
4. ______________ writing in English did not start in earnest until after
independence.
5. ______________ remains a pioneer in writing novels.
6. The Taximan’s Story is written in _________________ point of view.
7. The passenger of the taximan in the story is a __________________.
8. The daughter of the taximan who was no different than other young girls who have
American and European boyfriend is _______________________.
9. The passenger of the taximan wants him to take her to ___________________.
10. The setting of “The Taximan’s story” is ____________________.

What’s New

Prompts: Identify the figurative language used in each item below. Tell if it is a
sample of simile, metaphor, allusion, analogy, or allegory. Write your
answer in your ACTIVITY NOTEBOOK.

1. I could stare into your eyes as / a thousand years come and go.
2. You brag about your backyard so much people will think it's the Garden of Eden.
3. Aesop’s fable “The Hound Dog and the Rabbit” teaches that incentive will spur
effort.
4. Kisses are the flowers of affection.
5. Look, love, what envious streaks
Do lace the severing clouds in yonder East:
Night’s candles are burnt out, and jocund day
Stands tiptoe on the misty mountain tops.

Japanese literature has been influenced heavily by the Chinese literature from the
ancient period all the way to the Edo Period (1603-1868) which corresponds to the
early modern Japanese literature. Japanese literary works also reveal elements of

What Is It
Indian and later of Western elements but above all, they reveal a distinct style which
has also greatly influenced both Eastern and Western literatures.

3
Japanese literature can be divided into four periods: the ancient, classical,
medieval, and modern.
 Ancient literature in Japan deals primarily with myths and legends. Tales like the
creation of Japan, wherein the islands came from the gemstones imbued in the
swords of gods are very prominent during this period. The celebrated writers during
this period are Ono Yasumaro, Nihon Shoki, and Man’yoshu who wrote based on
real events in the country.

The classical literature in Japan occurred during the golden age, the Heian period.
During this period, Murasaki Shikibu, one of the greatest Japanese writers, wrote the
seminal text, Tale of Genji. Tale of Genji, considered the world’s first novel, is a very
charming and accurate depiction of the Japanese court during the Heian period
under the reign of Empress Akiko.

History and literature were intertwined during the Medieval period due to the
influence of the civil wars and the emergence of the warrior class. Thus, war tales
are very prominent during this period. Besides war stories and tales, the popular
form of Japanese poetry, the renga, saw its rise.

Modern literature can be further divided into early modern, which happened during
the Edo period, and modern, which started during the Meiji period, when Japan
opened its doors to the West. The early modern gave way to the rise of new genres
like the Japanese drama, kabuki, the poetry form known for its simplicity and
subtlety, haiku, and the yomihon, a type of Japanese book which put little emphasis
on illustration.

The modern period also marked the emergence of new styles of writing. Japanese
writers started to romanticize and tried experimenting with different genres and
subject matters. The Second World War heavily affected Japanese literature but
soon, the distinct Japanese style of writing manage to regain its popularity. Some of
the prominent modern Japanese writers are Yasunari Kawabata, Kobi Abe, Takiji
Kobayashi, and Haruki Murakami to mention a few.

Source: https://www.scribd.com/document/412634387/21st-Century-Literature-of-the-
Philippines-and-of-the-World-1)

Now, read the excerpt from Haruki Murakami’s Kafka on the Shore.

The Boy Named Crow

(an excerpt from Kafka on the Shore)
by Haruki Murakami

“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?”

4
 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 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 15-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 starting out 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 have

5
 to 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 grown a whole lot
stronger. I’ve got to hand it to you.”

I nod again.

“But let’s face it – you’re only 15,” 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 about it.”

“Yeah, I guess you’re right.” He places the paperweight back on the table and 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 breath.

“OK, picture a terrible sandstorm,” he says. “Get everything else out of your head.”
 I do as he says, get everything else out of my head. I forget who I am, even. I’m a
total blank. Then things begin 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 direction,” Crow
says.
Sometimes fate is like a small sandstorm that keeps changing direction. 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 you.
So all you can do is give in to it, step right inside the storm, closing your eyes 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 pulverised bones. That’s the
kind of sandstorm you need to imagine. And that’s exactly what I do. I imagine a
white funnel stretching vertically up 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 rests a hand softly on my shoulder, and with that the storm
vanishes.

7
 From now on – no matter what – you’ve got to be the world’s toughest
15year-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,
his hand on my shoulder. I hear the faint flutter of wings.

“You’re going to be the world’s toughest 15-year old,” Crow whispers as I try to
fall asleep. As if he were carving the words in a deep blue tattoo on my heart.

And you really have to make it through that violent, metaphysical

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 fairytale. But it’s no fairy tale, believe me. No matter what
sort of spin you put on it. (Marikit Tara A. Uychoco, Rex Bookstore 2016), 152-155

Source: p113/nick-ian/art/The-Boy-Named-Crow-456862974
 What’s More

A. Prompts: Answer the following questions. Write your answers in your

LITERATURE ACTIVITY NOTEBOOK.

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. What does the sandstorm represent? Give textual evidence to prove this.
4. Why does the boy in the story have to be the toughest 15-year-old in the world?

B. Among the figures of speech you’ve learned from the previous activity (metaphor,
simile, analogy, allusion, allegory), which of them are used in the excerpt The
Boy Named Crow? Extract the part that shows the figure of speech and then
identify what it means. The first one is done for you.

1. Sentence: Money isn’t like mushrooms in a forest; it doesn’t just pop up on its own
Figure of Speech Used: Simile
Meaning: Money is going to run out one day.

2. Sentence : ________________________________________________________
Figure of Speech Used:
Meaning:_________________________________________________________
3. Sentence :________________________________________________________
Figure of Speech Used:
Meaning: _________________________________________________________
4. Sentence : ________________________________________________________
Figure of Speech Used:
Meaning:_________________________________________________________
5. Sentence :________________________________________________________
Figure of Speech Used:
Meaning: _________________________________________________________

What I Have Learned

9
Directions: Answer the two questions below. Write your answers in your
LITERATURE ACTIVITY NOTEBOOK.

a. Could you relate yourself to the main character of the story? Why or why not?
________________________________________________________________

b. Do you think all of us have experienced the storm that the text is talking about?
Support your answer.
________________________________________________________________

What I Can Do

It is Asian week in your school. You are tasked to create an infographic

digital poster that features the characteristics of Japan’s literary texts. Your poster
must be colorful, interactive, and informative. It will be judged using the rubric below.

Criteria Description Score

10 points 7 points 4 points

The poster is The poster is The poster has
Visual appeal visually moderately poor visual
appealing, with appealing appeal, with
harmonious visually, with unbalanced color
colors, shapes, generally combinations,
and sizes of harmonious shapes, and
figures in the sizes of figures
colors, shapes,
presentation. in the
and sizes of
figures in the presentation
presentation
Information The poster The poster The poster does
presents the right somewhat not have
information to the presents the sufficient
audience. right information information or
to the audience. presents the
wrong
information to
the audience.
Graphics All graphics are All graphics are Only some of
Relevance related to the related to the the graphics
topic and make topic and most relate to the
it easier to make it easier to topic. One or
understand. All understand. two borrowed
borrowed Some graphics graphics have
 graphics have a have a note sources noted.
note about their about their
source. source.
Score /30

Adopted: DIWA Senior High School Series, DIWA Textbooks, 2016, p. 199

Post Assessment

Prompts: Read carefully each statement. Choose the correct answer by writing it in
your LITERATURE ACTIVITY NOTEBOOK.

1. I like to imagine that the world is one big machine. This is an example of _______.
A. simile B. metaphor C. analogy D. allusion

11
2. Her long hair was a flowing golden river is an example of what figurative language.
A. analogy B. metaphor C. allusion D. allegory

3. The Masque of the Red Death by Edgar Allan Poe is a/an ________ for death
where the moral is no man escapes death.
A. allegory B. analogy C. allusion D. metaphor

4. Her cheeks are red like a rose. What is this an example of?
A. simile B. metaphor C. allusion D. allegory

5. What country has much influence on Japanese literature?

A. USA B. Korea C. China D. Thailand

6. The classical literature in Japan occurred during this period.

A. Nara B. Heian C. Muromachi D. Edo

7. What is considered as the world’s first novel?

A. The Tale of Genji C. Tales of Amadou Koumba
B. The Tale of Vesperia D. Tales of the World

8. What does sandstorm represent in the story The Boy Named Crow?
A. the way the world tries to take us away from our problems
B. running away could resolve a problem
C. the challenges and problems we face in our journey in life.
D. a small fate that keeps changing our directions

9. According to the boy named Crow, what does Kafka have to become?
A. a criminal on the run
B. a metaphysical concept
C. the world’s smartest fifteen-year-old
D. the world’s toughest fifteen-year-old

10. What does the boy feel toward Crow? A. He is afraid of him.
B. He just ignores him.
C. He has no fear of Crow.
D. He baits him and laughs in his face

12
 Lesson
African Literature
11
Grade 12, First Semester, Q2 – Week 3

What I Need to Know

Congratulations! You are now in Lesson 11 of this module. Let’s journey

another continent known as “The Cradle of Humankind” –Africa.

In this Lesson, you are going to:

a. identify representative texts and authors from Africa (EN12Lit-IIa-22);

b. compare and contrast the various 21st century literary genres and their
elements, structures, and traditions from across the globe
(EN12Lit-IId-25); and

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

text, based on rationalized criteria, prior to presentation (EN12Lit-IIij-31.3).

What I Know

13
Prompts: Identify the element of story being described. Choose your answer from
the word bank below.

exposition climax setting theme

rising action conflict mood denouement

plot falling action

1. The complication begins to show itself on the ___________________

characters, setting, and events in the story

2. The result of the climax, and it is the part

___________________ when things start falling into place for the
characters

3. The locale or period in which the action of

___________________ a story takes place

4. The sequence of series of events in a story ___________________

5. The underlying message that the writer would

like to get across. ___________________

6. The beginning of the story, wherein the writer ___________________

sets the scene by introducing the characters,
describing the setting, and sometimes will give
a brief background of the story.

7. The event with the greatest tension in the story. ___________________

8. Where the story reaches its final conclusion ___________________

and the writer starts to get ready to tell the ending by
way of explaining a finality to make the story complete.

9. A struggle between two opposing forces ___________________

11. Evokes certain feelings or vibes in readers through ___________________

words and descriptions

14
 What’s In

We were able to go around our neighboring countries in Asia. We have

learned a lot from their literature. Our last stop was in Japan. Let’s look back and see
how much do we remember about their literature by answering the activity below.

1. The country which has much influence on Japanese literature was

_____________. 2. Japanese literature can be divided into four periods: the
______________, ____________, ___________________, and
________________.
3. Ancient literature in Japan deals primarily with ______________ and
___________. 4. The classical literature in Japan occurred during the golden age,
the ____________ period. 5. ______________ is considered the world’s first
novel.
6. _______________ and ______________ intertwined during the Medieval
period due to the influence of the civil wars and the emergence of the warrior
class.
7. The early modern period gave way to the rise of new genres like the
Japanese _____________, _______________, _________________, and
_____________.

What’s New

Every story has basic components: characters, setting, plot, theme,

conflict. Read Aesop’s fable “The Lion and the Mouse.” Fill in the story mind map
below. You need to copy the mind map in your LITERATURE ACTIVITY
NOTEBOOK.

The Lion and the Mouse

Once when a Lion was asleep a little Mouse began running up and down upon
him. This soon awakened the Lion, who placed his huge paw upon the Mouse
and opened his big jaws to swallow him.

15
 “Pardon, O King,” cried the little Mouse, “forgive me this time, I shall never
forget it: and I may be able to do you a favor in the future.” The Lion was so
taken at the idea of the Mouse being able to help him, that he let him go.
Some time after, the Lion was caught in a trap, and the hunters tied him to
a tree. Just then the little Mouse happened to pass by, and seeing the sad plight
of the Lion, went up to him and soon gnawed away the ropes that bound the
King of the Beasts. “Was I not right?” said the little Mouse.

Story Mind Map

What is it about? Where did it take place?

Title

Who are the characters? When did it happen?

Why did it happen?

The development of African literature, from its oral tradition up to the current
trends, reflects the history of its people, the continent’s feelings and the minds of its
population.

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 Africa started in the middle ages when Arabic was introduced
to them and then it moved forward in the 1800s with the coming of the alphabet. With
16
 What Is It

the birth of the Negritude (which literally means ‘blackness’) movement in 1934,
African writers committed to look into their own culture, traditions, and values that
can be applied in the modern world. The drive of writers to write and excite political
freedom grew and the dignity of African traditions has been asserted. The Negritude
movement opened the avenue for writers to celebrate what is truly African.

Though African writers like Chinua Achebe, Wole Soyinka, Kofi Awoonor,
Ngugi wa Thiong’o, Okot p’Bitek, Dennis Crutus, Es’kia Mphahlele, Nadine Gordimer,
and Jacques Rabemananjara wrote in European language, they nevertheless
embodied the spirit of nationalism. So strong and effective were their works that they
gained worldwide acclaim.

In the aftermath of the colonial experience, African writers have since

chronicled new challenges that have emerged in their respective societies. New,
sovereign governments may have been installed, but their own problems caused
writers to react. This was evident in the case of Ngugi wa Thiong’o, who was
imprisoned for a play considered to have subversive messages against the Kenyan
administration of the time. Corruption in society, a longstanding theme of African
writers in postcolonial times, was reflected in V.Y. Mudimbe’s Before the Birth of the
Moon (1989). (https://www.scribd.com/document/412634387/21st-Century-Literature-of-
thePhilippines-and-of-the-World-1) and Simoun Victor D. Redoblado, (Brilliant Creations Publishing,
Inc., 2017), 108

Even before the colonizers arrived in Africa and indelibly shaped the
continent’s identity, local traditions were already flourishing in terms of cultural
wealth. The following selections, both belonging to the myth genre, attest to the
power of the motherland’s literary tradition that had its roots in ancient times.

The Clever Young Man and the Monster

by Tanzania

17
 Once upon a time in East Africa, the monster or ogre Shing’weng’we
swallowed all the people in the world together with all the domestic animals,
except one pregnant woman who hid in a pile of chaff. Later this woman gave
birth to a boy named Masala Kulangwa (whose name means “the smart
or clever person who understands quickly”). When he grew up he asked:
“Mother, why are there only the two of us? Where are the other people?” She
answered: “My dear one, everyone else was swallowed by Shing’weng’we.
We two are the only one s left.”

From that day on, the young man started looking for the monster. One day,
he killed a grasshopper and arrived home singing: “Mother, Mother, I have
killed
he killed a grasshopper and arrived home singing: “Mother, Mother, I have
killed Shing’weng’we. Rejoice and shout for joy.” But his mother answered:
“My dear one, this is only a grasshopper, not the monster. Let’s roast him and
eat him.”

Another day, he killed a bird and arrived home singing: “Mother, Mother, I
have killed Shing’weng’we up in the hills. Rejoice and shout for joy.” But his
mother answered: “My dear one, this is only a bird, not the monster. Let’s roast
it and eat it.”

Another day he killed a small gazelle and arrived home singing: “Mother,
Mother, I have ki lled Shing’weng’we up in the hills. Rejoice and shout for joy.”
But his mother answered: “My dear one, this is only a small gazelle, not the
monster. Let’s roast it and eat it.”

Another day he killed an antelope and arrived home singing: “Mother, Mother,
I have killed Shing’weng’we up in the hills. Rejoice and shout for joy.”
But his mother answered: “My dear one, this is only an antelope, not the
monster. Let’s roast it and eat it.”

Finally, the clever young man Masala Kulangwa found Shing’weng’we, ove
rcame him and cut open the monster’s stomach. Out came his father, along
with his relatives and all the other people. But by bad luck, when he split open
the monster’s back, Masala Kulangwa cut off the ear of an old woman. This
18
woman became very angry and insulted the young man. She tried to bewitch
him. But Masala Kulangwa found medicine and healed the old woman. Then,
all the people declared the young man chief and raised him up in the Chief’s
Chair. Masala Kulangwa became the chief of the whole world and his mother
became the Queen Mother.

19
20
 Rawera (the Comforter) and the Monster
by Nairobi, Kenya

A long time ago, the people of Funtu lived happily. They worked hard and
produced much food. They loved each other. The King was kind: everybody
loved him. Meanwhile, there was a woman, Ng’uono, who lived in the village.
Because she was barren, men refused to marry her. Elders forcefully married
Ng’uono to Jater, an old man. Ng’uono and Jater had no friends. Despite being
treated badly, they were not bitter. They humbly accepted their situation.

One day, there was a feast. As usual, Ng’uono and Jater were not invited.
From their home, they heard people singing and shouting joyfully. Suddenly,
the music stopped. Cries of agony filled the air. Curious, Jater and Ng’uono
came out. What they saw frightened them. Creatures bigger than millet
granaries, with eyes as big as cooking pots surrounded the village. These odd-
looking beings had hairy bodies, with claws for toes. Ng’uono and Jater
trembled just by looking at them. “These are monsters. Let us run,” Ng’uono
said fearfully. “No. They will reach us in no time and eat us up,” Jater said.
“Come with me,” he said, taking his wife by the hand. They hid in a hole under
a big tree. They could hear people crying as the monsters chased them. The
noise stopped after a long time. “Wait here. I will go and see what is
happening,” Jater said to his wife. “You cannot go out there! You will be killed,”
Ng’uono objected. Jater ignored her and slid out of the hole. There was not a
single person. The monster had flattened all the huts. The crops were all
destroyed. Shocked, Jater stood out there, lost in thought. Back in the hole,
Ng’uono was worried about her husband. Unable to wait any longer, she came
out and saw him. “Oh! What destruction!” she moaned. Walking towards him,
she asked, “What shall we do?” “I don’t know,” Jater replied sadly. They sat
under the big tree and soon fell asleep. Ng’uono was woken up by the cry of a
bird perched on her forehead. “Wake up. What happened?” asked the bird.
Sobbing, she told him the story. “Wake up hour husband and follow me,” the
bird commanded. After walking for several days, the bird led them to a valley,
green with vegetation, beautiful flowers and clear streams. “This is your new
home. There are crops of all types: harvest them and eat.” After saying this the
bird turned to fly away. “Oh! Before I leave… Ng’uono, take good care of your
son. Bye.” “What are you talking about? I am …” she started but the bird had
already flown away.

Jater and his wife remained standing, unable to understand. Ng’uono gave
birth to a baby boy a few months later. They called him Rawera, the comforter.
Rawera grew up strong and obedient. One afternoon, while he was out
hunting, he saw huge footprints at the edge of the forest. The footprints were
bigger than any he had seen before. Afraid but curious, he followed the
footprints. Deeper and deeper he went into the thick forest. The forest was so
dark that he could not find his way through. Tired, he sat under the nearest tree
and fell asleep, his dog beside him. The barking of the dog woke him. Sleepily,
he stood up. And then heard it: a voice stronger than thunder. It came from
deep inside the forest. He could not understand what the voice said. Soon,
there were more voices, equally loud. The earth shook and trees swayed.
Frightened, Rawera ran. Fear, hunger and confusion slowed him tremendously.
The slower he ran, the louder the voices became. Finally, he reached the edge
of the forest and collapsed. He could no21longer hear the terrible voices.
16

He rested for a few minutes and walked home. “Where have you been,” his mother
asked. “Mother, I was just out for hunting,” “Never stay late in the forest: it is
dangerous,” warned his father. He did not tell them what happened. For many days
after, Rawera thought about the voices. He was sure the creatures were not
human. Determmined to find out, he made several poisoned arrows and spears. He
hid these carefully. For many months, he trained his dog and fed it well. His dog,
Sibuor, grew large and fierce. Satisfied with his preparations, Rawera set out at
dawn one day. He took his weapons and told his parents that he was going hunting.
At the edge of the forest, he stopped to eat, rest and feed his dog. Soon after, they
entered the forest. They walked for a long, long time without hearing any sound.
Rawera was disappointed but he walked on. “Stop!” a voiced called from above. He
looked up anxiously but did not see anything and walked on. “I said stop. You will
be killed,” the shrill voice said again. “Who are you and how do you know where I
am going?” Rawera asked. A bird landed on his forehead, scaring him. He jumped
to one side, ready to attack. “Do not kill me. I want to save you,” the bird said,
perching on Sibuor’s head. “The voices you hear the other time belong to monsters.
They ate your ancestors. I am sure your parents told you this. Now, go back home.
“Whaaat? Monsters live here?’ Rawera asked. “Believe it: in this forest live many
monsters,” the bird confirmed. “You say these monsters ate my people? How then
can you tell me to go back? I will find and kill them all. Show me where to find
them,” Rawera said defiantly. “Well, I have warned you. Come with me.”

The bird led Rawera and Sibuor further into the forest. “Look over there,” he said
upon reaching a clearing. Rawera trembled at the sight before him: many giants
seated round a big fire. Their bodies were hairy. Smoke escaped from their big
noses. Seeing how frightened Rawera was, the bird said, “I told you. You can fight
them, can you?” “Bu-u-t they killed my people. I must kill them,” Rawera
stammered. “Because you are so determined, I will help you,” said the bird. “When
you shoot them, aim for the palm. Go now.” His dog beside him, Rawera walked
into the clearing. The monsters smelled him may meters away, stood as one and
walked to meet him, saliva pouring from their big mouths. Terrified, Rawera turned
back and ran. “Do not run. Turn back and shoot,” the bird encouraged him.

He turned, took aim and fired his first arrow. One of the monsters swallowed it.
“Shoot at the palm,” the bird shouted. The monsters were approaching fast. Rawera
22
let go of another arrow. He aimed at the palm and felled one monster. Encouraged,
he shot the monsters rapidly. Only one remained, the biggest of them.

Rawera had only one arrow left. “Wait,” the bird called out. “Let Sibuor go out and
meet him. Then, shoot the monster through the left ear.” Rawera commanded his
dog to attack the monster. As the monster picked Sibuor to swallow him, Rawera
shot him through the left ear. The monster died. “Cut the monster’s big toes,” the
bird ordered Rawera. When he did, all the people who had been eaten by the
monsters came out. They were excited to be back. They thanked Rawera.

They all walked to the valley where Rawera and his parents lived. Jater and
Ng’uono were happy to see all the people of the village. After listening to Rawera’s
story, everybody was proud of him. They made him chief. All villagers then
respected Ng’uono and Jater.(Simoun Victor D. Rodoblaco, Brilliant Creations Publishing,

Inc., 2017, 110-113)

What’s More

Compare the two African myths to the narrative below. Consider how the story-
telling evolved from the myths of ancient times to the stories of the modern scene.
Analyze the structure, plot, and underlying purpose of the narratives. Copy the
table in your LITERATURE ACTIVITY NOTEBOOK.

Things Fall Apart

23
 (Summary)
by Chinua Achebe

Okonkwo is a wealthy and respected warrior of the Umuofia clan, a lower Nigerian

tribe that is part of a consortium of nine connected villages. He is haunted by the

actions of Unoka, his cowardly and spendthrift father, who died in disrepute, leaving
many village debts unsettled. In response, Okonkwo became a clansman, warrior,
farmer, and family provider extraordinaire. He has a twelve-year-old son named
Nwoye whom he finds lazy; Okonkwo worries that Nwoye will end up a failure like
Unoka.

In a settlement with a neighboring tribe, Umuofia wins a virgin and a fifteenyear-old

boy. Okonkwo takes charge of the boy, Ikemefuna, an d finds an ideal son in
him. Nwoye likewise forms a strong attachment to the newcomer. Despite his
fondness for Ikemefuna and despite the fact that the boy begins to call him “father,”
Okonkwo does not let himself show any affection for him.

During the Week of Peace, Okonkwo accuses his youngest wife, Ojiugo, of
negligence. He severely beats her, breaking the peace of the sacred week. He
makes some sacrifices to show his repentance, but he has shocked his community
irreparably.

24
 Ikemefuna stays with Okonkwo’s family for three years. Nwoye looks up to him
as an older brother and, much to Okonkwo’s pleasure, develops a more
masculine attitude. One day, the locusts come to Umuofia —they will come
every year for seven years before disappearing for another generation. The
village excitedly collects them because they are good to eat when cooked.

Ogbuefi Ezeudu, a respected village elder, informs Okonkwo in private that

the Oracle has said that Ikemefuna must be killed. He tells Okonkwo that
because Ikemefuna calls him “father,” Okonkwo should not take part in the boy’s
death. Okonkwo lies to Ikemefuna, telling him that they must return him to
his home village. Nwoye bursts into tears.

As he walks with the men of Umuofia, Ikemefuna thinks about seeing his
mother. After several hours of walking, some of Okonkwo’s clansmen attack the
boy with machetes. Ikemefuna runs to Okonkwo for help. But Okonkwo, who
doesn’t wish to look weak in front of his fellow tribesmen, cuts the b oy
down despite the Oracle’s admonishment. When Okonkwo returns home, Nwoye
deduces that his friend is dead.

Okonkwo sinks into a depression, neither able to sleep nor eat. He visits his
friend Obierika and begins to feel revived a bit. Okonkwo’s daughte r
Ezinma falls ill, but she recovers after Okonkwo gathers leaves for her medicine.

The death of Ogbuefi Ezeudu is announced to the surrounding villages by

means of the ekwe, a musical instrument. Okonkwo feels guilty because the last
time Ezeudu visited him was to warn him against taking part in Ikemefuna’s
death. At Ogbuefi Ezeudu’s large and elaborate funeral, the men beat drums and
fire their guns. Tragedy compounds upon itself when Okonkwo’s gun explodes
and kills Ogbuefi Ezeudu’s sixteen -year-old son.

Because killing a clansman is a crime against the earth goddess, Okonkwo

must take his family into exile for seven years in order to atone. He gathers his
most valuable belongings and takes his family to his mother’s natal village,
Mbanta. The men from Ogbuefi Ezeudu’s quarter burn Okonkwo’s buildings and
kill his animals to cleanse the village of his sin.

Okonkwo’s kinsmen, especially his uncle, Uchendu, receive him warmly.

They help him build a new compound of huts and lend him yam seeds to start a
farm. Although he is bitterly disappointed at his misfortune, Okonkwo reconciles
himself to life in his motherland.

During the second year of Okonkwo’s exile, Obierika brings several bags of
 cowries (shells used as currency) that he has made by selling Okon kwo’s
yams. Obierika plans to continue to do so until Okonkwo returns to the village.
Obierika also brings the bad news that Abame, another village, has been
destroyed by the white man.

19

Soon afterward, six missionaries travel to Mbanta. Through an interpreter

named Mr. Kiaga, the missionaries’ leader, Mr. Brown, speaks to the villagers. He
tells them that their gods are false and that worshipping more than one God is
idolatrous. But the villag ers do not understand how the Holy Trinity can be accepted
as one God. Although his aim is to convert the residents of Umuofia to Christianity,
Mr. Brown does not allow his followers to antagonize the clan.

Mr. Brown grows ill and is soon replaced by Reverend James Smith, an
intolerant and strict man. The more zealous converts are relieved to be free of Mr.
Brown’s policy of restraint. One such convert, Enoch, dares to unmask an egwugwu
during the annual ceremony to honor the earth deity, an act equivalent to killing
an ancestral spirit. The next day, the egwugwu burn Enoch’s compound and
Reverend Smith’s church to the ground.

The District Commissioner is upset by the burning of the church and requests
that the leaders of Umuofia meet with him. Once they a re gathered, however, the
leaders are handcuffed and thrown in jail, where they suffer insults and physical
abuse.
After the prisoners are released, the clansmen hold a meeting, during which
five court messengers approach and order the clansmen to desist. Expecting his
fellow clan members to join him in uprising, Okonkwo kills their leader with his
machete. When the crowd allows the other messengers to escape, Okonkwo
realizes that his clan is not willing to go to war.

When the District Commissioner arrives at Okonkwo’s compound, he finds that

Okonkwo has hanged himself. Obierika and his friends lead the commissioner to
the body. Obierika explains that suicide is a grave sin; thus, according to custom,
none of Okonkwo’s clansmen may touch his body.

Source: https://www.sparknotes.com/lit/things/summary/

Here is the guide:

Areas to The Clever Young Man and Things Fall Apart
26
 Answer the Monster & Rawera (the
Comforter) and the Monster
Structure
Exposition
Rising action
Climax
Falling action
Denouement

Plot

Purpose

What I Have Learned

Prompts: Answer the questions. Write your answers in your LITERATURE

ACTIVITY NOTEBOOK.

1. What is unique about African culture as shown in the myths you’ve read?
_______________________________________________________________

2. How can you show heroism today?

_______________________________________________________________

What I Can Do

Prompts: Write a critical review of a myth or story found in your region or

hometown. It may be written in English or in other languages. Your
review must be one to two pages long, double-spaced, and with a
proper title.

Writing Short Paper

A short paper is literally “short.” It consists of one or two pages of written critique
that will succinctly discuss your idea, realization, or concept regarding a literary
selection. The point here is to introduce your idea or discovery about a li terary
selection.

Tips in Writing Short Paper

1. Choose a literary selection that you want to analyze.
2. Always begin with an outline.
3. Start with a joke, an anecdote, or a quotation from the literary text as your
introduction. (The idea is to hook your r eaders so that they will be more willing to
listen
to your idea).
4. The body of your essay must try to discuss the relation of your idea with the
literary text.
5. The conclusion is just like any conclusion when you are writing an essay –
summarize what you have said or discussed in the body in two to three
sentences.
Source: DIWA Senior High School Series, DIWA Learning Systems Inc., 2016, 112 -113

21
Your output on Critical review will be judged based on the rubric below:

28
 Criteria Description Score

10 points 7 points 4 points

Outstanding use of Adequate use of Inappropriate use of
Accuracy color, design and color, design, and color, design, and
space; overall space; overall space; lack of
design is pleasing design is mostly harmonious design
and harmonious pleasing and in presentation
harmonious
Cohesion The essay is The essay is The essay is not
cohesive and has moderately cohesive cohesive at all and
only one voice. and has two or three needs further
voices, which can be editing.
further edited.
Organization The essay is The essay is The essay is not
organized and can moderately organized at all and
be understood organized and needs major
easily. needs some editing. rewriting.
Score /30

Post Assessment

Prompts: Read carefully each statement. Choose the correct answer by writing it in
your LITERATURE ACTIVITY NOTEBOOK.

1. This the part of the story where complication begins to show itself on the
characters, setting, and events in the story.
A. exposition B. rising action C. climax D. plot

2. The result of the climax, and it is the part when things start falling into place for the
characters.
A. denouement B. falling action C. conflict D. exposition

3. What is the locale or period in which the action of a story takes place?
A. conflict B. setting C. theme D. plot

4. Which of the following tells about the sequence of series of events in a story?
A. plot B. conflict C. setting D. theme

5. Theme is the underlying message that the writer would like to get across. What is
the theme of Things Fall Apart?
A. struggle between change and tradition
B. struggle between Okonkwo and the whites
C. struggle of Okonkwo
D. struggle of the colonizers
6. Which of the following is the exposition of the The Clever Young Man and the
Monster?
A. The woman gave birth to a boy named Masala Kulangwa.
B. From that day on, the young man started looking for the monster.
C. When he grew up he asked: “Mother, why are there only the two of us?
D. The monster or ogre Shing’weng’ we swallowed all the people in the world.

7. The event with the greatest tension in the story.

A. exposition B. rising action C. climax D. plot

8. Where the story reaches its final conclusion and the writer starts to get ready to
tell the ending by way of explaining a finality to make the story complete.
A. exposition B. climax C. falling action D.
denouement

9. A struggle between two opposing forces is called __________.

A. plot B. conflict C. setting D. theme

10. What is the mood of Things Fall Apart?

A. somber and tragic C. gloomy and melancholy
B. cheerful and reflective D. romantic and whimsical

Summary

Literature in the Eastern hemisphere continues as we explore and discover

the literature of the Land of the Rising Sun, Japan. Most significantly, Japanese
Literature were divided into four periods namely ancient, classical, medieval, and
modern. Each of these periods showcased popular genres of literature of their times
as well as the prominent writers who have shaped Japanese culture and tradition.

30
 Moreover, the continent of humanity’s birth, Africa had produced a body of
literature that resonates with human spirit at any point on the planet. Embodying the
desire for freedom and contentment, African literature deserves to be studied
thoroughly by any student seeking to paint a full picture of the 21 st century, as well as
the historical periods that preceded it.

Answer Key What’s In

1. Chinese
Module 2 Lesson 10 2. transnational
What Is It 3. Poetry
Answers may vary 4. Fiction
5. Goh Poh Seng
6. first person
What’s More
7. teacher
1. taximan – generous and hardworking father of eight
8. Lay Choo
passenger who is a teacher going to a meeting 2.The irony is
9. National University of
the fact that the taximan criticizes young people of our
Singapore
generation for being too immature by hanging out at places
10. Singapore
like Hotel McElroy; while he still goes there to make an easy
living as Hotel McElroy is a popular spot to earn more
money. What I Know
3. * how the Singaporean youth in the present times have grown 1. analogy
impulsive and careless compared to the earlier generations. 2. metaphor
* Differences of the 'old' (taximan's generation) and current 3. allegory
(Lay Choo's generation) Singapore * How making a living in 4. simile
Singapore has overcome the need to stand up for our own 5. allusion
beliefs and make a stand to whatever opposes us
What Is It
What I Have Learned
Answers may vary

Module 2 Lesson 10
 25
What’s More

What I Have Learned

Answers may vary

Module 2 Lesson 11 What’s In

1.
2-5.
6-7.
8.
9.
10-11.
12-15.

What I Know
1. rising action
2. falling action
3. setting
4. plot
5. theme
6. exposition
7. climax
8. denouement
9. conflict
10. mood

What’s More
Answers may vary

What I Have Learned

Answers may vary

Module 2 Lesson 11
What’s In
1. E
2. J
3. D
4. H
5. C
6. F
7. A
8. I
9. G
10. B

What I Know
Answers may vary

32
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